#THAT’S HIS LITTLE ONE!!!! MOST TALENTED MUSICIAN HE’S EVER MET!!!!!!!! HIS DEMO GO TO!!!!!!!!!!!!!

[bubmyg]

sorry i just watched the suchwita preview NOTTT the jeongguk is so talented lamenting for the 273929 time 😭

[blu-joons]

DATING SEVENTEEN A⇴Z HEADCANON ⇴ Lee Jihoon

A ⇴ AFFECTION

It took a while for Jihoon to get comfortable with affection with you, for a long time he was quite awkward around you, but once he found what you both liked, he would refuse to ever really let you out from his hold.

B ⇴ BEFORE DATING

When you first met Jihoon, you were convinced he hated you as he never spoke to you, however, as the two of you got to know each other better, you realised you’d misunderstood quite a bit about Jihoon after all, and as you learnt more about him, you realised what a nice and kind person he really was.

C ⇴ CONFESSION

Words were his instrument, and so was music, so he combined the two in order to be able to confess to you. Jihoon was far too shy to confess around you, so instead he sent you a demo of a small song that he’d been working on, letting you know that it was dedicated to you. The lyrics were sweet, but as you reached the end of the song and realised that it was a confession, you were straight on the phone to him to give him your reaction.

D ⇴ DATES

Every date with you had to be perfect in Jihoon’s eyes, no matter how big or small your date was, he meticulously planned every detail to ensure that you enjoyed every minute with him. Jihoon was open to trying anything if it was what you enjoyed, he was interested in the things that you were and willing to learn about something new. For him, he enjoyed taking you to concerts or shows, the musician in him never really was put to rest, so he would pay close attention to everything, which often left you in awe of his talents too.

E ⇴ EXPERIENCE

Jihoon had no experience of dating, the most he knew from it was about what he wrote in his songs, which he knew was often exaggerated. He turned to his members a lot for help when it came to dating to try and learn from what they knew. He especially wanted to try and learn from all of their individual charms so that he could put them into practice with you. He so often put himself down that he tried to pick up on so much about his other members, there were times you reminded him to just be himself a bit more.

F ⇴ FIGHTING

He has a very serious mindset, which can often lead to a few small disagreements between the two of you, especially if he’s trying to concentrate on something and you want his attention. Jihoon is always very careful with his words when he does get angry with you though, he knows what not to say to make sure that he doesn’t hurt you, but also say enough so that he can get his point across. Major arguments are terrifying for him, he worries a lot about losing you when things become too heated. He’s incredibly attached to you, and the last thing he wants to do is risk himself losing any of what you have together.

G ⇴ GETTING TO KNOW HIS FAMILY

To begin with, his family were a little apprehensive about Jihoon dating as they didn’t want you to get in the way of all his hard work. However, as they got to know you and witness the routine that the two of you had found yourselves in, they were relieved to see that the two of you had found the perfect balance between the two.

H ⇴ HOME

For a while, Jihoon had been considering his own studio anyway, but as your relationship progressed after a few months, his mind instantly began to think about perhaps a new apartment instead. He knew he saw you in his long-term future, and a forever home seemed like the perfect first home for you both too.

I ⇴ “I LOVE YOU”

Just like his confession, Jihoon never quite knew the way to say, ‘I love you,’ except for in the form of a song. When another demo was sent your way, you were very confused, however, like before, as you sat down and listened to the lyrics, you soon realised exactly what the song, and Jihoon, were trying to say to you.

J ⇴ JEALOUSY

There were definitely a few times when Jihoon would get jealous, he knew that some of his other members were louder, funnier, and would definitely be able to capture your attention better than he could. He would try and not let jealousy get the better of him in front of both you and his members too, but you’d usually be able to tell. Jihoon wasn’t the loudest anyway, but when he was feeling jealous, he would almost be silent as he kept an eye on you and made sure that none of his members pushed things too far.

K ⇴ KIDS

The thought of having children excited Jihoon greatly, especially the chance to be able to pass on a few of his musical genes to his offspring. He often dreamt about how his future would be with his son sat by a drum kit and his daughter at a keyboard, teaching them all of the notes and melodies that he used to come up with as a part of the band and helping them to follow all of their dreams just like his parents did.

L ⇴ LAUGHTER

Jihoon knew that he had quite a serious outlook on life, so he’d try hard at times to feel like he needed to justify that he could live carefree and find plenty funny in life. You knew how dedicated he was to his work, and never expected him to be anything that he wasn’t, but he wished sometimes that he could make you laugh as much as some of his other members did. Whilst you hated that he felt that way, you’d always make sure to laugh at his jokes and reassure him whenever he felt like he was being too serious about things and encourage him to relax sometimes and allow himself to smile and just breathe.

M ⇴ MISSING

When he was missing you, his emotions were poured into his music. He could often be found sat in his hotel room with a pad of paper and a pen in hand, scribbling down little things that maybe he could use in songs one day. He doesn’t like for the other members to see him missing you as a weakness, so he prefers to spend a bit of time by himself and cope in his own way. When he finally calls you, he’ll often share the lyrics with you so that you can see how he was feeling, but he’ll also be quick to reassure you that he’s not feeling as bad now as he was when he tried to write down all of the lyrics that came to mind earlier.

N ⇴ NICKNAMES

You tended to just call him ‘woozi,’ as a nickname because you heard so many other people call him by it. It would often take him by surprise when he’d heard his stage name come from you, but he loved to hear it.

O ⇴ OBSESSION

He was obsessed with your words it was very much a love language for Jihoon and helped to him to learn so much about you and your feelings as well.

P ⇴ PDA

Being affectionate in public wasn’t something that Jihoon was greatly passionate about he would never leave you to walk alone, but he also wouldn’t create a huge drama in public about the fact that the two of you were together. As long as you were comfortable both outside, and with him, then that was enough for him.

Q ⇴ QUESTIONS

He loved to get your opinion on all of the things that he created. Knowing that someone else liked what he wrote or composed and not just him always gave him a great confidence and pride in what he had done.

R ⇴ RANDOM FACTS

Jihoon’s room was a mess of lyrics sheets all composed because of you. It wasn’t just being away from home that gave him the enthusiasm to write, so much about you gave him triggers that inspired him. He loved to talk you through some of the situations that had inspired the lyrics, no matter how embarrassing they were. Jihoon could find inspiration at the most random times, but that was also something you greatly admired about him.

S ⇴ SEX

He was always very careful and understanding of your needs and the things that you liked, you would always be the priority and the focus of all of his attention, no matter how hard you tried to prioritise him instead. Jihoon would also be quite vocal during these moments, not loud, but he’d often whisper sweet words into your ears to remind you that he loved you and compliment how good of a job you were doing.

T ⇴ TEXTS

If he felt like he wasn’t spending enough time with you or wasn’t in contact with you enough then he would text you in an instant. He was terrified of leaving things too long and risking upsetting you by not saying hi sooner.

U ⇴ UNIVERSE

Song writing had always come fairly naturally to Jihoon, but it was only now that he had you in his life, did he feel like he had a focal point for his inspiration. So much of his work revolved around you and your relationship too.

V ⇴ VACATION

Whenever the two of you went on holiday, it was a job in itself for you to try and convince Jihoon to switch off from work and allow himself to relax. He’d still be searching for inspiration and coming up with things, despite your work supposed to be set up so that he could give his brain a rest and focus on something else for a change.

W ⇴ WHINING

Whining really wasn’t Jihoon’s style at all, if he wanted something, he’d just stay, but he’d never kick up too much of a fuss about anything that wasn’t going right.

X ⇴ XXXXX

He loves to cuddle you, and with that, he’ll often trail kisses against any part of your skin that is exposed to him. He relies on kisses a lot to often send you small messages that he’s thinking of you or that he’s still right there with you. Equally, he loves to receive kisses from you too and bask in your embrace and the love that you give him. If you kiss his cheek, you’ll always hit the mark and turn him into a shy mess.

Y ⇴ YOU

You were his muse, the perfect point that everything else focused around.

Z ⇴ ZZZ

He’d always fall asleep as close to you as possible, often humming random melodies behind you as you tried to sleep. His soft tunes were the perfect lullaby for you to fall asleep to and always allowed you to relax beside him.

---

Masterlist

[bluejeanlouis]

COMING SOON: The Yellow Roof, 1970s AU by kiddle

Louis is a gifted musician spending his days on the wrong side of a drive-thru window. Harry is the lead singer of a band in need of a little talent. Their big break is a thousand miles away. 

Preview under the cut:

With a deep sigh, Louis leaned his chair on its back two legs, propping one of his feet up next to the till in front of him. The sun was blinding between the trees of the neighbourhood across the street, striking his eyes through the drive-thru window. He yanked the blind closed even though he wasn’t supposed to when the Fotomat was open. But there was no one around and his ability to give a shit had decreased significantly today. Slurping on the can of Coke he brought with him, he pulled out his lyric book.

Louis was not a poet. In fact, the pretentious and dull poetry class he took in his second semester at college was detrimental in his decision to drop out a year later. He didn’t like the confusion of poetry and the rules despite being an art form that claimed to be free of them. Don’t get him wrong, he was confident in his own writing, he just didn’t want to be taught how to do it.

But one look under the cover of that notebook would reveal pages and pages of poetic garbage. Some of it was great, and a couple had even ended up as actual songs back when Louis was performing solo at bars before he gave up on that too. Most of it was scribbled chicken scratch. That was just his process.

He held the notebook against his knees, tracing dark lines across the last words he wrote last night with his pen. It was some bullshit angsty heartbreak harnessed from his high school first love mixed with the anger of being sacked from a band that he was the best instrumentalist in. Sometimes that kind of emotion makes for a perfect writing session, and sometimes it’s a diary entry you never want to see the light of day.

Louis bit the end of his pen, rereading the words on his page. ‘Heart’ had to be the most overused word in love songs, and he had it down in every verse and the chorus. Love songs weren’t even what he wanted to write about. It wasn’t the only feeling out there. It sure as hell wasn’t the most predominant one in his mind.

A loud and abrupt knock on the window made Louis nearly leap out of his seat. His notebook and pen tumbled to the ground as he dropped his feet from the desk. He yanked on the string to make the blind spring back up, knocking his Coke over in the process. He picked it up just as quick, groaning at the mess it made. All the commotion caused the stack of pickup envelopes next to the widow to splay out over the desk in front of him. Now that the customer could see him, he tried to push him all out of the way before he slid the window open.

“Hi, welcome to— Shit!”

One of the envelopes had landed in the small puddle of spilled Coke. He tried to wipe it off on his jeans as quickly as he could before returning it to the scattered pile with the others. Once he finally composed himself, he tried to greet the customer properly.

But then his face fell to disgust.

“What are you doing here?”

“You left so quickly yesterday, we didn’t have the chance to talk,” said Harry, the lead singer of Louis’ former going-nowhere band. Harry had one hand casually rested on the steering wheel, the other elbow poking out the window, and sunglasses sitting low on his nose. Louis hated how effortlessly cool he could always look. It made him the perfect goddamn lead singer.

Louis rolled his eyes. “What did you want me to do? Beg for you to let me stay? ‘You’re out of the band’ was pretty loud and clear.”

“I mean, I thought we could have a discussion about it.”

“So you showed up to my work to have a discussion about it?” He hunched over so just his head was sticking out the window, his fist squished into his cheek to hold his head up.

“You wouldn’t answer the phone last night.”

“Take a hint,” he snapped, then slid the window shut with enough force to make it bounce halfway open again. He pushed it the rest of the way closed in a huff.

But Harry hadn’t driven away yet, so Louis slumped over in his chair and refused to look in his direction. Why the hell would he show up here? Just to rub it in his face? The new guy always loses the band argument. Louis was over it, and he had the faint remnants of a hangover to prove it.

He took a swig of his Coke that was now almost empty. No one ever left any napkins around here, but a few tissues seemed to do the trick to sop up that puddle. As he tried to avoid getting sticky hands, Louis could see Harry getting out of his car in the bottom corner of his eye. Then he heard the window opening again.

“Louis, listen to me,” Harry pressed. He had his hand in the way so Louis couldn’t shut it, but it did cross Louis’ mind to crush his fingers just to get him out of here.

“Go away,” he stated, pulling the roller blind between them. If only it was soundproof.

The blind sprung up again, revealing a wildly frustrated Harry on one side and an indifferent Louis on the other. He was pretending to read a copy of Vogue that one of the girls from the after-school shift left behind last night.

“We have a meeting with a record company in L.A. and they’re expecting a four-piece to show up. There’s no time to find a new bassist, so you’re back in the band.”

Louis folded down one corner and peeked his eye over Carrie Fisher’s head.

“How’d you get a meeting? The band sucks.”

Harry stared at him, angrily chewing on his lip, then turned around with a huff. “Fuck you,” he muttered, opening his car door.

Louis waited for him to start the engine and leave, but then the words “L.A.” and “record company” flashed with lights and sirens in his mind, and he imagined this opportunity driving off and never looking back.

“Wait!” Louis called out, tossing the magazine to the side and launching himself out the back door. He ran across the front of the car and slammed his hands on the hood so Harry couldn’t move the car an inch further. They eyed each other, and when Louis trusted that Harry wouldn’t speed off the moment he moved, Louis ran around to the passenger seat and got in.

Harry shook his head, both hands gripped tight on the steering wheel. “I’ve been dealing with your bullshit for ten years, man,” he said.

So maybe Louis wasn’t being totally truthful about what happened with the band.

Louis met Harry in his first year of middle school. They ended up in the same gym class, which was hell for every twelve-year-old, but for people like Louis and Harry, it was just a little too much to bear. They found skillful ways to ditch whenever possible, especially when it came to running the mile. Sometimes they’d hang out near the back of the group when everyone was filling out the gym doors, then slip out the side and circle the building before the teacher saw. The equipment closet was full of plenty of hiding spaces that begged to be taken advantage of. The best days were when they had a substitute who wouldn’t even notice that they never came back from a bathroom break in the change room.

In high school, they drifted, hanging out in the same group of freaks and burnouts, but not often with each other. They’d find themselves at the same parties and bickering in the same cars full of friends, but that initial bond had faded. Once college rolled around, they weren’t surprised to find out they’d be going to the same state school, but discovering their dorms were across the hall from each other was quite the shock.

They had become inseparable again, except for the inevitable monthly fights that left them not speaking to each other for days at a time. That went on for about two years until Louis dropped out and Harry continued with his literature degree. During that time, they hardly saw each other at all. Louis began to wonder if their friendship had only ever been one of convenience. But just as the year of 1972 was beginning, Louis got a phone call from that on-and-off best friend of his asking if he wanted to join his band.  

Harry and Louis fought from day one, but just as much as they hated each other’s guts, they loved each other too. Louis would still consider Harry his friend, but he would have no problem telling him what an insufferable bastard he was right to his face. It was a brotherly bond. Sort of.

“How’d you get the meeting?” Louis asked, turning sideways in his seat. “When is it?”

“We sent in our demo and they want to talk to us. That’s it,” he said. “The meeting is next week and they want all of us there.”

“Me included?”

“You’re on the demo.”

The demo was pretty shit if you asked Louis, but he decided to keep that to himself. They recorded it at their old college in the crummy basement studio run by students, and you could guess that by the first listen. Louis looked out at the empty parking lot ahead of them. He had memorized every detail of this parking lot. It had become the scenery for his life. He couldn’t wait until he never had to look at it again.

“Do you actually want me back in the band?” Louis wondered, sincerity in his voice for once.

“I—” Harry started, but didn’t look him in the eye. “I want to be at a place where you could be in the band without the two of us constantly at each other’s necks.”

“That would be nice, yeah,” Louis sighed.

They sat in silence, Louis weighing his options and Harry wondering if he really should’ve taken that ignored phone call as a hint.

“So, what, is this to discuss an album deal?” Louis asked, hoping more detail might help his decision.

“It’s to discuss our potential. They didn’t tell me a whole lot, but if they want to spend their time on us then they gotta have some hope.”

A car horn blared loudly behind them, an impatient customer waiting his turn to desperately develop the photos from his five-year-old’s birthday party, surely. It startled them, but that was Louis’ cue to get back to work, he supposed.

“Can I think about it?” Louis asked. He was already halfway out the door.

“Not for too long. We meet them next week.”

The horn blared again.

“One second!” Louis called out. The guy in the car flipped him the bird and Louis wasn’t hesitant to send him one right back.

“What’s the label?”

“CBS,” Harry said.

Shit, Louis thought. CBS was no joke.

“Move your fucking car!” the guy behind them hollered out his window.

Harry glanced at the angry face in his rear-view mirror, then ignored it completely. Louis looked like he was about to leave, but Harry grabbed his arm to stop him. “Before you go, take this.” He dropped a roll of film into Louis’ open palm.

Louis looked at it curiously, his other hand on the door handle. “What’s this?”

Harry laughed. “Photos I need to get developed. This is a Fotomat, is it not?”

“It is,” Louis said slowly.

“I’ll be back in twenty-four hours,” Harry said, plucking his sunglasses off the dash and sliding them onto his face. “For those photos and for an answer.”

[peace-coast-island]

Diary of a Junebug

A visit to Coral Beach

What a fun time at the beach! Coral Beach is such a lovely place - from the clear blue waters and colorful mosaics scattered throughout the boardwalk, it's one of those places ideal for vacationing based on appearance alone. No photoshopping necessary when it comes to taking pictures here!

I'm surprised that I haven't visited the beach sooner since it's about an hour away from the camp. In fact, there's still so many places nearby that I haven't been to yet. The trip was kinda a spur of the moment kind of thing Pancetti, Audie, Snooty, Lyman, and I planned at the last minute. By chance I ran into an old friend who's vacationing there too and now she's coming back with us.

So we spent a couple days at Coral Beach exploring the sights and enjoying the resort and then tomorrow we're heading back to the camp. Of course, I also spent the time catching up with Desi, who's been enjoying the seaside scenery.

Desi Rivera's an aspiring singer-songwriter who hopes to make it big one day. Right now though, she's jumping off the ladder and starting from scratch. It's a risky move, but I think it's a necessary one. Given her talent and ambition, I know that Desi will come out stronger than ever.

I met Desi at summer camp years ago. Even though we only spent one summer together, we kept in touch for a while after that. The summer camp thing was something our parents made us do and to be honest it wasn't really our thing so they didn't push us when we told them that there wasn't going to be a next summer. The experience wasn't terrible - I did make a friend after all - but summer camp and I just didn't click at all. Now that I think about it, it's kinda interesting that as an adult I'm running a camp right now - though this and summer camp are totally different.

Since Desi lived in the town nearby we often ran into each other. As we got older contact became sporadic but we occasionally said hi to each other when our paths crossed. Then as adults we regained contact on social media and have been keeping up with each other since then. Desi often posts covers and original songs, which is how she got her online following. She could've easily made it big if it weren't for certain people.

Desi's journey as a singer-songwriter is sure to become an interesting one. Ever since she could talk, Desi knew she wanted to be a singer. She always had a nice voice, one that became more refined as she got older. Talented songwriter too, with an honest and poetic way with words. And it's a damn shame that her talent has been consistently overshadowed and sidelined for white mediocrity.

Yup, I said it - mediocrity. No disrespect to Meghan Tyler and Too Cool - I mean I can see their commercial appeal, but for the most part, their music is bland and forgettable. Music tastes aside, it is pretty impressive that Desi was in the same circles as people like Meghan and Joe of the Shayne Brothers.

Desi first met the two at a camp for aspiring musicians, the well known Camp Music. She was one of many talented nobodies who wanted a glimpse at stardom. Meghan Tyler is the daughter of pop star Ann Tyler, and it was her who ran the camp, the typical queen bee. I happened to cross paths with Meghan and her friends online (unrelated reasons) and they always gave me a vibe of a high school clique. I interacted with her indirectly a couple times but then actively avoided her when her friends stirred up drama. It's one thing to vagueblog about an ex-friend who screwed you over, it's another to ruin someone's reputation by claiming that they faked their trauma just because you had a petty falling out with them.

Then there's Joe Shayne, best known as the lead singer for the Shayne Brothers. He was amazed by Desi's voice and took an interest in her. The two started off kinda rough with Joe pushing his boundaries and Desi rightfully calling him out on his entitled behavior. The whole thing was kinda like a Cinderella story with Joe trying to figure out who was the singer he overheard while passing by while Desi tried too hard to impress him after realizing who he was. By the end of the summer, they began dating, becoming regulars at Camp Music for the next several years.

Despite what the others were saying, Desi and Joe were going strong for eight years. Desi was associated with the Shayne Brothers, which was a blessing and a curse. As much as she liked Joe and his brothers, she didn't want to be known solely because of her connection to them. They were going to get engaged until last year when Desi broke things off. According to her, things had been kinda rough for a while but they tried - probably a bit too hard, in her words - to stay together. They're still friends but Desi thinks in a year or two they'll drift away, which I think is what she wants.

On one hand it's kinda sad since they've been together for so long. And from what I've heard about Joe, being with Desi helped him a lot as before he met her he was on his way to becoming a short tempered almost has-been. Basically, she made him shape up and consider his future seriously. But aside from their love of music, Desi and Joe were from completely different worlds. In the years since they got together, they've grown into two different people. The two have spoken openly about their breakup and it seems like it's for the best. Sometimes things just don't work out in the end and that's okay.

As for Meghan, Desi always had a complicated relationship with her. Being the fish out of water, Desi tried to impress Meghan, even if it meant dumbing down herself to please Meghan's ego. There was always some sort of competition between them with Desi constantly feeling like she has to prove herself. While Meghan did help Desi out with her connections and fame, Desi never felt she earned her recognition, another reason why she wanted to start from the ground up.

For years Desi was part of Meghan's band, Too Cool. While Desi occasionally had some solos that charted, she and the other members were always overshadowed by Meghan. She considers the whole experience a mixed bag, one that started out exciting but in the end the bad outweighed the good.

A few months ago, not too long after leaving Too Cool, Desi did an insightful interview for a magazine where she spoke honestly about her ups and downs with the band as well as her breakup with Joe. I always felt that she deserved better than Too Cool, especially after reading the interview. From being constantly referred to as "the Mexican one" even though she stated multiple times she's Cuban, to being told to sing slightly off key in order to make Meghan sound better - no wonder she wanted out. It's an eye opening read on the ugly side of the music industry, particularly on how WOC artists are treated.

Following her departure, another member and longtime friend of Meghan, Maria Silva, also left the band for similar reasons. She too had also spoken out about the racism she experienced, having been constantly referred to as "the Chinese one" despite being Filipino. I don't know Maria too well but she comes across as genuine and I wish her well on her solo endeavors.

Right now Desi's taking a break on music, though not entirely. She's been writing songs and making demos but it'll be a while before she releases something. For now Desi wants to celebrate her freedom, starting with a long, well deserved vacation. Then once she's had enough rest and relaxation, she plans to jump back into the music scene with a bang, this time on her own terms with her calling all the shots.

Desi's been teasing me and the campers with what she has in store. In light of the racism she experienced with Too Cool, Desi wants to embrace her Cuban culture more than ever, starting with the music. Mainstream pop radio hits aren't her thing anymore, so she's going for a new sound inspired by her Cuban roots along with her usual pop rock style she's got going on since she began writing songs. She's also considering the idea of doing an album in Spanish, though that'll depend on a lot of factors.

It's nice to see her so excited and passionate about her music - that's one of the things I love about her! Like I said, Desi's got talent and ambition, and I know that she'll successfully make a name for herself without Meghan or Joe's shadows. I mean, the demos I've heard already sound a million times better than pretty much everything Too Cool has done - imagine how the final product will be! Once the album comes out, I'll be one of the first in line to buy and download a copy.

We met up with Desi by chance at the hotel, her room being upstairs. She's been traveling around, crossing off places where she always wanted to visit. So far she's crossed off four places from her list. After Coral Beach she was debating on Hero's Tunnel and Swan Park since they're right next to each other. Since the camp's along the way, I invited her over and hopefully during her time there, she can make up her mind on where to visit first. I know she'll enjoy the camp, especially Saltwater Shores since she's a beach gal.

Coral Beach is such a beautiful place. One of the first things we did when we got there was to pose in front of the fountain and toss a bell in for a wish. Then we checked into the Coral Beach Hotel, where we got a lovely view of the ocean and fountain.

The architecture of the hotel is so pretty, it reminds me of an old village on a tropical island. Along the boardwalk are charming little shops and cafes where we got to enjoy shaved ice and fine handmade souvenirs. I got a set of cute floral teacups, a dot grid notebook with a pretty mosaic cover, a gorgeous seashell necklace, and a painted ukulele.

We went swimming and snorkeling in the ocean, where we got to see the pretty coral the place is known for. Nature can be so fascinating sometimes - the coral really does look like fancy lace! I also collected a bunch of pretty seashells like pearl oysters, which are pretty rare, as well as pink oyster shells and obsidian shells, something I've never seen before. Desi suggested that we go parasailing - her new favorite activity as of recently - so that's what we did and it was a lot of fun! We also went surfing, watched a performance at the theater, shared cocktails during happy hour, and explored the gardens.

Today we went to a mosaic workshop and made some cool decor. Then we went to a ceramics shop where we watched how bowls were made, which was pretty cool. After that we had a late lunch at Sash, where we had poke and butter mochi. Next door was a bookstore where we browsed for a while and then we spent a couple hours at the beach before heading to the hotel for dinner.

Since we aren't leaving until tomorrow afternoon, we had some time to kill so we spent it at the pool, lounging around. Desi says she's looking forward to seeing the camp and meeting up with Daisy Jane. It's so good seeing Desi relaxed and having a great time, especially after what she had to put up with during her time with Too Cool.

It's getting late now and I still have a little bit of packing left to do. The ocean's so pretty at this time of night, the way the light of the stars reflect on the water like sparkles. I can't wait to come back in the near future.

[fuckyeahgarybarlow]

Track-by-Track Listening Party of Music Played By Humans with Gary

1. Who’s Driving This Thing When I looked at this album, I thought, ‘Let's have a track that introduces all the sections of the orchestra. When have I ever been able to do that before?’ It’s great fun and lyrics that I'd never written before.

This fabulous orchestra needed introducing - section by section - it was such fun to write- when making demos for these kind of records they always sound absolutely terrible - but when the orchestra finally plays it it’s like magic. Humans bring it all to life.

2. Incredible Ah the wonderful ‘incredible’ this came early. About the 3rd song I wrote for the record. It felt like a 3 minute delight. Again, it really came to life once we got the Orch on there.

3. Elita Mr. Buble called me last night to ask how the record was going. I told him great but no one liked Elita. Yes we wind each other up. He’s one of my favourite people. We also love love Seb. So talented and smart. I do love this song. It’s a grower.

4. The Big Bass Drum The big bass drum - a song about falling in love with a dancer. Mmmm hang on I really enjoyed going down this hybrid swing/retro beats route. I can also see the live show I’ve got planned for the arena tour. Orchestra - dancers - lots of red - warm colours. I’m enjoying this - listening along with you all - remembering all the work from all the wonderful people who have worked on this record. There’s so many. We had the best of the best.

5. This Is My Time Ok - this is my track - single spot light - piano - strings all around - again, this came early. Felt like it needed to be written. The Love for another. Never has it felt so important. If Love can kill you then this is my time

6. Enough Is Enough Omg - here she comes - @Beverleyknight what a Queen - what a voice - Love this lady - has to be a single right ? Look out for Bev and me singing this on @itv this Sunday 9pm.   One more thing - Bev is one of the nicest, most humble people I’ve ever met. Love her.

7. Bad Libran Ha ha Bad Libran. Do you believe in the stars ? Tim Firth and me had fun crafting this tongue twister into a pop song. Unbelievable arrangements and playing on this thanks to Mr Tom Richards. Always brings a smile to my face.

8. Eleven Just take a moment to appreciate the talent of my friend @ibrahimmaalouf1 - he has such a distinctive intonation and style. Love his music. Also LOVE a Bossanova groove. Has to be the sexiest beat !!!!! Oh hellew !!!

Sorry but not sorry - I’m so proud of this record - feels like I’ve been waiting for years to make a record like this - big shout and thanks to my long standing partner @ryancarline who produced the record with me - his dedication is a lesson to us all.

9. Before We Get Too Old This is it guys - no rehearsal - live every day - take every chance - seize every opportunity - and if Love comes your way - “let’s fall in Love before we get too old”

Name check and massive thanks to my friend @AvishaiCohen what a player - what a feel - and what a gentleman - come and do this love with us please - talent all over this record

10. Supernatural Supernatural - the way I feel every time I go on stage - In front of our incredible faithful audience - can’t wait to be back up there - the time will go quick - all the comic style lyrics in this songs come from comics I used to read as a kid - pow wow

11. Oh What A Day Oh what a day - seeing the World through the eyes of a child - I remember both our girls being amazed by clouds or the moon while I was shouting into a phone or stressing over situations - kids have a wonderful way of simplifying everything.  

Oh what a day - featuring the wonderful, sublime and super talented @chillygonzales what a guy - check him out or catch a future show - he’s the best - amazing musician and wonderful story teller - love him.

12. What Leaving’s All About What leavings all about - with my wonderful friend @AleshaOfficial will make any excuse to work with her - she’s the best - and I love hearing her sing again - we need a new album - we had fun making this - Alesha is one of my guests on Sunday night @itv 9pm 

13. The Kind Of Friend I Need The kind of friend you need is @JKCorden my Dad used to watch Morcombe and Wise and I always wanted to write a Buddy song. Two guys insulting each other. But all said from a place of Love and respect.

14. I Didn’t See That Coming And to close the record we say goodbye to all players and guests and go back to the piano. A little update on where I’m up to in life. The ups and downs. The celebrations and challenges. And everyone of them unexpected. The way life should be. 

Ooh it’s a tough listen, that last one. I tell you what, we got through - lovely. It’s funny doing these things in rooms with no one in front of me. But, I felt you all tonight. I felt you all there. Thank you for listening. Yeah, I appreciate it. We’re out there now, enjoy it. And let’s look forward to singing all these songs live. Good bless you everyone, speak to you soon.  (x)

[sinceileftyoublog]

Nashville Ambient Ensemble Interview: A Little Help From My Friends

BY JORDAN MAINZER

“I feel like Nashville his my home,” Michael Hix said. The experimental musician, who now leads the Nashville Ambient Ensemble, is fully immersed in the ambient country scene that’s logically emerged from the fingerpicked guitar renaissance of the early 2010s. But for him, it took coming back to Tennessee to get there.

Hix grew up in Southeast Tennessee in a rural town, the closest city Chattanooga, before going to college in Nashville and staying there for a few years after. Then, like many before him, he moved to New York, exploring the various experimental music scenes thriving in the nation’s biggest city. After he and his wife had a child, they realized they needed more space and moved back to Nashville two years ago. “It’s been great to be back,” Hix said. “The avant garde and experimental/music scene--there’s always been a space for that here, but I really noticed when I moved back two years ago, it’s really grown an amazing amount. There are a lot of new people in the scene I didn’t know previously.” 

Many of those new people would end up playing with Hix in Nashville Ambient Ensemble and on their debut album Cerulean, released last month via Centripetal Force. The group--Hix on synth and keys, venerable pedal steel player Luke Schneider, pianist Kim Rueger, baritone electric guitarist Jack Silverman, singer Deli Paloma-Sisk, guitar synth player Cynthia Cárdenas, and electric guitarist Timon Kaple--came together slowly as Hix would meet the various members at shows and parties. (He knew only Kaple and Schneider before moving back to Nashville.) Once he had a group and music that embraced improvisation more heavily than any of his solo material--he calls each song “a loose constant theme and a cycle of solos”--the band rehearsed a couple times and recorded over two sessions. Their chemistry is palpable, on the arpeggiated “Ingia”, the guitar-forward title track, and swaying “Coda”. And as it turns out, having a kid also influenced Hix’s ability to let go. “Part of this project was me realizing as a parent that I didn’t have the time anymore to sweat over my solo compositions where I’d have things ornately composed down to the smallest detail,” he said. “If I called on a little help with my friends and got an ensemble environment together and relied on improvisation, I could make more music with less content.”

Speaking with Hix earlier this year over the phone, I got the sense that not just collaboration, but taking in other types of art directly seep into his creative output just as much as anything. Hix is as likely to cite ambient legend William Basinski and director Andrei Tarkovsky as formative influences as he is instrumental or experimental country music; he trades music, book, and film recommendations with passion and curiosity. With an increasingly open approach to music making, you realize how Hix and Nashville Ambient Ensemble both lead and transcend the ambient country scene highlighted by artists like Schneider and Chuck Johnson. Laying the groundwork but providing space for expression, the Nashville Ambient Ensemble could switch out members and instruments and still retain the exploratory spirit of the group and the scene.

Below, read my conversation with Hix about moving back to Nashville, starting the Ensemble, making Cerulean, and what the future holds. 

Since I Left You: When you lived in New York, did you feel isolated from the Nashville scene?

Michael Hix: Yeah, I was kind of isolated from it. In fact, when I moved to New York, I honestly didn’t see myself ever moving back to Nashville. I was planning on just staying in New York. I wasn’t really keeping up with what was going on here. I was just totally invested in the kind of music I was doing in New York. I was really surprised when I came back here that there were so many new artists doing really great work, and a pretty good, sizable experimental music community. That’s been really cool to see. I’ve been able to meet a lot of new people.

I expected that I would get back in the groove in my old circle, but I’ve met so many new people.

SILY: Of the folks in the Nashville Ambient Ensemble, how many were in your old circle, and how many were new?

MH: The only person I really knew was Timon Kaple. We went to college together, and he was in my larger circle of friends. The only other person I knew was Luke Schneider. He was just an acquaintance of mine, and we had never hung out but ran into each other when I moved back. At the time, he was starting to record his own solo, ambient, new age kind of music. We just hit it off and started to exchange music. Those two guys were the only ones I knew, and the others I met when I moved back to Nashville.

SILY: When was this group formed, and when was this music written and recorded?

MH: This took off in a crazy way. I feel like I didn’t really have to think about it very much. It happened very organically and quickly. One of the things I was struck by when I moved back to Nashville was how unique it was in how music is made here, in a really collective manner. Even if you’re not getting into a project with someone, they want to jam with you. I played one show in January 2019, and just at that first show, I had 3 or 4 people ask me if I wanted to jam or if I collaborated. That’s really representative of Nashville. That first show that I played, Timon came up to me--we hadn’t made music before--and asked to get together some time. It’s the same night I met Jack Silverman. I also met Deli Paloma-Sisk that night. She played that show as well. After that, I got together with Timon once in 2019, and I had a couple more people in that period ask me if I made music, so I thought I’d just make a supergroup. 

I had been in a similar group ensemble thing before I left Nashville, back in 2011. I was really wanting to do that again. At a certain point, I just started asking people if they were interested in an ambient ensemble. I asked Jack if he wanted to be involved, Luke, he was on board. Deli joined. The other two, Kim and Cynthia, I met Cynthia at a party one night and Deli was telling her about the project, and Cynthia asked to be in the group, and I was like, “Yeah, sure!” She has this MIDI guitar synthesizer set up. That’s what she plays on the album--really amazing. Kim Rueger, who goes by the moniker Belly Full Of Stars, I was speaking to her at a show one night asking her if she knew any pianists, and she was like, “I play piano.” It came together super organically. We had two rehearsals January 2020. These people are all really talented. We booked two days at the Battle Tapes studio in Nashville and recorded everything live in the studio in two sessions. It was really quick.

SILY: That’s a lot of lead up to a short recording process!

MH: Organizing it together took some time, but once we got everyone on board, it was really quick. I sent around some demos, we rehearsed twice, and then we recorded the album.

SILY: The opening track, “Breve”, is effective because you can hear all the elements going on, and it’s a unique hybrid of styles, the electronics with the country western instrumentals. Why did you lead off with this track, and what’s the story behind it?

MH: The pieces came together really quickly. I wrote every piece except for “Cerulean”, which was written by Jack Silverman. All the tracks I wrote came together really quickly, and it just so happened I had two that were a lot shorter than the other three, and I had the idea of bookending the album with these short tracks that serve as a prologue and an epilogue, which is why I placed “Breve” first. Knowing it was gonna be the first track and an introduction, I wanted to showcase all of the sounds in a very concise, clear way. That was kind of my direction with the track.

SILY: It’s interesting the title track is the only one not written by you!

MH: [laughs] Right.

SILY: Why did you name the album after that track?

MH: I was speaking to my wife about this, and I had a couple other ideas for album titles. She said, “Read me the names of your tracks.” We both thought that Cerulean was a really great title that was evocative but not heavy. You didn’t really have to read into it very much. It provided a tone for the album. This project was honestly about trying to get myself out of the way. I really wanted the other players involved to really shine on the album. I really liked the idea of using someone else’s [song] for the album title.

SILY: The track “Inga” seems to me to be exemplary of the mix between structure and improvisation that’s on the record. Can you talk about balancing those two aspects of the music?

MH: “Inga” and “Conversion” are probably the two examples where we achieved what we were aiming towards the most. In “Inga”, I definitely provided, to use a metaphor, the structure of the house, but everyone else made it a home. Something that had beauty in it. All of the songs, we had a very loose structure, some charts with the chord changes, but the sheet music for the songs would be a list that was just the order of the solos. I think the reason “Inga” works so well along with "Conversion” is that everyone has a solo in that song. You have the extended experience of the piece cycling through solos for each of the soloists.

The way we recorded that one, we had a loose structure of these chord changes and some from my modular synth, but the primary structure of it was the order of the solos. In the studio when we were recording, I had a microphone and would just call out whose solo was coming up next.

SILY: Why did you release “Conversion” as the first single?

MH: I thought about “Inga” for the first track, but personally, “Conversion” is generally the strongest track on the album. At the same time, I think it’s the most representative of what I wanted to achieve with the project and the concept.

SILY: What’s the inspiration behind the cover art?

MH: The cover art is a painting by Wendy Walker Silverman, who is a really great Nashville artist who is also the wife of Jack Silverman, the guitarist in the band. The cover features her painting. It’s been kind of altered by the person who designed the album art [Alethea Hall], but that is her painting there.

SILY: Are there loose plans to perform any of these songs in a live stream or socially distant show?

MH: We would definitely like to play some shows. Due to the nature of the project and the fact that every person involved has their own music projects and other things going on, it would be hard for us, once touring is a thing that happens, to go on tour. But we would like to play an album release show in Nashville once that makes sense to do so. We’ll probably wait till we can have a good amount of people attend in terms of COVID restrictions. We’ll see what happens after that and what kind of opportunities arrive for performances.

SILY: What else is next for the Ensemble?

MH: I’ll see what kind of level of interest people have in it, both listening and enjoying as well as other artists and musicians in the community here, whether anyone expresses interest in being involved. I’ve definitely already started to think about a round two and have some ideas of people I’d love to ask to be involved. I’d like to change things up a bit and get some other people and instruments involved. We’ll see: I’m not exactly sure. It was a ton of work organizing the whole thing, being a big group, and getting the recordings done. I mixed the album, so having a regular job, being a parent, and trying to carry through a project like that is a lot of work. I definitely want to do it again.

SILY: What have you been listening to, reading, and watching lately?

MH: I love the new William Basinski album Lamentations. I really loved the new compilation from Music From Memory, Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993​-​1997. I just listened to a reissue from Aguirre Records from Morgan Fisher and Lol Coxhill, called Slow Music. It’s one of those albums that really didn’t get a lot of attention back then but could be considered an essential or cornerstone album for a genre of music. Morgan Fisher is a really great composer--he has a few great albums--but this is the best one I’ve heard of his. It takes some tape recordings of Lol Coxhill playing I think soprano saxophone, and he cuts the tape up and makes a composition out of the various recordings. 

I watched the films of Bi Gan: Kaili Blues and Long Day’s Journey Into Night. Both are absolutely mind-blowing. I’m a big Andrei Tarkovsky fan, and he’s a big influence on me. Bi Gan definitely has some strong Tarkovsky vibes but definitely has his own language. Long Day’s Journey Into Night was in particular amazing.

SILY: Is there anything I didn’t ask about the record you want to say?

MH: One of the things I’m most satisfied about this album is I’m almost not on it. I didn’t anticipate it, but realized it when listening to the recordings. I’m always working on trying to remove my ego as much as possible from my music, which is hard when you’re making solo music. I think William Basinski achieves that in an amazing way, and I haven’t been that effective at it. But I think it happened in the Ensemble album. There’s my modular synth sound, and I play keys, but I didn’t do any solos on the album. It was really satisfying to know that though I organized the project and wrote the music, it was the other people who shined through.

The other thing I’m happy about is that it really does have a Nashville sound, in large part because of the pedal steel, but it’s there with the other players as well. To some extent, the music does give you a flavor of what Nashville is about and what’s unique about it. There are some really great artists doing some really progressive sounds.

Cerulean by Nashville Ambient Ensemble

[anotherhystericalqueen]

As Easy As Breathing

Modern AU!Brian May x OC

Word Count: 3.7k

Warnings: None

Moodboard and Summary

A/N: Hey guys! I have been working on starting this new story for a while and I am so excited to finally be posting it. Please let me know what you guys think and I hope you all like it!

What do you think of this one Darlings?” Freddie spun in the store mirror, admiring his reflection as he modeled an old off-white leather jacket. 

“Fred, it’s falling apart at the seams,” Roger stared at his roommate in disbelief. “There’s no way we can sell that as it is and there’s no way you can wear that onstage without it literally falling off. Where did you even find that thing?” 

Freddie Bulsara huffed and turned around to face the two other owners of the Rag Trade, Roger Taylor and Josie Crowley, still modeling the falling apart jacket that he dubbed as ‘vintage’. “I have my ways Rog.” 

Josie perched herself up on the counter, letting her legs hang over the side. ‘Let me guess, Kash?”

Freddie shrugged off the jacket and handed it to the redhead. “It doesn’t matter how it was discovered, it just needs a little bit of Josie Crowley magic. I’ve seen you bring garments in worse shape than this one back to life, maybe we have another miracle on our hands.” 

Josie sighed and took a closer look at the jacket, running her fingers over the cream colored fake leather to assess the damage. There were some holes on the front and the arms and the zipper was falling off at the bottom, but those could be taken care of with some patchwork and embroidery. The seams were also close to falling apart in some places, but there wasn’t anything that could deem the jacket completely unsalvageable. In fact, it was the right amount of beat up that she could use it for another design she had already been planning out for Freddie.

“I don’t think we need a miracle here,” She shrugged, hopping off the counter and digging out her sketchbook from her bag. “Gimme a few days and I can give you a brand new jacket. I already have some ideas in mind.” 

Before Freddie or Roger could give either of their input on the jacket, Roger’s phone went off over the stall’s speaker and cut off the music that was playing from Roger’s YouTube app. The blonde leapt up from his place on the couch and disappeared into Josie’s workshop in the back of the stall. The other two shop owners shrugged it off and went back to comparing the design Josie had been sketching, to the jacket’s current worn out state. They started going over details that Freddie wanted when Roger popped out from the back. 

“Fred, can you come back here? It’s about the band.” He called back. Freddie got up from his place on the couch next to Josie and disappeared into the tiny backroom where Roger was. 

Josie manned the register while her roommates hid in the back to take what she guessed to be a very important phone call. It was a slow day all around in Kensington Market, so the Rag Trade didn’t get as much foot traffic as it usually did.  Josie managed to keep herself busy by getting to work with when she heard a wooden clacking noise coming from the stall’s entrance. She pulled her attention away from her work to find that she had a new customer, but instead of browsing around the racks of new and old clothes he looked like he was looking for something specific.

Josie Crowley wasn’t a girl to get easily flustered by a boy, but this guy was about to make an exception. He was tall, really tall for starters. His bright blue NASA jacket was too short for his arms, leaving his wrists exposed to the cold. Loose deep brown framed his long face and brought out the different shades of hazel in his eyes. She studied the details of his face, from how his lips were slightly parted to how the tip of his nose was a rush of pink from the cool fall air, to how his hair fell in front of his eyes. 

“Hey,” She regained her composure to greet her potential client. “How can I help you?” 

“Yea.” The stranger pulled out a light denim jacket, running his thumb on the worn out seams. “I think you may be just the girl I’m looking for.” 

Josie studied the jacket in his hands. It wasn’t in as bad shape as Freddie’s but it looked like it could use some love and care. “Ye-yeah sure, I think?” She reached out for the jacket, which the stranger handed to her. She analyzed the denim and found that it was in better condition than she first thought. “Nice jacket, a little worn but overall in good condition. What do you need done with it?” 

“Well I found it in my parent’s attic and my dad said I could take it.” As he explained how he found the jacket, Josie noticed that his cheeks were turning from a light pink to a flushed red. “It fits for the most part but the sleeves are too short. One of my friends suggested that I come to you to get them lengthened.”

Josie examined the sleeves, “Yea I can totally do that. I would have to get some measurements really quick to make sure they don’t end up too long or too short. Do you mind?” Josie gestured towards the stranger before fishing around in her bag to find her measuring tape. 

The stranger nodded and put down his bag. Josie placed the measuring tape at the top of his shoulders and took his measurements for both arms, making notes on a blank sheet in her notebook for later. 

They tried to make some small talk as she finished up the measurements. “So is there anything else you want done to the jacket besides getting the sleeves lengthened? Maybe even put some of your own customization into it instead of just being a repair?”

“Yea that would be nice.” He laughed. “What do you do for that?” 

“Mostly embroidery and patches for denim jackets, but I can do whatever you would like.” She replied, her mind already spinning with ideas. 

“Embroidery and patches sound really interesting.” The stranger smiled at her. 

“Yea! I can put on anything you want on it.” She continued making notes. 

“If you’d like, I can give you my number so if there’s anything else you want done you can just let me know?” She suggested before quickly backtracking. “Unless you think that’s too forward.”

Space boy laughed and pulled his phone out of his pocket. “No of course we should swap numbers. I’d love to stay in touch.” He handed his phone over for her to add her number to his contacts. 

“I’ll text you later when I get home.” He offered. “It was really nice to meet you today….”

“Josie.” She reached out her hand. “Josie Crowley.” 

The stranger reached out and took her hand. “Brian May. It was very nice to meet you Josie.” 

“It was nice to meet you too, Brian” Josie felt heat was over her face as she watched Brian walk out of the stall, She kept running her thumbs up and down the worn seams of Brian’s 

Unknown Number: Hey, thanks for your help today! I hope this will be an easier way to keep in touch. -Bri

Josie grinned at her screen but was suddenly interrupted by both Roger and Freddie bursting out of the back room, their faces lit up with excitement. 

“Jo! You’ll never guess what just happened!” Roger called out, making the redhead jolt up and juggle her phone in her hands.

“Fucking hell Roger,” She gasped, clutching her phone to her chest. “What? You scared the daylights out of me.” 

“Oh don’t be so dramatic darling.” Freddie rolled his eyes. “We have incredible news.” 

Josie put her phone down on the counter, “What’s up?”

“We got a gig!” Roger exclaimed before Freddie could even open his mouth. 

There was a long pause between the three of them. Freddie and Roger’s band, Queen, had been doing gigs around the London pub scene for the past couple months so it wasn’t huge news anymore whenever they got a gig somewhere. So Josie stood staring at her roommates with a confused look on her face. 

“What kind of gig?” She broke the silence. “You usually don’t get this excited over one Rog.”

Freddie laughed. “Jo this isn’t any old pub show. This is a legitimate performance! We just heard that we are going to be part of a rising musicians showcase at Royal Albert Hall next month. I sent them our demo last week and they want us to perform!” Josie could tell that Freddie was really excited about this, so she had no choice but to join in on the excitement. 

“That’s awesome!” She knew how hard they have been working to take their band to a more serious level, even if she hadn’t been able to make it to one of their shows yet or have even met the other members of the band. “Have you told the other’s yet? Or did they get a call too?” 

Roger shook his head. “Not yet, we want to ask you something before we tell them.”

Josie cocked her head to the side out of confusion, she wasn’t part of the band so what would they have to ask her before talking to their bandmates? 

“We want you as our band stylist.” Freddie asked. Josie felt her eyes widen and her heart started to pound. She knew that they wouldn’t be able to pay her much or at all since they were barely making it by at Rag Trade as it is, but she knew this would be a huge next step for both them and herself if the band took off. 

“I know you hang out with us enough so if you don’t want to we get it.” Roger chirped in, pulling Josie out of her thought process, “But you’re really talented with clothes and we need to look our best for this show so-”

“I’ll do it.” Josie cut him off. “I’m in. I don’t care about money or anything like that. If you want me and the others are cool with it, I’m in.”

Both Freddie and Roger immediately lit up in excitement.

“But I do have one question though,” She added on. “How do you guys exactly expect me to style two guys I haven’t met yet? I can’t style someone that I don’t know, let alone have ever even seen.”

Freddie waived her off. “Don’t worry about that darling. I already alerted them of you joining our team as it was a given that you would say yes. They’ll be meeting with you in a few days since both of them have such busy lives.”

“You can use clothes from Rag Trade!” Roger piped up. “We got some clothes in the back we haven’t put out on the floor yet. We can set aside whatever you pick out to keep for the band.”

Josie blushed from Roger’s offer. “That is very thoughtful of you Rog. I swear that you guys get total input into whatever you wear. The last thing I want is for you to go onstage in something you aren’t comfortable wearing.” 

“You don’t have to worry about that Jo,” Roger reassured her. “We know whatever you do is going to be amazing.” 

Josie smiled at Roger’s comment. “Thanks guys, I promise I won’t let you down.” 

~~~~~~~~~~~~

After the Rag Trade closed down for the night, Josie and the guys made their way back to the small flat the three of them shared a few blocks over. They were immediately greeted by Freddie’s two cats, Miko and Delilah and Josie’s cat, Chip. Freddie and Roger hung out in the flat’s common area while Josie retreated to her room for the night. She changed out of her street clothes into a comfortable oversized t-shirt and shorts before scrubbing off her makeup for the day and climbing into her bed. 

Josie pulled out her laptop and started scrolling through Pinterest for ideas not only for Freddie and Brian’s tasks for her, but to also get some tips and inspiration for Queen’s new stagewear, primarily focusing on what she would pick for Freddie and Roger. She was meeting the other members of the band tomorrow to get their measurements and start planning their stagewear for some upcoming shows.

 She was soon distracted by Freddie’s newest kitten, Miko, jumping on top of her sketch and demanding attention. He paced around her legs and meowing insistently at the designer until she gave in and replaced the jacket in her lap with the tortoise-shell colored kitten, scratching right behind his ears. 

“You’re just like your Daddy, aren’t you?” She laughed. “You know just how to get my attention.” 

The kitten purred in content, kneading on her blanket covered legs. Watching Miko knead her lap, Josie reached for her phone and sent a photo to her roommates in the next room. 

TO: Oh My God They Were Roommates👀👀

Josie: I have been graced with Miko’s presence, If you need me I will be in my room the rest of the night with him 

Freddie: Give back my son

Josie: Never. He’s mine now

Freddie: Traitors, both of you. If you’re taking Miko then I’m taking Chip in return

Josie: Leave Chip out of this, he’s innocent!

Roggie: You two are weird

Freddie: Says the one who’s obsessed with his car

Before Josie could respond to her roommates, she saw a notification from her newest client- Brian. 

“Hey it’s Brian. Thank you so much for helping me out today on such a short notice!”

She grinned and immediately switched over to his messages, ignoring the budding argument between her roommates that was going on over text. 

Josie: Hey! You’re totally welcome. I should have your jacket all fixed up in the next week or so, feel free to swing by next week and it should be done!

Brian: Thanks! Please let me know whenever you finish it, but there’s no rush! My band just got called about a huge gig so I’ve been a bit preoccupied. 

Josie: Oooooooh you’re in a band? What do you play?

Brian: Yea, I play guitar. What about you, do you play any instruments?

Josie: That’s so cool! Unfortunately my talents are more in the design world than the musical world. I do want to learn how to play the guitar someday though

Brian: Well maybe I can teach you sometime

Josie: I would like that. Are you busy this week?

Brian: Not too busy, my band does have a gig next week so I have been held up with rehearsals whenever I’m not busy with my work. It’s nothing big, just a pub by Imperial College. What about you?

Josie: I just got a new long term project to work on so I’m still in the early stages of working on that. And I’m looking at your jacket too for what to do for embroidery or customization besides lengthening the sleeves. Do you have any interests or hobbies that could help?

Brian: Well outside of playing the guitar, I’ve actually been interested in space and astrophysics. I have been actually working part time on getting my PhD in Astrophysics. 

Josie mentally exited out of the conversation for a moment and turned back to her . She immediately went to her profile and made a new board that she named “Ideas for Brian”, noting that he really likes space and to look for space themed embroidery prints. She had a few ideas in mind now that she knew for sure that he had a strong interest in space. Josie also made a mental note to see if there was any way that she could combine both space and music into one design to make it special just for him. 

“Note: see if Bri has photos of guitar he would like used.” She muttered under her breath as she typed out the note before jumping back into the conversation with Brian. 

Josie: Oh wow that’s so cool! I had a feeling that you were into space from your jacket you wore today. And that has to be rough working and finishing a PhD AND being in a band

Brian: Yea I guess it was kinda obvious. Luckily we are on a short holiday right now so I can catch my breath and focus on my music. 

Josie: I know how that feels, my last year at uni I thought I was going to break down from burnout by the end. 

Brian: What did you study?

Josie: I double majored in apparel design and finance. 

Brian: That’s cool, how did you get into two completely different subjects like that?

Josie: It’s a long story, remind me and I’ll tell you about it sometime. I have an early shift at Rag Trade tomorrow and need to get to bed soon. 

Brian: Yea, I’m about to head to bed too. Goodnight Josie

Josie: Goodnight Brian, talk tomorrow?

Brian: I look forward to it :)

Josie shifted on her bed in a way that disturbed Miko from his nap in her lap. The kitten meowed at Josie before leaping off her bed and made his way out of her room. She noticed that the light in the common room was now out, so she guessed that Freddie and Roger were both asleep, or at least in their own rooms. She placed her phone on the nightstand right next and plugged it in to charge for the night. As she drifted off to sleep, her mind kept drifting towards the curly haired guitarist she had only met a few hours before. 

~~~~~~~~~

Josie spent the next couple days working on Brian’s jacket and focusing on what she was going to do with Freddie and Roger’s band as their new stylist. Unfortunately, she had been so busy with her roommates and her own work that she hadn’t been able to meet the rest of the band. Today, she was finally able to meet the remaining members of Queen. 

John, their bassist, was the first of the two to arrive. They were holed up in Josie’s back corner of the store that she used as her spot to meet up with clients. In the first few minutes of their meeting, Josie dubbed John as her favorite member. He was a lot more calm and subdued than Freddie and Roger, which was a relieving change. She learned he was still a student, which is why they haven’t met yet since John was busy with his classes whenever he wasn’t rehearsing or performing with Queen. Josie could barely juggle working here with being in school before she graduated, so she gave him props for going after both the band and an honors electrical engineering degree. 

She had her tape measure slung over her shoulder as she leafed through a rack of clothes she picked out for the bassist.  “What do you think of this?” She asked, holding up a black silky button down shirt. The chest was covered in small white pearl-like stars to add detail. “Freddie picked this one out, though it would look good for one of your upcoming shows.” 

John shrugged, holding the material in his hands. “I don’t know. Are you sure it isn’t too flashy for the band?”

The designer laughed. “You’re in a band with Freddie. He would go onstage in red and white booty shorts and suspenders and nothing else if he could so I wouldn’t worry about you looking too flashy.”

Her comment warranted a small laugh from John. “Yea, I don’t really put that past him. But I really do like that shirt.”

Josie smiled and put it on the rack closest to her that she had labeled “Queen Wardrobe.” She was happy that John was warming up to her and her abilities as a stylist. She had heard from Freddie that the kid would go up on stage in plain jeans and a t-shirt if the frontman would let him. Unfortunately a band that had both Freddie Bulsara and Roger Taylor would never allow such a thing so they always had the bassist borrow clothes from one of the two.  She made it her goal to find anything that would help John come out of his shell and stop having to borrow appropriate stagewear from his bandmates, but she still wanted him to be comfortable and have a say in what he wore. 

Josie and John ended up deciding on three shirts, a pair of black flare jeans, and a pair of white skinny jeans that were also suggested by Freddie. Josie’s favorite thing that they found was a pair of tan platform boots that John was immediately drawn towards when she first pulled them out. She wrapped the clothes hangers together with a rubber band and tagged them “Deaky” to keep with the nickname Freddie had given him and so she would know they were picked for John. She already did the same for Freddie and Roger and was planning to do the same for their guitarist. 

As Josie was setting up for her next client, she heard a familiar clacking enter the shop. She turned to see who it was as Freddie greeted them and she immediately froze in place. 

It was Brian.

“Brian! I am so glad you were able to make it darling.” The singer exclaimed, abandoning his post at the counter. Brian still hadn’t noticed Josie yet, even though the Rag Trade wasn’t that big of a shop she was still in the back semi-hidden behind the varying racks of clothes. 

“You told me to meet you here for the band.” He answered. “Something about us bri new stage clothes?” 

Josie watched as Freddie led him back to her station, she saw the gears turning in Brian’s head as they made their way to the back of the shop. When Brian’s eyes finally laid eyes on the new stylist, he froze in place and his eyes went wide in surprise. 

“Brian, I would like to introduce you to Queen’s official stylist, the one and only Josephine Crowley.” 

[daggerzine]

Early DC hardcore gent Rob Moss tells us what it was like then....and now.

When I became friends with a Rob Moss on Facebook a year or so back I knew the name sounded familiar. Then, I’d heard he was a musician (as well as an author) and releasing a new record under the name Rob Moss and Skin-Tight Skin. Hmm….very interesting band name. I then began digging a little deeper and found out it was the same Rob Moss who had been in the Washington, DC-area pre-Marginal Man band called Artificial Peace and had later played in Government Issue for a time.

Apparently Rob hadn’t played music since those old hardcore days, but was now back in the saddle and living in Portland, Oregon (where he’s lived for several years). With Rob Moss and Skin-Tight Skin he put together an interesting concept, a different guest guitarist for each song. Some of the names you will definitely recognize from the punk rock days and beyond. It’s certainly a unique sounding record (and I reviewed it here on the site a few weeks back).

I wanted to ask Rob about the old days and have him bring us up to the present and everything in between. He was more than happy to oblige.

You’re on Flex Your Head and were in two iconic Washington, D.C. hardcore bands, were you born and raised there?

We moved from Boston to Wheaton, Maryland in 1966 – I was three – and to Bethesda a year later. The Bethesda I grew up in had a downtown of mostly old two- and three-story buildings, and there were cows in the field across from Walter Johnson High when I went there. I’ve not lived in the D.C. area since the fall of 1983.

Do you remember your earliest exposure to music?

My first memories are my dad playing records, like Edvard Grieg’s Hall of the Mountain King and Prokofiev’s Peter and the Wolf. I think he chose them because that kind of music’s so visual. In the mid 1970s I discovered WPGC, a Top-40 station. I had a Radio Shack cassette deck that I’d put up against the radio to record stuff like The Night Chicago Died (Paper Lace) and Blockbuster (Sweet).

How and when did the punk rock bug hit you?

The how and who was Marc Alberstadt (original drummer in Government Issue). We’ve been friends since kindergarten and went to Hebrew school together. We used to hang out at his house and listen to his older brother’s records. Like Can’t Stand the Rezillos, the first Generation X album and the Sex Pistols. The when was 1978 or ’79.

Back then, Kenny, Marc’s brother, would sneak us in to see bands at the Psyche Delly and at the University of Maryland. There were no underage shows then. We saw the Slickee Boys, the Bad Brains, Tina Peel, Sorrows – bands like that.

But as far as really getting bit by the bug, it was when I saw how much fun the Slickee Boys had on stage. I had to start my own band, even though at that point I didn’t play a guitar or anything. This was before the Teen Idles, Dischord, or any of that.

When did you first pick up an instrument?

Marc was already playing drums, and Brian Gay played guitar. They convinced me to get a bass. Brian and I started getting together at his mom’s place in 1979 to write songs. They were pretty crude, we were taking our cues from the :30 Over D.C. compilation album.

How did you meet the Artificial Peace guys?

Let’s go back further. I was away for two weeks in the summer of 1980. And during that time, Government Issue had formed with Brian on bass and Marc on drums.

Brian and I already had a bunch of songs, and he still wanted to play guitar. So we formed another band – he played in both. We knew Mike Manos from school and learned that his brother had a drum set. Mike didn’t really know how to play. Marc gave him some tips, the rest was on-the-job training.

But we still needed a singer. This new wave-looking girl, named Sandra something-or-other, appeared in our school. She’d just moved from New York. None of the other girls at school looked like her. We asked her to sing. We called ourselves The Indians – it was supposed to be ironic.

Our first show was at American University with the GIs, S.O.A. and Youth Brigade. But it got cancelled at the last minute. So everyone met up at Roy Rogers. Fifty, maybe seventy-five, punks walked into the place within a few minutes of each other. The manager came out from behind the counter, he thought we were up to no good. But all we wanted was something to eat and to come up with a plan-B.

We ended up playing that night in the basement of a house in D.C. It was the first time we actually got to hear Sandra sing, because she’d kept pulling a no-show to our practices. John Stabb said she sounded like a dying parakeet.

After that we replaced her with Steve Polcari, who we’d known since junior high school, and changed our name to Assault and Battery. We played some shows like the infamous Pow Wow House gig, which I had set up, and recorded a demo a few months later.

But at the end of the summer of 1981, Brian went to art school in Chicago and I started at the University of Maryland. That meant the GIs needed a new bass player and we needed a new guitarist. Minor Threat had just broken up for the first time, and Brian Baker joined the GIs on bass, he later moved to guitar. Red-C had also just disbanded, so we welcomed Pete Murray to join us.

Artificial Peace was the name of one of our songs. I don’t know if we’d played it with Brian, I may have written it after he left. But we felt like we needed a new band name. We became Artificial Peace.

What were some of Artificial Peace’s most memorable shows?

Opening for the Bad Brains at the Peppermint Lounge in New York City. H.R. called the number he had for me, which was the pay phone down the hall from my dorm room in College Park. We drove up the day of the show, unloaded our gear and discovered H.R. gave me the wrong date. It was the next day. The show itself was terrible! The soundman screwed us. There was nothing in the monitors, we couldn’t hear a thing.

We played another show in NYC at the A7. The first band went on at midnight, we went on around five in the morning. Cheetah Chrome played that night, all I remember was that he was pretty messed up.

We also opened for Black Flag in Baltimore on their Damaged tour. We played well, but the power went out twice during Black Flag’s set. Henry recreated the Damaged album cover and punched out one of the mirror tiles that edged the stage. Lots of blood. How punk rock (laughing)!

As far as D.C., we played some shows at the Wilson Center, which were probably our best. We also played a talent show at the high school that Mike, Steve and I went to. We’d graduated the year before – I don’t recall how we got on the bill. A lot of punks showed up, it was pretty funny.

Only known color photo to exist of Artificial Peace. Wilson Center, 1982. Photo by Davis White.

How did the band end?

Pete called me on the phone, telling me that he and the guys didn’t want to play anymore. It was a surprise. He gave no reason. A few weeks later I heard about Marginal Man. I guess they couldn’t be straight with me.

Was G.I. next? How did that happen? Stabb was my first D.C. hero that I ever met (1985 in Trenton).

Before I joined the GIs, I got together a few times with Kenny Alberstadt, who’s a fantastic guitarist, as well as a female guitarist, whose name escapes me. She looked like Joan Jett and played great! But it didn’t go anywhere.

Then Mitch Parker left Government Issue in the spring of 1983, and I got a call asking if I wanted to join. I played on the GIs summer tour. Our first show was at CBGBs. We had John’s dad’s Buick and a U-Haul trailer full of gear. Just us, no roadies. Tom and I did nearly all the driving. John never got a license. We’d let Marc drive only if Tom and I needed a break. We’d crash at people’s houses after the shows. Some nights it was at nice place and we got to do laundry. Other times, it was more like a squat. Tours were grueling then.

Marc Alberstadt, Tom Lyle, Rob Moss, Tuffy. Outside Shamus O'Brien's, South El Monte (Los Angeles), 1983. Photo by Jordan Schwartz.

 John Stabb and Rob Moss, Sun Valley Sportsman's Hall (Los Angeles), 1983. Photo by Ted Ziegler.

How did your tenure in G.I. end? Did you stop making music?

Around the end of the tour I heard that my transfer to Boston University got accepted. I told the guys. Tom, understandably, was not happy. Once I moved, I stopped playing. And by that time, I felt the scene wasn’t fun anymore.

How did Rob Moss and Skin-Tight Skin come about? Had the idea been brewing for a while?

I’d always wanted to do something more in music. About three years ago I picked up a guitar, started writing songs and posted a few on Facebook. Dwight Reid asked if I wanted to record them at his home studio. He’d play bass and we’d find a drummer. That’s how it happened.

Why did you get a different lead guitarist for each song?

I can get by playing rhythm guitar and singing, but not leads. And I wasn’t ready to commit to forming a touring band. Under those circumstances it would’ve been too big an ask to interest a great lead guitarist to get involved.

But what if, instead, I asked a different guy to play on each song? So I called up old friends and friends of friends, and nearly everyone agreed to help.

What made it such an incredible experience for me is how many musicians I’ve long admired said yes. In your question earlier, about when the punk rock bug hit me, I told you about seeing the Slickee Boys when I was 16 and hearing the first Generation X album. To have guys from those bands – Marshall Keith and Bob ‘Derwood’ Andrews – play on my new album is tremendous. I feel the same about Nels Cline, Don Fleming, Franz Stahl, Stuart Casson, Billy Loosigian, Dave Lizmi, Saul Koll, Chris Rudolf, Marion Monterosso, Spit Stix and everyone else who took part.

How’s the response to the record? Are you happy with it?

Many people comment on the song quality. That even after hearing the album once, they find themselves humming the songs. The earworm thing. To me that’s the best compliment.

What’s also made me happy is hearing from the guys who played on it. That they really like the album as a whole, not just their work on it.

Did you consider recording a hardcore album?

Listening to proto-punk and pub rock made me happy as a kid. And when I speak with friends who were there, many say the same thing. That’s why I make that type of music now, not hardcore.

With all that’s going on, isn’t hardcore still important?

As protest music? I suppose but it seems like preaching to the converted. Bob Dylan’s entire career is protest music, but he grew as an artist to express himself and reach more people. When he went electric in 1966, the folkies booed, they called him a traitor. They expected him to play the same Woody Guthrie songbook forever.

It's the same with hardcore. It had its place. I’m glad to have been part of it. But I no longer want to play it. Still, plenty of my new songs contain the kind of messages I wrote when I was in Artificial Peace. There’s also humor, like Ugly Chair and A Maltese Falcon. Or humor and tragedy, like Got My Ass Stuck in a Tree. Some are about getting older (Tony Alva’s Pictures) or being a kid (Life at 33 1/3 RPM).

How do you discover new music?

Recommendations from friends, mostly. But when I lived in Manhattan in the mid-‘80s to early ‘90s, I had a neighbor in the music business. He’d set down stacks of albums, mostly promo copies, by the trash. I saved what I liked and traded the rest.

That’s how I discovered a band I missed growing up. Willie Alexander and the Boom Boom Band. They were incredible, should’ve been huge! The intro to Rock & Roll ’78 still makes the hair on the back of my neck stand up.  

Years later I met the guitarist from that band, Billy Loosigian, through Facebook. And now he’s played on one of my songs. Experiences like that really made the album special to me. I hope it does for everyone else.

What’s next? More music in the future?

Anything’s possible.

 https://skin-tight-rock.bandcamp.com/

[notesonnotes]

Rosedale. Herkimer 2009. Some friends and I had followed Honor Bright; The Doppler Effect and Lacerda to a show in Herkimer, NY. We'd never seen Rosedale, or heard of them. We didn't know what to expect when we saw them setting up. I was in awe of the sheer height of their front-man, Mike. (I am a over a foot shorter than he is, and at that point he was the tallest person I'd ever met.)When they started playing, I was in awe of their drummer, Emerson Tavares (he played faster than most drummer I'd seen). After the show, we saw a big purple bus, and we had the chance to hang out with Mike and Emmo. A week later, we'd get to meet Mitch and Zan in Watertown, NY. We were hooked. Soon after, we got them to our college in Northern New York.Since then, I've watched Mike progress from the 4 man band to the last solo act in Toronto in 2018. He is multi-talented, and probably one of the most down to earth people I've met. He takes time before, during, and after shows to talk with as many people/fans as he can, and has been an inspiration to many that have followed his journey.Today, we're going to take a look at where he came from, and where he plans to go. Take a few and read through. It's the anniversary feature for Notes on Notes! What better way to celebrate that with the one who inspired it all?!

NON: Rosedale was an early project of yours as a teenager in Brampton, ON. What brought you and your then band mates together?

ML: Pretty much skateboarding sparked it all. The skate scene was really booming in Brampton (and everywhere) as I was becoming an adolescent. Tony Hawk Pro Skater was huge, all the skate magazines were doing well, all the local skate parks were packed and hosting contests, pro skaters were celebrities- it was wild! I've always been pretty awkward on a skateboard and could never really improve past the basics, but I was definitely making progress on the piano so my parents finally granted my wishes to switch to classical guitar, as I'd been begging for years and the skate culture was surrounded by a lot of guitar music. After about a year of struggling to figure out how to play "cool guitar" I started convincing my friends to learn drums and bass and would try to jam with them. That led me to connecting with a friend I hadn't really seen since kindergarten; Nick, who was a pretty solid drummer. So I started showing him songs I'd written and we'd jam at his place on weekends. I think it started lighting a fire for a few of my school and skater friends as they started getting more serious about learning instruments and starting bands. We'd eventually teamed up with Mitch and Jon's band, as their drummer, Emerson, was still figuring out how to drum. Fun fact, there was about a month or two where I was kicked out of the band because my squeaky voice, cheesy lyrics, shrill guitar tone, awkward stage presence, and thick wavy blond mushroom cut were all just too unbearable. (They were very blunt and honest with me on that phone call...) So Jon started singing and they eventually called me back into the new band to play guitar, piano, and sing super high emo backup vocals. From there; we replaced Nick with Sam, named the band Rosedale (because when our gear was stuck at Nick's house we'd walk up Rosedale ave to the local music store to practice and write). Then we eventually replaced Sam with Emerson. Me and Jon started taking vocal lessons from our friend Steve, who was a drummer and backup singer in one of our favourite local bands, By Permit Only. Eventually we just asked him to be our lead singer and after recording our first EP with him, he quit the band and I took over lead vocals again. I met Zan in our high school, Mayfield. He was a bassist in the music program so I'd jam with him from time to time during lunch in our school's practice rooms. He eventually replaced Jon... I guess I could have just summed it up with "Skateboarding and school" but we all have a little more time these days so why not take a trip down nostalgia lane!

 NON: You've had 5 EP's and albums over the years; could you describe the progression of your creative process through the years? 

ML: It's pretty crazy for me to look back on. We recorded Past Times With Old Friends in Sean Andrew's little bedroom on a Line 6 bean-shaped Pod with Cue-base on his laptop. We'd tried to record about 3 demos with 3 different producers prior to that EP but nothing ever got finished. Each time we'd record I'd learn a few more things about how to engineer. Back when we had Sam in the band, one of his dad's friends "Stereo Mario" (one of the 3 producers that we'd demo with) would teach me the basics of Pro Tools and I was very eager to learn more. Before ever using any real recording equipment/DAW I'd multi-track covers of my favorite songs onto three-and-a-half inch floppy discs with my Yamaha Clavinova (a multi-patch midi amplified keyboard from the mid 90s), drums and all! So I kinda came full circle back to being a solo, multi tracker, multi-instrumentalist after having several different band mates and methods. The big turning point in my progression as an artist and producer, though, came when I started an internship at Drive Studios in my senior year of high school. I believe everyone needs a roll model and mentor to really progress and the owner of that studio, Steve Rizun, took me under his wing and pulled me in the right direction. Not only did he train me to be a sound engineer and let me work with some world class punk/prog/metal/emo bands, but he also would show me how to make additional production for Rosedale's sound and how to bring it to our live show. I became obsessed with songwriting and production and as soon as I graduated I worked to save up for a Macbook and an audio interface...and a lot of other gear! Had it not been for Steve, I probably would have wasted a lot of money going to a college to learn a fraction of what he was teaching me for free; hands on in the most punk rock environment! Since that internship he's mixed and mastered all the Rosedale records, mixed a handful of my live shows, he even showed me the ropes of being a live sound engineer, and continues to be a great ear to for mixing and advice! I've had a lot of other great friends show me how to edit video, hold a drumstick, where to book shows, gear advice etc. Even though I'm kind of a "Lone Wolf" I guess my process has always been to keep creating and ask for help and advice along the way from those who are more experienced (and YouTube tutorials, of course). Now that I'm in a new market playing with a new band (Mainsail in San Diego) I feel like I'm teaching and working more often than I'm learning. And that's been really healthy too! 

 NON: How has the journey from "Past Times" to your most recent projects helped you grow/learn as a musician/artist?

ML: What a journey it has been! As I'm sure any artist or even entrepreneur could relate, The Faces sang it best; "I wish that I knew what I know now when I was younger!" I think the biggest difference is the decision making ability. I used to take so damn long to make such bad decisions! Debating who, what, where why- it's important to think things through but sometimes you gotta just leap and learn from it. If you keep questioning things you'll never know. Also, the more I learn the more I realize how much more I still don't know! And that's part of the climb. Even now, being in the beginning stages of getting my 10,000 hours on the drums, I look back to how I used to play, say, 100 hours ago- and shake my head. That can sometimes be humiliating and demotivating while knowing you're still at the bottom of the mountain- or even just dealing with the ongoing yin and yang of confidence/hope vs. doubt. But what usually gets me to keep on going is to remind myself to just be better than I was yesterday. For a long time I was holding myself to the standards of my heroes which usually just creates inauthenticity, bad technique, bad decisions, clutter, and setbacks. Sometimes I'm worse than I was yesterday so I need a little push and that's okay, too! The journey from Past Times to Again was a big balancing lesson of letting things go while learning you can always do more to improve. And it's no surprise; but the newer the album, the more proud and less embarrassed of it I am! 

 NON: You've played bass in Mainsail for roughly a year, maybe a bit more; how did you meet up with them? What spurred you joining?

ML: Yeah since February 2019 I've been in Mainsail. I've been friends with them since 2017 and they really helped me get my show in front of a lot of people in San Diego. When I finally moved out there Nick was really cool about bringing me out to shows and jamming together. They needed a new bass player so I figured I'd offer and it just all escalated really fast. Since finally accepting that it was time to move on from the name Rosedale I've had a lot of luck with being a sort of "yes man". I'm usually very strict with staying on the path to my vision, as it requires a lot of time, but since moving and letting go of the past I've been finding that sometimes letting the wind take you where you're needed can be really beneficial. And a lot of great things are starting to happen for Mainsail so it has been fun. It has also kind of kept a stream of new listeners seeing what Rosedale is all about too so that is a nice bonus. 

 NON: You've performed at the House of Blues in San Diego; how was the experience for you?

ML: It was one of the best moments of my life playing that stage in front of so many great SoCal people, some who have been supporting Rosedale over the years. That has always been one of my favorite venues and since moving to San Diego I've seen a lot of amazing shows there. House of Blues is always great in Boston and Anaheim too. I'm really grateful that they give independent acts like myself not only a chance to play there, but they really give you the same professionalism and respect as they do to the giant national acts, it's pretty remarkable. I really hope they're doing okay during this pandemic and I hope all venues find a way to pull through this. I can't imagine how tough it's getting for some. 

NON: You've toured the U.S. and parts of Canada multiple times; played on a stage at Warped Tour, and toured Europe: What would you say is your most memorable moment?

ML: That is a great but very tough question. Playing in Vienna Austria in 2016 to a bunch of kids that knew my songs is definitely up there. But 2012 Warped Tour was probably the most fun and rewarding summer of my life. It was a grind and very uncomfortable at times, but there were so many epic moments packed into that summer that I look back on in disbelief. The biggest turning point was about two weeks into the tour in Minnesota (I think it was Minnesota...) I got called into the Warped production office and was told to check in with Kevin every morning for any open stage time, given a wristband, and some tasks to help out with in production. I played my DIY one-man-show in the parking lot that same night as kids were leaving the festival (as I would every night) and while I was standing at my merch table selling stuff and taking photos, I noticed that Ryan Dawson (from All Time Low) and Anthony Raneri (from Bayside) were hanging out watching. Once things slowed down they came over and bought 10 CDs each! It was so cool of them to even give me the time of day, let alone buy CDs to (probably) give out to people on the tour. I had a similar experience with Caleb Shomo (from Attack Attack/Beartooth) the year before outside of Cuyahoga Falls Warped tour. I had a drummer and bass player with me at the time and Caleb stood front & center to watch our whole set while kids kept coming up to him for autographs and I could see him pointing at us saying good things to all the kids. After our set he handed me all the cash he had in his pocked and apologized for not having more, I gave him some merch and we chatted for a good 15 minutes about how being an artist is a roller coaster and good things come and go, encouraging me to hang in there. He kept emphasizing how he just considered himself and everyone on the main stages lucky. All of those memories are enough motivation to last a lifetime and they're also reminders to pay it forward.

 NON: Touring as much as you have, there must have been some odd things that have happened. What has been the strangest thing to happen to you while you were on the road?

ML: Lots of strange tour stories for sure. The little ghost girl I caught on camera in the former German concentration camp was pretty crazy. (You can find it in the RosedaleMike Europe Tour Blogs via Tumblr if you don't believe!) It always freaks people out when I show them. And I remember everyone's reaction in the van right after I caught the footage. But the craziest thing that happened to me...there's been so many hard luck slaps in the face, as so many touring bands have also experienced, I'm sure. One time I had this great opportunity to be the opener/direct support for Everlast in Colorado Springs. I had just released self-titled, the tour was going well, and this Everlast show was sold out at Black Sheep (a great venue!) I had a day off so I got to town a day early to be extra prepared. While at the gym I received an email from the venue that Everlast had to postpone due to weather conditions. So now the show was cancelled and I offered to find local bands to fill the night for the venue so that I can still play for my small crowd. I went straight to a library for wi-fi and started plugging away on my laptop, emailing bands asking if they wanna do me a solid and play a last minute show at Black Sheep tomorrow night. I had two confirmed, told the venue, and they announced on the Facebook event page that there will still be a show but Everlast will be rescheduled, and they made me a host so I could update the event as I confirmed new acts. Some kids in Montana saw this and started saying that Rosedale cancelled the Everlast show! It turns out that they just randomly decided to troll me. They were even sending pictures of these little ridiculous hand written notes they made that read something like "I am cancelling the show - Rosedale". They were leaving random comments claiming that they were Everlast and bashing my fans as they tried to help clear the confusion. People were messaging me asking "Why'd you cancel the show?!" I had to explain to them and the venue what was really going on. The venue was in shock watching it all happen too and they said they have never seen anything like that, ever. I went to a local show that same night and convinced a couple of the bands to play Black Sheep tomorrow. All four locals were really awesome and the show ended up turning out to be pretty well attended. Even some people that had Everlast tickets came out and had a great time. The venue was really impressed that I pulled an event together so last minute and I was stoked to have built another great venue relationship. I got in my van and started to drive to my next show in Flagstaff, AZ. As I was climbing a rocky mountain pass, some slick snow started coming down. I was pulling my trailer and sliding pretty bad until eventually I couldn't move anymore and was stuck on the side of the road. As the sun was coming up an emergency truck pulled up and started laying sand down in front of my van so I followed him until my wheels started spinning again and one wheel gripped to the sand while the other spun and blew my transmission and rear differential. I didn't make it to Flagstaff or the next five shows. $4600 repair bill. And the next show back in Encinitas was an afternoon show at a biker bar where I was told after my first set (of three) to pack up and only received one sixth of my guarantee as my fans started showing up for the second set. There ended up being some good intertwined in all of all of that but it was just such a frustrating and confusing week. Sometimes I swear I'm in a movie like The Truman Show. 

 NON: You draw a lot of inspiration from The Used; Blink-182 and Angels and Airwaves: Who else has inspired you along the way?

ML: I definitely have a lot of heroes. Death Cab For Cutie and The Postal Service, The Ataris, The Starting Line, Metro Station, Dashboard Confessional, Boys Like Girls, The Matches, Underoath, The Almost, Motion City Soundtrack, Red Hot Chili Peppers, All Time Low, The Band Camino, Owl City, Radiohead, John Mayer, Coldplay, Paramore, Yellowcard, Moneen, Boxcar Racer...That's probably 10% of them. I've been to a lot of great concerts and being six foot nine gives me a good view and very memorable experiences. 

 NON: Do you see yourself continuing making music or helping others in music in the future?

ML :Both!

 NON: What song that you've written do you connect with the most?

ML: That's always changing to be honest. Depending on where I'm at, what I'm doing/going through. It's usually the most recent song or idea I've written which doesn't get released for sometimes a year or two after. Of the songs I've release, that would be Sustain. That is the most recent Rosedale song I've written. I wrote it right before we started tracking Self Titled and Again and its kind of about being in both shoes of that Warped Tour situation I just mentioned. People sometimes ask if I'm referring to myself as the Star or the Kid in that song and the answer is both! I'm still that star struck kid who can't wait to ask my favorite artists a thousand questions but I also get a lot of questions from fans who are trying to start their own thing or make their passion their career.

SHOUT OUTS

Mainsail, Palapalooza Podcast, Time & Distance, I Set My Friends on Fire, Alex Baker, Plans, The Home Team, OCML, FXav, Adam Sisco, my parents and family, everyone at Gnarlywood, Abby Lyn Records, Jonny Cooper, my old band mates and everyone who's ever come on tour with me- Thank you all. And all the bands, artists, venues, studios, street performers, restaurants that are trying to make it through this lock down. Hopefully all this is over soon and there is a light at the end of the tunnel. Believe things will get better eventually and use this alone time to improve yourself. Keep supporting live music even if you're stuck at home. And if you need help reach out and ask. Let's all stay safe and help one another

 LINKS

Facebook

YouTube

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Spotify

[enchantingkittengaditor]

Deep Water | 00.0 Teaser: Magazine Profile

July 2020:

WATCH OUT WORLD THE OLYMPIANS ARE COMING FOR YOU

Today I got the amazing privilege to interview some of the worlds up and coming super-stars: The cast of the Disney+ series ‘Percy Jackson and The Olympians’

First I sat down with Caitlyn Watson, yes as in that Watson, the middle child of 5 kids is the younger sister of both Alice Watson, the super-star songstress, and Beatrice Watson, the oscar-nominated actress and future Black Widow.

She herself was very polite and shy, while she greeted me like an old friend in her favourite little coffee shop in Oxford, I could see that she was extremely nervous and didn’t entirely want to be there with me. When I brought this up she simply laughed and told me: “I was raised to always be polite to others and hide your emotion but lately that’s just become a lot harder with these interviews and my GP telling me she thinks I can stop my anxiety meds. So, I’m very sorry if it’s at all awkward, I’m just a very anxious person with a complicated past of hurting and tough emotions.”

But once we talked a little more she started to open up about herself and the madness that apparently rules the Watson house, even telling me that one day I should do a profile on her and her sisters and see where they grew up for the last few years. According to her, her castmates are some of the sweetest people I will ever meet except for Harrison who is quote “A total and complete twat with anger issues who is trying to clean up his act,” apparently with the help of her co-star Robert Downey Jr.

She was very humble and told me about her roots, having originally been born in the New Zealand city of Invercargill, she spent her first few years on her father’s family’s ‘Highland Station’ which at that point mainly functioned as a christmas tree farm and an animal sanctuary, though know it’s a natural park protected by the New Zealand government since her mother inherited the land, presumably when her father died though she didn’t really mention him much.

She then apparently moved to the outback when she was 3 for 6 months due to her father’s inability to keep a job in New Zealand. That was before moving to Cambridge for 3 months with her mother and sisters while her sister Dorathy was born, they then moved again to the Caribbean where she spent the rest of her childhood until high school while her older sisters moved to school with her cousins in the UK. Apparently, around 2011 - 2012 there was an incident involving her father but she didn’t mention him beyond this point.

After spending years in the Caribbean her mother relocated her family to Oxford, near her sister and her family, as 3 out of 5 of her kids were at high school, this is the point that Caitlyn met most of her current friends and co-stars.

The only reason I included any of this is that it is the most in-depth look into the Watson girls’ childhood.

When I asked her about the idea of being famous she said that it was never her dream, she actually used the very British phrase ‘cup of tea’, and that she was proud that her sisters had achieved their dreams but never imagined that she would join them in the crazy world of fame, instead she said she would have preferred to stay in the background cheering them on and becoming a lawyer or architect that becoming famous herself.

Overall my time with her led me to believe one quote I got from her co-star Jasmin was very true about her:

“Life. Life is cruel and unforgiving but not as unforgiving as the wrath of a teenage girl. Especially when said teenage girl has the fury of a thousand fires hidden beneath layers and layers of walls built up of years in the fray of the spotlight.

“That’s what Caitlyn Watson’s heart is like. It’s been like that since she was 11. Since her eldest sisters became famous, one as an actress and one as a singer. But no matter how famous they became she was always comforted by the fact they still had to share a room with her when they were at home.

“But Caitlyn will never let anyone know that unless they were one of her friends or her older sisters.”

Unlike Caitlyn, Jasmin happily lets people know what’s on her mind, often going on rants on twitter about something on her mind whether or not others care about the matter, though often several tweets long she often gets straight to the point.

My meet up with her was very different, instead of meeting in a hidden gem of a café we met and a roller rink where she still works. When I asked her about skating she stated, “It’s not my thing at all but my brother loves it and it paid well so it meant I could save for Uni and still go to school and get all of my homework done on time.” 

She also seemed very polite but instead of shy she came across as confident as Sharpey Evans from ‘High School Musical’ but a thousand times as nice.

From my day with Jasmin, I learnt a lot about how someone can be into both death and life in the form of flowers. She showed me around all of her favourite places in Oxford including a cemetery where she says she often comes to contemplate life and the quality of doing her homework.

I also got to see her go on one of her useless rants, this time about why we should all just give up and become moss after she found a headstone in the cemetery with her name on it. Though I reassured her it couldn’t have been her’s as the date was over 200 years ago.

Overall That day I learnt that she is overdramatic to the extreme but in the best possible way and will instantly welcome you into her family with open arms. But she is also like any other teenager as she is addicted to her phone and social media, though she does spend a lot of time on her phone trying to help people or keeping in touch with her fans. I even learnt that she has a rule: if any fan DMs her she has to reply within 72 hours or she has to sit with Harrison in every class they share for a week. But when I tried to ask her about this she just said “You’ll see. The whole world will see.”

So on that note, I will stop talking about her and start talking about her co-star Brenten, who voices Grover Underwood.

Now, I was warned that I might lose my hearing by both Caitlyn and Jasmin if I met up with him during his band practice so instead, I met up with him at his father’s music store where he excitedly showed me all of his favourite records, most of which were released well before he was born.

He was also asked, by his father, to show me some of the instruments he could play and give a demo of them, which is where I see why Caitlyn and Jasmin gave me the advice they did. Though I can see why people have been giving his rave reviews online for his music because he is a truly talented musician.

My day with him went as well as the other two but to me, it wasn’t as interesting as he himself wasn’t as interesting conversationalist. Though the one interesting fact I did learn from him was that he is the only cast member actually from American. But like everyone else didn’t grow up in America instead of spending most of his childhood in the Caribbean before moving to Oxford in summer 2019.

The final person I talked to was Harrison, who voices Percy himself. I was warned that he could be a bit temperamental so I went in prepared. Though he was very polite, I could see where they were coming from. He seemed to have some sort of underlying anger issue.

When I asked him about his co-stars he had some very interesting things to say. For example when I asked him about Brenten he stated:

“Brenten’s a great guy, he’s really focused on his music and I admire his passion and continued dedication to music. He’s really passionate and he’s really fun to hang out with. We do hang out outside of all of this we often try to comprehend our homework together, which just ends up with us playing one on one basketball or footy.

“But most of the time the girls are there so we get told off by Caitlyn for not focusing on our work which just makes us continue to goof off until she gives up.”

As for Jasmin, he said:

“Jasmin is just one of the guys she tried to join the guy rugby team at school and is thus far the only girl to be able to join a rugby team in the A-class in the whole league that the school is in. She hangs out with us whenever she can’t hang out with Caitlyn and the others. She’s also been helping me by giving me advice on how to handle my emotions and how to react to other people. She’s also helped me get in touch with people who can help me control my anger and get it out on the field instead of on others.

“She’s really is amazing she helps everyone she can and wants nothing more than to improve the world from where she found it. She is also very scary so don’t mess with her or you’d be completely insane. She can flip a switch from being the sweetest most innocent person alive to being a ripper out of the vampire diaries in less than a second if you mess with her friends or family. It’s honestly terrifying.”

Though when I asked him about Caitlyn he wouldn’t shut up, he truly seemed like a love-struck teenage boy, which I guess he could be. Some of the highlights include:

“She’s one of my best friends and she sees through my bullshit and calls me out on it, I don’t know what I would do without her,” he said slightly blushing at the mention of her, “She’s about 98% of my impulse control and without her I think I would have punched everyone in the city by now.”

“She’s my best friend. I don’t really believe in soulmates, but if I did and they did exist, I believe she would be mine. Maybe not romantically but platonically.”

“I would love to date one of my best friends I think that the bases of any good relationship.”

“She’s such a sweetheart, she may think that she’s a badass but really she’s a kitten in a human suit. I mean she also has a bunch of cats so that’s probably where that influence came from.”

“The weirdest experience on set was when Rick, Brie and Tessa decided that there was going to be an end credit scene in the final episode of the final season of the underwater kiss scene thing. So me and Caitlyn agreed and when we had to film it in front of the green screen I remember she was completely terrified, so I took her to the side while everyone was getting everything ready and I asked her why she was nervous. I remember she said ‘I’ve never kissed anyone before, and I don’t really want my first kiss to be on camera.’ So I decided in less than probably a second I was going to kiss her just so her first kiss wasn’t going to be on camera and I remember afterwards her sisters threw popcorn at us and laughed because they thought we were being complete idiots. It was a lot of fun to shoot that day.”

But enough about the possibly budding romance forming between theses two star crossed teenagers. It’s my personal belief that these four amazing teenagers are going to change the world whether or not that’s for the best they’re coming. So watch out world! The kids of ‘Percy Jackson and The Olympians’ are coming to get you.

Photo Sets From The Shoot:

Brenten (Caleb McLaughlin):

Jasmin (Amandla Stenberg):

Harrison (Jake T. Austin):

Caitlyn (Olivia Holt):

The Watson Sisters (Alice - Taylor Swift, Beatrice - Florence Pugh, Dorathy - Sophie Nelisse, Ellie - McKenna Grace):

The Entourage of Friends & Cousins (Kenzie - Kira Kosiran, Lola - Kelli Berglund, Arya - Selena Gomez, Sansa - Amber Heard, Melisandre - Danielle Campbell):

September 2020:

The Watson Sisters Have Landed Themselves In Deep Water!

Once again the pop princess Alice Watson has landed in deep water but this time she’s dragged her younger sisters Beatrice and Caitlyn into as well.

This morning it was announced that their father, long to be thought dead, Jason Franks would be put up for re-trail on the charges that landed him in jail.

In late 2012 he was tried and found guilty of murder, rape and parental abuse by English courts and sentenced to life imprisonment. While we don’t know many details as of yet we do know that all three of the eldest Watson sisters will have to testify in court as they apparently did before, though this time the trail is going to be public meaning they are going to be allowing press into the court.

While it is not known whether or not the girls have spoken to their father since he landed in jail, it was commonly thought that he was dead. Which is why these three have landed themselves in deep water, as they have been leading the media on for years playing along as though their father was dead.

It is as of now unknown when exactly this trial will take place but it is known that Alice has delayed the production of her next album, much to the disappointment of her fans, to allow for the trail in her hectic schedule. It is also rumoured that the production of Caitlyn’s new mysterious Marvel show will be delayed as will the production of Beatrice’s new movie.

While I will repeat that most facts are as of now unknown some of the things we do know are as follows:

The Watson Sisters will be testifying in court (as of now it is unknown whether or not it is against or for their father)

Their father will remain in prison until the trial

Their father has a record of criminal offences such as selling drugs in nightclubs when he was in the airforce stationed in Canada.

The court date is set around March 2021

For now, that is all we know but until the date is set and the record is cleared it’s likely that these three girls will remain in hot water.

September 2020 - March 2021 A News Title Timeline From Their World.

The Watson Sisters Announce a Book That Is Said To Set The Record Straight

Caitlyn Watson, ‘I never told anyone anything to do with my father except that there was an incident.’

Alice Watson, ‘I don’t want to comment on whether or not he abused me.’

Beatrice Watson, ‘Go the fuck away, leave us alone, we just want to buy school clothes and deal with this in peace.’

Beatrice Watson Swore At Journalist In Front Of 8-Year-Old Sister

Alice Watson’s Instagram Has Lost Over 20 Million Followers

Caitlyn Watson Said To Possibly Be Fired From Disney

The Rock, Obama, Robert Downey Jr. And More Come To The Watson Sisters’ Side.

Celebrities And Fans A Like Applaud The Watson Sisters’ Bravery To Come Foreward In New Book

‘Their Book Shows People It’s OK To Come Forward If This Happens To You,’ Says Brie Larson

‘What Life’s Like’ By The Watson Sisters Is A Must Read For Everyone

‘What Life’s Like,’ Is Now The New York Times Bestselling Book Of The Month

‘What Life’s Like’ Has Soldout Says Publishing House.

‘The Real Victim Here Is Us, The People,’ Claims Fox News

Thousands Of Fans Show Their Support Of The Watsons By Stopping Media From Getting Into Court House

The Heart-Breaking Testamony Of Caitlyn Watson On Her 17th Birthday

The Watson Sisters’ Father Has Been Sentenced To 3 Lifetime Sentences In Prison

‘We’re So Proud Of Each Other For Getting Through That’ Says Beatrice Watson

‘I’m Now Just Going To Go Back To Mum’s Have a Cup Of Tea And Hug My Cats,’ Says Alice Watson As She Leaves The Courthouse With Her Sisters

‘I’m Happy It’s All Over Now And My Girls Don’t Have To Worry Anymore,’ - Laura Watson

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[blackkudos]

James Brown

James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, dancer, musician, record producer and bandleader. A progenitor of funk music and a major figure of 20th century music and dance, he is often referred to as the "Godfather of Soul" and "Soul Brother No. 1". In a career that lasted over 50 years, he influenced the development of several music genres.

Brown began his career as a gospel singer in Toccoa, Georgia. He joined a rhythm and blues vocal group, the Gospel Starlighters (which later evolved into the Famous Flames) founded by Bobby Byrd, in which he was the lead singer. First coming to national public attention in the late 1950s as a member of the singing group The Famous Flames with the hit ballads "Please, Please, Please" and "Try Me", Brown built a reputation as a tireless live performer with the Famous Flames and his backing band, sometimes known as the James Brown Band or the James Brown Orchestra. His success peaked in the 1960s with the live album Live at the Apollo and hit singles such as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World".

During the late 1960s, Brown moved from a continuum of blues and gospel-based forms and styles to a profoundly "Africanized" approach to music-making that influenced the development of funk music. By the early 1970s, Brown had fully established the funk sound after the formation of the J.B.s with records such as "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". He also became noted for songs of social commentary, including the 1968 hit "Say It Loud – I'm Black and I'm Proud". Brown continued to perform and record until his death from pneumonia in 2006.

Brown recorded 17 singles that reached No. 1 on the Billboard R&B charts. He also holds the record for the most singles listed on the Billboard Hot 100 chart which did not reach No. 1. Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame in 2013 as an artist and then in 2017 as a songwriter. He also received honors from many other institutions, including inductions into the Rock and Roll Hall of Fame and Songwriters Hall of Fame. In Joel Whitburn's analysis of the Billboard R&B charts from 1942 to 2010, Brown is ranked No. 1 in The Top 500 Artists. He is ranked No. 7 on Rolling Stone's list of its 100 Greatest Artists of All Time. Rolling Stone has also cited Brown as the most sampled artist of all time.

Early life

Brown was born on May 3, 1933, in Barnwell, South Carolina, to 16-year-old Susie (née Behling; 1917–2003), and 22-year-old Joseph Gardner Brown (1911–1993), in a small wooden shack. Brown's name was supposed to have been Joseph James Brown Jr., but his first and middle names were mistakenly reversed on his birth certificate. He later legally changed his name to remove "Jr." In his autobiography, Brown stated that he also had Chinese and Native American ancestry, and that his father was of mixed African-American and Native American descent, whilst his mother was of mixed African-American and Asian descent. The Brown family lived in extreme poverty in Elko, South Carolina, which was an impoverished town at the time. They later moved to Augusta, Georgia, when James was four or five. His family first settled at one of his aunts' brothels. They later moved into a house shared with another aunt. Brown's mother eventually left the family after a contentious and abusive marriage and moved to New York. Brown spent long stretches of time on his own, hanging out in the streets and hustling to get by. He managed to stay in school until the sixth grade.

He began singing in talent shows as a young child, first appearing at Augusta's Lenox Theater in 1944, winning the show after singing the ballad "So Long". While in Augusta, Brown performed buck dances for change to entertain troops from Camp Gordon at the start of World War II as their convoys traveled over a canal bridge near his aunt's home. He learned to play the piano, guitar, and harmonica during this period. He became inspired to become an entertainer after hearing "Caldonia" by Louis Jordan and his Tympany Five. In his teen years, Brown briefly had a career as a boxer. At the age of 16, he was convicted of robbery and sent to a juvenile detention center in Toccoa. There, he formed a gospel quartet with four fellow cellmates, including Johnny Terry. Brown met singer Bobby Byrd when the two played against each other in a baseball game outside the detention center. Byrd also discovered that Brown could sing, after hearing of "a guy called Music Box", which was Brown's musical nickname at the prison. Byrd has since claimed he and his family helped to secure an early release, which led to Brown promising the court he would "sing for the Lord". Brown was released on a work sponsorship with Toccoa business owner S.C. Lawson. Lawson was impressed with Brown's work ethic and secured his release with a promise to keep him employed for two years. Brown was paroled on June 14, 1952. He would go on to work with both of Lawson's sons, and would come back to visit the family from time to time throughout his career. Shortly after being paroled he joined the gospel group the Ever-Ready Gospel Singers, featuring Byrd's sister Sarah.

Music career

1953–1961: The Famous Flames

Brown eventually joined Byrd's group in 1954. The group had evolved from the Gospel Starlighters, an a cappella gospel group, to an R&B group with the name the Avons. He reputedly joined the band after one of its members, Troy Collins, died in a car crash. Along with Brown and Byrd, the group consisted of Sylvester Keels, Doyle Oglesby, Fred Pulliam, Nash Knox and Nafloyd Scott. Influenced by R&B groups such as Hank Ballard and the Midnighters, the Orioles and Billy Ward and His Dominoes, the group changed its name, first to the Toccoa Band and then to the Flames. Nafloyd's brother Baroy later joined the group on bass guitar, and Brown, Byrd and Keels switched lead positions and instruments, often playing drums and piano. Johnny Terry later joined, by which time Pulliam and Oglesby had long left.

Berry Trimier became the group's first manager, booking them at parties near college campuses in Georgia and South Carolina. The group had already gained a reputation as a good live act when they renamed themselves the Famous Flames. In 1955, the group had contacted Little Richard while performing in Macon. Richard convinced the group to get in contact with his manager at the time, Clint Brantley, at his nightclub. Brantley agreed to manage them after seeing the group audition. He then sent them to a local radio station to record a demo session, where they performed their own composition "Please, Please, Please", which was inspired when Little Richard wrote the words of the title on a napkin and Brown was determined to make a song out of it. The Famous Flames eventually signed with King Records' Federal subsidiary in Cincinnati, Ohio, and issued a re-recorded version of "Please, Please, Please" in March 1956. The song became the group's first R&B hit, selling over a million copies. None of their follow-ups gained similar success. By 1957, Brown had replaced Clint Brantley as manager and hired Ben Bart, chief of Universal Attractions Agency. That year the original Flames broke up, after Bart changed the name of the group to "James Brown and The Famous Flames".

In October 1958, Brown released the ballad "Try Me", which hit number one on the R&B chart in the beginning of 1959, becoming the first of seventeen chart-topping R&B hits. Shortly afterwards, he recruited his first band, led by J. C. Davis, and reunited with Bobby Byrd who joined a revived Famous Flames lineup that included Eugene "Baby" Lloyd Stallworth and Bobby Bennett, with Johnny Terry sometimes coming in as the "fifth Flame". Brown, the Flames, and his entire band debuted at the Apollo Theater on April 24, 1959, opening for Brown's idol, Little Willie John. Federal Records issued two albums credited to Brown and the Famous Flames (both contained previously released singles). By 1960, Brown began multi-tasking in the recording studio involving himself, his singing group, the Famous Flames, and his band, a separate entity from The Flames, sometimes named the James Brown Orchestra or the James Brown Band. That year the band released the top ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, billed under the pseudonym "Nat Kendrick & the Swans" due to label issues. As a result of its success, King president Syd Nathan shifted Brown's contract from Federal to the parent label, King, which according to Brown in his autobiography meant "you got more support from the company". While with King, Brown, under the Famous Flames lineup, released the hit-filled album Think! and the following year released two albums with the James Brown Band earning second billing. With the Famous Flames, Brown sang lead on several more hits, including "I'll Go Crazy" and "Think", songs that hinted at his emerging style.

1962–1966: Mr. Dynamite

In 1962, Brown and his band scored a hit with their cover of the instrumental "Night Train", becoming a top five R&B single. That same year, the ballads "Lost Someone" and "Baby You're Right", the latter a Joe Tex composition, added to his repertoire and increased his reputation with R&B audiences. On October 24, 1962, Brown financed a live recording of a performance at the Apollo and convinced Syd Nathan to release the album, despite Nathan's belief that no one would buy a live album due to the fact that Brown's singles had already been bought and that live albums were usually bad sellers.

Live at the Apollo was released the following June and became an immediate hit, eventually reaching number two on the Top LPs chart and selling over a million copies, staying on the charts for 14 months. In 1963, Brown scored his first top 20 pop hit with his rendition of the standard "Prisoner of Love". He also launched his first label, Try Me Records, which included recordings by the likes of Tammy Montgomery (later to be famous as Tammi Terrell), Johnny & Bill (Famous Flames associates Johnny Terry and Bill Hollings) and the Poets, which was another name used for Brown's backing band. During this time Brown began an ill-fated two-year relationship with 17-year-old Tammi Terrell when she sang in his revue. Terrell ended their personal and professional relationship because of his abusive behavior.

In 1964, seeking bigger commercial success, Brown and Bobby Byrd formed the production company, Fair Deal, linking the operation to the Mercury imprint, Smash Records. King Records, however, fought against this and was granted an injunction preventing Brown from releasing any recordings for the label. Prior to the injunction, Brown had released three vocal singles, including the blues-oriented hit "Out of Sight", which further indicated the direction his music was going to take. Touring throughout the year, Brown and the Famous Flames grabbed more national attention after giving an explosive show-stopping performance on the live concert film The T.A.M.I. Show. The Flames' dynamic gospel-tinged vocals, polished choreography and timing as well as Brown's energetic dance moves and high-octane singing upstaged the proposed closing act, the Rolling Stones. Having signed a new deal with King, Brown released his song "Papa's Got a Brand New Bag", which became his first top ten pop hit and won him his first Grammy Award. Later in 1965, he issued "I Got You", which became his second single in a row to reach number-one on the R&B chart and top ten on the pop chart. Brown followed that up with the ballad "It's a Man's Man's Man's World", a third Top 10 Pop hit (#1 R&B) which confirmed his stance as a top-ranking performer, especially with R&B audiences from that point on.

1967–1970: Soul Brother No. 1

By 1967, Brown's emerging sound had begun to be defined as funk music. That year he released what some critics cited as the first true funk song, "Cold Sweat", which hit number-one on the R&B chart (Top 10 Pop) and became one of his first recordings to contain a drum break and also the first that featured a harmony that was reduced to a single chord. The instrumental arrangements on tracks such as "Give It Up Or Turnit A Loose" and "Licking Stick-Licking Stick" (both recorded in 1968) and "Funky Drummer" (recorded in 1969) featured a more developed version of Brown's mid-1960s style, with the horn section, guitars, bass and drums meshed together in intricate rhythmic patterns based on multiple interlocking riffs.

Changes in Brown's style that started with "Cold Sweat" also established the musical foundation for Brown's later hits, such as "I Got the Feelin'" (1968) and "Mother Popcorn" (1969). By this time Brown's vocals frequently took the form of a kind of rhythmic declamation, not quite sung but not quite spoken, that only intermittently featured traces of pitch or melody. This would become a major influence on the techniques of rapping, which would come to maturity along with hip hop music in the coming decades. Brown's style of funk in the late 1960s was based on interlocking syncopated parts: strutting bass lines, syncopated drum patterns, and iconic percussive guitar riffs. The main guitar ostinatos for "Ain't It Funky" and "Give It Up or Turn It Loose" (both 1969), are examples of Brown's refinement of New Orleans funk; irresistibly danceable riffs, stripped down to their rhythmic essence. On both recordings the tonal structure is bare bones. The pattern of attack-points is the emphasis, not the pattern of pitches, as if the guitar were an African drum, or idiophone. Alexander Stewart states that this popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s". Those same tracks were later resurrected by countless hip-hop musicians from the 1970s onward. As a result, James Brown remains to this day the world's most sampled recording artist, but, two tracks that he wrote, are also synonymous with modern dance, especially with house music, jungle music, and drum and bass music, (which were sped up exponentially, in the latter two genres). These songs are, "Funky Drummer", and "Think (About It)", that he wrote for Lynn Collins, and, features his signature, "Whoo - Yeah", which were sampled, on a multitude of late 1980s - early 1990s house music tracks.

"Bring it Up" has an Afro-Cuban guajeo-like structure. All three of these guitar riffs are based on an onbeat/offbeat structure. Stewart says that it "is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."

It was around this time as the musician's popularity increased that he acquired the nickname "Soul Brother No. 1", after failing to win the title "King of Soul" from Solomon Burke during a Chicago gig two years prior. Brown's recordings during this period influenced musicians across the industry, most notably groups such as Sly and the Family Stone, Funkadelic, Charles Wright & the Watts 103rd Street Rhythm Band, Booker T. & the M.G.s as well as vocalists such as Edwin Starr, David Ruffin and Dennis Edwards from The Temptations, and Michael Jackson, who, throughout his career, cited Brown as his ultimate idol.

Brown's band during this period employed musicians and arrangers who had come up through the jazz tradition. He was noted for his ability as a bandleader and songwriter to blend the simplicity and drive of R&B with the rhythmic complexity and precision of jazz. Trumpeter Lewis Hamlin and saxophonist/keyboardist Alfred "Pee Wee" Ellis (the successor to previous bandleader Nat Jones) led the band. Guitarist Jimmy Nolen provided percussive, deceptively simple riffs for each song, and Maceo Parker's prominent saxophone solos provided a focal point for many performances. Other members of Brown's band included stalwart Famous Flames singer and sideman Bobby Byrd, trombonist Fred Wesley, drummers John "Jabo" Starks, Clyde Stubblefield and Melvin Parker, saxophonist St. Clair Pinckney, guitarist Alphonso "Country" Kellum and bassist Bernard Odum.

In addition to a torrent of singles and studio albums, Brown's output during this period included two more successful live albums, Live at the Garden (1967) and Live at the Apollo, Volume II (1968), and a 1968 television special, James Brown: Man to Man. His music empire expanded along with his influence on the music scene. As Brown's music empire grew, his desire for financial and artistic independence grew as well. Brown bought radio stations during the late 1960s, including WRDW in his native Augusta, where he shined shoes as a boy. In November 1967, James Brown purchased radio station WGYW in Knoxville, Tennessee, for a reported $75,000, according to the January 20, 1968 Record World magazine. The call letters were changed to WJBE reflecting his initials. WJBE began on January 15, 1968, and broadcast a Rhythm & Blues format. The station slogan was "WJBE 1430 Raw Soul". Brown also bought WEBB in Baltimore in 1970.

Brown branched out to make several recordings with musicians outside his own band. In an attempt to appeal to the older, more affluent, and predominantly white adult contemporary audience, Brown recorded Gettin' Down To It (1969) and Soul on Top (1970)—two albums consisting mostly of romantic ballads, jazz standards, and homologous reinterpretations of his earlier hits—with the Dee Felice Trio and the Louie Bellson Orchestra. In 1968, he recorded a number of funk-oriented tracks with The Dapps, a white Cincinnati band, including the hit "I Can't Stand Myself". He also released three albums of Christmas music with his own band.

1970–1975: Godfather of Soul

In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to money disputes, a development augured by the prior disbandment of The Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd (who chose to remain in the band during this tumultuous period) subsequently recruited several members of the Cincinnati-based The Pacemakers, which included Bootsy Collins and his brother Phelps "Catfish" Collins; augmented by the remaining members of the 1960s road band (including Fred Wesley, who rejoined Brown's outfit in December 1970) and other newer musicians, they would form the nucleus of The J.B.'s, Brown's new backing ensemble. Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine"; the song and other contemporaneous singles would further cement Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins' use of LSD; the Collins brothers would soon become integral members of Parliament-Funkadelic, while a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.

In 1971, Brown began recording for Polydor Records which also took over distribution of Brown's King Records catalog. Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label, an imprint founded by Brown that was purchased by Polydor as part of Brown's new contract. The recordings on the People label, almost all of which were produced by Brown himself, exemplified his "house style". Several tracks thought by critics to be excessively sexual, were released at this time. He would later soften his vocal approach. Songs such as "I Know You Got Soul" by Bobby Byrd, "Think" by Lyn Collins and "Doing It to Death" by Fred Wesley & the J.B.'s are considered as much a part of Brown's recorded legacy as the recordings released under his own name. That year, he also began touring African countries and was received well by audiences there. During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern. The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience. As a result, Brown's record sales and concerts in the United States reached a lull in 1973 as he failed to land a number-one R&B single that year. Brown relied more on touring outside the United States where he continued to perform for sold-out crowds in cities such as London, Paris and Lausanne. That year he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million; five years earlier, the IRS had claimed he owed nearly $2 million.

In 1973, Brown provided the score for the blaxploitation film Black Caesar. He also recorded another soundtrack for the film, Slaughter's Big Rip-Off. Following the release of these soundtracks, Brown acquired a self-styled nickname, "The Godfather of Soul", which remains his most popular nickname. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts; he would reach No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess". Later that year, he returned to Africa and performed in Kinshasa as part of the buildup to The Rumble in the Jungle fight between Muhammad Ali and George Foreman. Admirers of Brown's music, including Miles Davis and other jazz musicians, began to cite him as a major influence on their own styles. However, Brown, like others who were influenced by his music, also "borrowed" from other musicians. His 1976 single, "Hot (I Need To Be Loved, Loved, Loved, Loved)" (R&B #31), interpolated the main riff from "Fame" by David Bowie while omitting any attribution to the latter song's composers (including Bowie, John Lennon and guitarist Carlos Alomar), not the other way around as was often believed. The riff was composed by Alomar, who had briefly been a member of Brown's band in the late 1960s.

"Papa Don't Take No Mess" would prove to be his final single to reach the No. 1 spot on the R&B charts and his final Top 40 pop single of the 1970s, though he continued to occasionally have Top 10 R&B recordings. Among his top ten R&B hits during this latter period included "Funky President" and "Get Up Offa That Thing", the latter song released in 1976 and aimed at musical rivals such as Barry White, The Ohio Players and K.C. and the Sunshine Band. Brown credited his then-wife and two of their children as writers of the song to avoid concurrent tax problems with the IRS. Starting in October 1975, Brown produced, directed, and hosted Future Shock, an Atlanta-based television variety show that ran for three years.

1975–1991: Decline and resurgence

Although his records were mainstays of the vanguard New York underground disco scene exemplified by DJs such as David Mancuso and Francis Grasso from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20. After 1976's "Bodyheat", he also failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, Brown's former bandmates, including Fred Wesley, Maceo Parker and the Collins brothers, had found bigger success as members of George Clinton's Parliament-Funkadelic collective. The emergence of disco also stopped Brown's success on the R&B charts because its slicker, more commercial style had superseded his more raw funk productions.

By the release of 1979's The Original Disco Man, Brown was not providing much production or writing, leaving most of it to producer Brad Shapiro, resulting in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals (or Soul G's). The band retained that name until his death. Despite the decline in his record sales Brown enjoyed something of a resurgence in this period, starting with appearances in the feature films The Blues Brothers, Doctor Detroit and Rocky IV, as well as guest-starring in the Miami Vice episode "Missing Hours" (1987). In 1984, he teamed with rap musician Afrika Bambaattaa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986. It included Brown's final Top 10 pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top 10 pop entry since 1968. Produced and written by Dan Hartman, it was also featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as "The Godfather of Soul". 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".

In 1988, Brown worked with the production team Full Force on the new jack swing-influenced album I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively, on the R&B charts. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose" (the recording included on the compilation album In the Jungle Groove) became so popular at hip hop dance parties (especially for breakdance) during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop".

1991–2006: Final years

After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992. He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor also released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison also prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians. That same year, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation; both listed Brown as their idol. Both musicians also sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times. Before the year was over, Brown–who had immediately returned to work with his band following his release–organized a pay-per-view concert following a show at Los Angeles' Wiltern Theatre, that was well received.

On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featuredM.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.

Brown continued making recordings. In 1993 his album Universal James was released. It included his final Billboard charting single, "Can't Get Any Harder", which peaked at No. 76 on the US R&B chart and reached No. 59 on the UK chart. Its brief charting in the UK was probably due to the success of a remixed version of "I Feel Good" featuring Dakeyne. Brown also released the singles "How Long" and "Georgia-Lina", which failed to chart. In 1995, Brown returned to the Apollo and recorded Live at the Apollo 1995. It included a studio track titled "Respect Me", which was released as a single; again it failed to chart. Brown's final studio albums, I'm Back and The Next Step, were released in 1998 and 2002 respectively. I'm Back featured the song "Funk on Ah Roll", which peaked at No. 40 in the UK but did not chart in his native US. The Next Step included Brown's final single, "Killing Is Out, School Is In". Both albums were produced by Derrick Monk. Brown's concert success, however, remained unabated and he kept up with a grueling schedule throughout the remainder of his life, living up to his previous nickname, "The Hardest Working Man in Show Business", in spite of his advanced age. In 2003, Brown participated in the PBS American Masters television documentary James Brown: Soul Survivor, which was directed by Jeremy Marre.

Brown celebrated his status as an icon by appearing in a variety of entertainment and sports events, including an appearance on the WCW pay-per-view event, SuperBrawl X, where he danced alongside wrestler Ernest "The Cat" Miller, who based his character on Brown, during his in-ring skit with The Maestro. Brown then appeared in Tony Scott's short film Beat the Devil in 2001. He was featured alongside Clive Owen, Gary Oldman, Danny Trejo and Marilyn Manson. Brown also made a cameo appearance in the 2002 Jackie Chan film The Tuxedo, in which Chan was required to finish Brown's act after having accidentally knocked out the singer. In 2002, Brown appeared in Undercover Brother, playing himself.

In 2004, Brown performed in Hyde Park, London as a support act for Red Hot Chili Peppers concerts. The beginning of 2005 saw the publication of Brown's second book, I Feel Good: A Memoir of a Life of Soul, written with Marc Eliot. In February and March, he participated in recording sessions for an intended studio album with Fred Wesley, Pee Wee Ellis, and other longtime collaborators. Though he lost interest in the album, which remains unreleased, a track from the sessions, "Gut Bucket", appeared on a compilation CD included with the August 2006 issue of MOJO. He appeared at Edinburgh 50,000 – The Final Push, the final Live 8 concert on July 6, 2005, where he performed a duet with British pop star Will Young on "Papa's Got A Brand New Bag". The previous week he had performed a duet with another British pop star, Joss Stone, on the United Kingdom chat show Friday Night with Jonathan Ross. In 2006, Brown continued his "Seven Decades of Funk World Tour", his last concert tour where he performed all over the world. His final U.S. performances were in San Francisco on August 20, 2006, as headliner at the Festival of the Golden Gate (Foggfest) on the Great Meadow at Fort Mason. The following day, August 21, he performed at Humboldt State University in Arcata, CA, at a small theatre (800 seats) on campus. His last shows were greeted with positive reviews, and one of his final concert appearances at the Irish Oxegen festival in Punchestown in 2006 was performed for a record crowd of 80,000 people. He played a full concert as part of the BBC's Electric Proms on October 27, 2006, at The Roundhouse, supported by The Zutons, with special appearances from Max Beasley and The Sugababes.

Brown's last televised appearance was at his induction into the UK Music Hall of Fame in November 2006, before his death the following month. Before his death, Brown had been scheduled to perform a duet with singer Annie Lennox on the song "Vengeance" for her new album Venus, which was released in 2007.

Later life and death

Illness

On December 23, 2006, Brown became very ill and arrived at his dentist's office in Atlanta, Georgia, several hours late. His appointment was for dental implant work. During that visit, Brown's dentist observed that he looked "very bad ... weak and dazed". Instead of performing the work, the dentist advised Brown to see a doctor right away about his medical condition.

Brown went to the Emory Crawford Long Memorial Hospital the next day for medical evaluation and was admitted for observation and treatment. According to Charles Bobbit, his longtime personal manager and friend, Brown had been struggling with a noisy cough since returning from a November trip to Europe. Yet, Bobbit said, the singer had a history of never complaining about being sick and often performed while ill. Although Brown had to cancel upcoming concerts in Waterbury, Connecticut, and Englewood, New Jersey, he was confident that the doctor would discharge him from the hospital in time for his scheduled New Year's Eve shows at the Count Basie Theatre in New Jersey and the B. B. King Blues Club in New York, in addition to performing a song live on CNN for the Anderson Cooper New Year's Eve special. Brown remained hospitalized, however, and his condition worsened throughout the day.

Death

On Christmas Day 2006, Brown died at approximately 1:45 a.m. EST (06:45 UTC), at age 73, from congestive heart failure, resulting from complications of pneumonia. Bobbit was at his bedside and later reported that Brown stuttered, "I'm going away tonight," then took three long, quiet breaths and fell asleep before dying.

In 2019, an investigation by CNN and other journalists led to suggestions that Brown had been murdered.

Memorial services

After Brown's death, his relatives, a host of celebrities, and thousands of fans gathered, on December 28, 2006, for a public memorial service at the Apollo Theater in New York City and, on December 30, 2006, at the James Brown Arena in Augusta, Georgia. A separate, private ceremony was held in North Augusta, South Carolina, on December 29, 2006, with Brown's family in attendance. Celebrities at these various memorial events included Michael Jackson, Jimmy Cliff, Joe Frazier, Buddy Guy, Ice Cube, Ludacris, Dr. Dre, Little Richard, Dick Gregory, MC Hammer, Prince, Jesse Jackson, Ice-T, Jerry Lee Lewis, Bootsy Collins, LL Cool J, Lil Wayne, Lenny Kravitz, 50 Cent, Stevie Wonder, and Don King. Rev. Al Sharpton officiated at all of Brown's public and private memorial services.

Brown's memorial ceremonies were all elaborate, complete with costume changes for the deceased and videos featuring him in concert. His body, placed in a Promethean casket—bronze polished to a golden shine—was driven through the streets of New York to the Apollo Theater in a white, glass-encased horse-drawn carriage. In Augusta, Georgia, his memorial procession stopped to pay respects at his statue, en route to the James Brown Arena. During the public memorial there, a video showed Brown's last performance in Augusta, Georgia, with the Ray Charles version of "Georgia on My Mind" playing soulfully in the background. His last backup band, The Soul Generals, also played some of his hits during that tribute at the arena. The group was joined by Bootsy Collins on bass, with MC Hammer performing a dance in James Brown style. Former Temptations lead singer Ali-Ollie Woodson performed "Walk Around Heaven All Day" at the memorial services.

Last will and testament

Brown signed his last will and testament on August 1, 2000, before J. Strom Thurmond Jr., an attorney for the estate. The irrevocable trust, separate and apart from Brown's will, was created on his behalf, that same year, by his attorney, Albert "Buddy" Dallas, one of three personal representatives of Brown's estate. His will covered the disposition of his personal assets, such as clothing, cars, and jewelry, while the irrevocable trust covered the disposition of the music rights, business assets of James Brown Enterprises, and his Beech Island estate in South Carolina.

During the reading of the will on January 11, 2007, Thurmond revealed that Brown's six adult living children (Terry Brown, Larry Brown, Daryl Brown, Yamma Brown Lumar, Deanna Brown Thomas and Venisha Brown) were named in the document, while Hynie and James II were not mentioned as heirs. Brown's will had been signed 10 months before James II was born and more than a year before Brown's marriage to Tomi Rae Hynie. Like Brown's will, his irrevocable trust omitted Hynie and James II as recipients of Brown's property. The irrevocable trust had also been established before, and not amended since, the birth of James II.

On January 24, 2007, Brown's children filed a lawsuit, petitioning the court to remove the personal representatives from the estate (including Brown's attorney, as well as trustee Albert "Buddy" Dallas) and appoint a special administrator because of perceived impropriety and alleged mismanagement of Brown's assets. On January 31, 2007, Hynie also filed a lawsuit against Brown's estate, challenging the validity of the will and the irrevocable trust. Hynie's suit asked the court both to recognize her as Brown's widow and to appoint a special administrator for the estate.

On January 27, 2015, Judge Doyet Early III ruled that Tommie Rae Hynie Brown was officially the widow of James Brown. The decision was based on the grounds that Hynie's previous marriage was invalid and that James Brown had abandoned his efforts to annul his own marriage to Hynie.

On February 19, 2015, the South Carolina Supreme Court intervened, halting all lower court actions in the estate and undertaking to review previous actions itself. The South Carolina Court of Appeals in July 2018 ruled that Tommie Rae was, in fact, Mr. Brown's wife.

Artistry and band

For many years, Brown's touring show was one of the most extravagant productions in American popular music. At the time of Brown's death, his band included three guitarists, two bass guitar players, two drummers, three horns and a percussionist. The bands that he maintained during the late 1960s and 1970s were of comparable size, and the bands also included a three-piece amplified string section that played during the ballads. Brown employed between 40 and 50 people for the James Brown Revue, and members of the revue traveled with him in a bus to cities and towns all over the country, performing upwards of 330 shows a year with almost all of the shows as one-nighters.

Concert introduction

Before James Brown appeared on stage, his personal MC gave him an elaborate introduction accompanied by drumrolls, as the MC worked in Brown's various sobriquets along with the names of many of his hit songs. The introduction by Fats Gonder, captured on Brown's 1963 album Live at the Apollo is a representative example:

So now ladies and gentlemen it is "Star Time". Are you ready for "Star Time?" Thank you and thank you very kindly. It is indeed a great pleasure to present to you at this particular time, national and international[ly] known as "The Hardest-Working Man in Show Business", the man that sings "I'll Go Crazy"..."Try Me"..."You've Got the Power"..."Think"..."If You Want Me"..."I Don't Mind"..."Bewildered"... the million dollar seller, "Lost Someone"... the very latest release, "Night Train"... let's everybody "Shout and Shimmy"... "Mr. Dynamite", the amazing "Mr. Please Please" himself, the star of the show, James Brown and The Famous Flames!!

Concert repertoire and format

James Brown's performances were famous for their intensity and length. His own stated goal was to "give people more than what they came for — make them tired, 'cause that's what they came for.'" Brown's concert repertoire consisted mostly of his own hits and recent songs, with a few R&B covers mixed in. Brown danced vigorously as he sang, working popular dance steps such as the Mashed Potato into his routine along with dramatic leaps, splits and slides. In addition, his horn players and singing group (The Famous Flames) typically performed choreographed dance routines, and later incarnations of the Revue included backup dancers. Male performers in the Revue were required to wear tuxedoes and cummerbunds long after more casual concert wear became the norm among the younger musical acts. Brown's own extravagant outfits and his elaborate processed hairdo completed the visual impression. A James Brown concert typically included a performance by a featured vocalist, such as Vicki Anderson or Marva Whitney, and an instrumental feature for the band, which sometimes served as the opening act for the show.

Cape routine

A trademark feature of Brown's stage shows, usually during the song "Please, Please, Please", involved Brown dropping to his knees while clutching the microphone stand in his hands, prompting the show's longtime MC, Danny Ray, to come out, drape a cape over Brown's shoulders and escort him off the stage after he had worked himself to exhaustion during his performance. As Brown was escorted off the stage by the MC, Brown's vocal group, the Famous Flames, (Bobby Byrd, Lloyd Stallworth, and Bobby Bennett ), continued singing the background vocals "Please, please don't go-oh". Brown would then shake off the cape and stagger back to the microphone to perform an encore. Brown's routine was inspired by a similar one used by the professional wrestler Gorgeous George, as well as Little Richard.

Brown performs a version of the cape routine over the closing credits of the film Blues Brothers 2000 and in the film of the T.A.M.I. Show (1964) in which he and The Famous Flames upstaged the Rolling Stones. The Police refer to "James Brown on the T.A.M.I. Show" in their 1980 song "When the World Is Running Down, You Make the Best of What's Still Around".

As band leader

Brown demanded extreme discipline, perfection and precision from his musicians and dancers – performers in his Revue showed up for rehearsals and members wore the right "uniform" or "costume" for concert performances. During an interview conducted by Terri Gross during the NPR segment "Fresh Air" with Maceo Parker, a former saxophonist in Brown's band for most of the 1960s and part of the 1970s and 1980s, Parker offered his experience with the discipline that Brown demanded of the band:

You gotta be on time. You gotta have your uniform. Your stuff's got to be intact. You gotta have the bow tie. You got to have it. You can't come up without the bow tie. You cannot come up without a cummerbund ... [The] patent leather shoes we were wearing at the time gotta be greased. You just gotta have this stuff. This is what [Brown expected] ... [Brown] bought the costumes. He bought the shoes. And if for some reason [the band member decided] to leave the group, [Brown told the person to] please leave my uniforms . ...

Brown also had a practice of directing, correcting and assessing fines on members of his band who broke his rules, such as wearing unshined shoes, dancing out of sync or showing up late on stage. During some of his concert performances, Brown danced in front of his band with his back to the audience as he slid across the floor, flashing hand signals and splaying his pulsating fingers to the beat of the music. Although audiences thought Brown's dance routine was part of his act, this practice was actually his way of pointing to the offending member of his troupe who played or sang the wrong note or committed some other infraction. Brown used his splayed fingers and hand signals to alert the offending person of the fine that person must pay to him for breaking his rules.

Brown's demands of his support acts were, meanwhile, quite the reverse. As Fred Wesley recalled of his time as musical director of the JBs, if Brown felt intimidated by a support act he would try to "undermine their performances by shortening their sets without notice, demanding that they not do certain showstopping songs, and even insisting on doing the unthinkable, playing drums on some of their songs. A sure set killer."

Social activism

Education advocacy and humanitarianism

Brown's main social activism was in preserving the need for education among youths, influenced by his own troubled childhood and his being forced to drop out of the seventh grade for wearing "insufficient clothes". Due to heavy dropout rates in the 1960s, Brown released the pro-education song, "Don't Be a Drop-Out". Royalties of the song were donated to dropout-prevention charity programs. The success of this led to Brown meeting with President Lyndon B. Johnson at the White House. Johnson cited Brown for being a positive role model to the youth. A lifelong Republican, Brown gained the confidence of President Richard Nixon, to whom he found he had to explain the plight of Black Americans.

Throughout the remainder of his life, Brown made public speeches in schools and continued to advocate the importance of education in school. Upon filing his will in 2002, Brown advised that most of the money in his estate go into creating the I Feel Good, Inc. Trust to benefit disadvantaged children and provide scholarships for his grandchildren. His final single, "Killing Is Out, School Is In", advocated against murders of young children in the streets. Brown often gave out money and other items to children while traveling to his childhood hometown of Augusta. A week before his death, while looking gravely ill, Brown gave out toys and turkeys to kids at an Atlanta orphanage, something he had done several times over the years.

Civil rights and self-reliance

Though Brown performed at benefit rallies for civil rights organizations in the mid-1960s, Brown often shied away from discussing civil rights in his songs in fear of alienating his crossover audience. In 1968, in response to a growing urge of anti-war advocacy during the Vietnam War, Brown recorded the song, "America Is My Home". In the song, Brown performed a rap, advocating patriotism and exhorting listeners to "stop pitying yoursel[ves] and get up and fight". At the time of the song's release, Brown had been participating in performing for troops stationed in Vietnam.

The Boston Garden concert

On April 5, 1968, a day after the assassination of Martin Luther King, Jr. in Memphis, Tennessee, Brown provided a free citywide televised concert at the Boston Garden to maintain public order and calm concerned Boston relatives (over the objections of the police chief, who wanted to call off the concert, which he thought would incite violence). The show was later released on DVD as Live at the Boston Garden: April 5, 1968. According to the documentary, The Night James Brown Saved Boston, then-mayor Kevin White had strongly restrained the Boston police from cracking down on minor violence and protests after the assassination, while religious and community leaders worked to keep tempers from flaring. White arranged to have Brown's performance broadcast multiple times on Boston's public television station, WGBH, thus keeping potential rioters off the streets, watching the concert for free. Angered by not being told of this, Brown demanded $60,000 for "gate" fees (money he thought would be lost from ticket sales on account of the concert being broadcast for free) and then threatened to go public about the secret arrangement when the city balked at paying up afterwards, news of which would have been a political death blow to White and spark riots of its own. White eventually lobbied the behind-the-scenes power-brokering group known as "The Vault" to come up with money for Brown's gate fee and other social programs, contributing $100,000. Brown received $15,000 from them via the city. White also persuaded management at the Garden to give up their share of receipts to make up the differences. Following this successful performance, Brown was cautioned by President Johnson to visit cities ravaged from riots following King's assassination to not resort to violence, telling them to "cool it, there's another way".

Responding to pressure from black activists, including H. Rap Brown, to take a bigger stance on their issues and from footage of black on black crime committed in inner cities, Brown wrote the lyrics to the song "Say It Loud – I'm Black and I'm Proud", which his bandleader Alfred "Pee Wee" Ellis accompanied with a musical composition. Released late that summer, the song's lyrics helped to make it an anthem for the civil rights movement. Brown only performed the song sporadically following its initial release and later stated he had regrets recording it, saying in 1984, "Now 'Say It Loud – I'm Black and I'm Proud' has done more for the black race than any other record, but if I had my choice, I wouldn't have done it, because I don't like defining anyone by race. To teach race is to teach separatism." In his autobiography he stated:

The song is obsolete now ... But it was necessary to teach pride then, and I think the song did a lot of good for a lot of people ... People called "Black and Proud" militant and angry – maybe because of the line about dying on your feet instead of living on your knees. But really, if you listen to it, it sounds like a children's song. That's why I had children in it, so children who heard it could grow up feeling pride ... The song cost me a lot of my crossover audience. The racial makeup at my concerts was mostly black after that. I don't regret it, though, even if it was misunderstood.

In 1969, Brown recorded two more songs of social commentary, "World" and "I Don't Want Nobody to Give Me Nothing", the latter song pleading for equal opportunity and self-reliance rather than entitlement. In 1970, in response to some black leaders for not being outspoken enough, he recorded "Get Up, Get into It, Get Involved" and "Talkin' Loud and Sayin' Nothing". In 1971, he began touring Africa, including Zambia and Nigeria. He was made "freeman of the city" in Lagos, Nigeria, by Oba Adeyinka Oyekan, for his "influence on black people all over the world". With his company, James Brown Enterprises, Brown helped to provide jobs for blacks in business in the communities. As the 1970s continued, Brown continued to record songs of social commentary, most prominently 1972's "King Heroin" and the two-part ballad "Public Enemy", which dealt with drug addiction.

Political views

During the 1968 presidential campaign, Brown endorsed Democratic presidential candidate Hubert Humphrey and appeared with Humphrey at political rallies. Brown began supporting Republican president Richard Nixon after being invited to perform at Nixon's inaugural ball in January 1969. Brown's endorsement of Nixon during the 1972 presidential election negatively impacted his career during that period with several national Black organizations boycotting his records and protesting at his concert shows. Brown stated he was neither Democratic nor Republican despite his support of Republican presidents such as Nixon and Ronald Reagan. In 1999, when being interviewed by Rolling Stone, the magazine asked him to name a hero in the 20th century; Brown mentioned John F. Kennedy and then-96-year-old U.S. Senator, and former Dixiecrat, Strom Thurmond, stating "when the young whippersnappers get out of line, whether Democratic or Republican, an old man can walk up and say 'Wait a minute, son, it goes this way.' And that's great for our country. He's like a grandfather to me." In 2003, Brown was the featured attraction of a Washington D.C. fundraiser for the National Republican Senatorial Committee. Following the deaths of Ronald Reagan and his friend Ray Charles, Brown said to CNN, "I'm kind of in an uproar. I love the country and I got – you know I've been around a long time, through many presidents and everything. So after losing Mr. Reagan, who I knew very well, then Mr. Ray Charles, who I worked with and lived with like, all our life, we had a show together in Oakland many, many years ago and it's like you found the placard."

Personal life

At the end of his life, James Brown lived in Beech Island, South Carolina, directly across the Savannah River from Augusta, Georgia. Brown had diabetes that went undiagnosed for years, according to his longtime manager Charles Bobbit. In 2004, Brown was successfully treated for prostate cancer. Regardless of his health, Brown maintained his reputation as the "hardest working man in show business" by keeping up with his grueling performance schedule.

In 1962, Tammi Terrell joined the James Brown Revue. Even though she was only 17, Brown became sexually involved with Terrell in a relationship that continued until she escaped his abuse. Bobby Bennett, former member of the Famous Flames told Rolling Stone about the abuse he witnessed, "He beat Tammi Terrell terrible," said Bennett. "She was bleeding, shedding blood." Terrell, who died in 1970, was Brown's girlfriend before she became famous as Marvin Gaye's singing partner in the mid-Sixties. "Tammi left him because she didn't want her butt whipped," said Bennett, who also claimed he saw Brown kick one pregnant girlfriend down a flight of stairs.

Marriages and children

Brown was married four times. His first marriage was to Velma Warren in 1953, and they had three sons together. Over a decade later, the couple had separated and the final divorce decree was issued 1969. They maintained a close friendship that lasted until Brown's death. Brown's second marriage was to Deidre "Deedee" Jenkins, on October 22, 1970. They had two daughters together. The couple were separated by 1979, after what his daughter describes as years of domestic abuse, and the final divorce decree was issued on January 10, 1981. His third marriage was to Adrienne Lois Rodriguez (March 9, 1950 – January 6, 1996), in 1984. It was a contentious marriage that made headlines due to domestic abuse complaints. Rodriguez filed for divorce in 1988, "citing years of cruelty treatment," but they reconciled. Less than a year after Rodriguez died in 1996, Brown hired Tomi Rae Hynie to be a background singer for his band and she later became his fourth wife.

On December 23, 2002, Brown and Hynie held a wedding ceremony that was officiated by the Rev. Larry Flyer. Following Brown's death, controversy surrounded the circumstances of the marriage, with Brown's attorney, Albert "Buddy" Dallas, reporting that the marriage was not valid; Hynie was still married to Javed Ahmed, a man from Bangladesh. Hynie claimed Ahmed married her to obtain residency through a Green Card and that the marriage was annulled but the annulment did not occur until April 2004. In an attempt to prove her marriage to Brown was valid, Hynie produced a 2001 marriage certificate as proof of her marriage to Brown, but she did not provide King with court records pointing to an annulment of her marriage to him or to Ahmed. According to Dallas, Brown was angry and hurt that Hynie had concealed her prior marriage from him and Brown moved to file for annulment from Hynie. Dallas added that though Hynie's marriage to Ahmed was annulled after she married Brown, the Brown–Hynie marriage was not valid under South Carolina law because Brown and Hynie did not remarry after the annulment. In August 2003, Brown took out a full-page public notice in Variety featuring Hynie, James II and himself on vacation at Disney World to announce that he and Hynie were going their separate ways. In 2015, a judge ruled Hynie as Brown's legal widow.

Brown had numerous children and acknowledged nine of them including five sons – Teddy (1954–1973), Terry, Larry, Daryl and James Joseph Brown Jr. and four daughters – Lisa, Dr. Yamma Noyola Brown Lumar, Deanna Brown Thomas and Venisha Brown (1964–2018). Brown also had eight grandchildren and four great-grandchildren. Brown's eldest son, Teddy, died in a car crash on June 14, 1973. According to an August 22, 2007, article published in the British newspaper The Daily Telegraph, DNA tests indicate that Brown also fathered at least three extramarital children. The first one of them to be identified is LaRhonda Pettit (born 1962), a retired air stewardess and teacher who lives in Houston. During contesting of Brown's will, another of the Brown family attorneys, Debra Opri, revealed to Larry King that Brown wanted a DNA test performed after his death to confirm the paternity of James Brown Jr. (born 2001)—not for Brown's sake but for the sake of the other family members. In April 2007, Hynie selected a guardian ad litem whom she wants appointed by the court to represent her son, James Brown Jr., in the paternity proceedings. James Brown Jr. was confirmed to be his biological son.

Drug abuse

For most of his career, Brown had a strict drug- and alcohol-free policy for any member in his entourage, including band members, and would fire people who disobeyed orders, particularly those who used or abused drugs and alcohol. Some early members of Brown's vocal group the Famous Flames were fired due to alcohol use. Despite the policy, some of the original members of Brown's 1970s band, the J.B.'s, including Catfish and Bootsy Collins, intentionally took LSD during a concert gig in 1971, causing Brown to fire them after the show because he had suspected them of being on drugs all along.

However, by the mid-1980s it was alleged that Brown himself was using drugs. After he met and later married Adrienne Rodriguez in 1984, she and Brown began using PCP ("angel dust"). This drug usage resulted in violent outbursts from him and he was arrested several times for domestic violence against Rodriguez while high on the drug. By January 1988, Brown faced four criminal charges within a 12-month span relating to driving, PCP, and gun possession. After an April 1988 arrest for domestic abuse, Brown went on the CNN program Sonya Live in L.A. with host Sonya Friedman. The interview went viral due to Brown's irreverent demeanor with some asserting that Brown was high.

One of Brown's former mistresses recalled in a GQ magazine article on Brown some years after his death that Brown would smoke PCP "until that got hard to find", and cocaine, mixed with tobacco in Kool cigarettes. In January 1998, he spent a week in rehab to deal with an addiction to prescription drugs. A week after his release, he was arrested for an unlawful use of a handgun and possession of cannabis. Prior to his death in December 2006, when Brown entered Emory University Hospital, traces of cocaine were found in the singer's urine. His widow suggested Brown would "do crack" with a female acquaintance.

Theft and assault convictions

Brown's personal life was marred by several brushes with the law. At the age of 16, he was convicted of theft and served three years in juvenile prison. During a concert held at Club 15 in Macon, Georgia in 1963, while Otis Redding was performing alongside his former band Johnny Jenkins and the Pinetoppers, Brown reportedly tried to shoot his musical rival Joe Tex. The incident led to multiple people being shot and stabbed. Since Brown was still on parole at the time, he relied on his agent Clint Brantley "and a few thousand dollars to make the situation disappear". According to Jenkins, "seven people got shot", and after the shootout ended, a man appeared and gave "each one of the injured a hundred dollars apiece not to carry it no further and not to talk to the press". Brown was never charged for the incident.

On July 16, 1978, after performing at the Apollo, Brown was arrested for reportedly failing to turn in records from one of his radio stations after the station was forced to file for bankruptcy. Brown was arrested on April 3, 1988, for assault, and again in May 1988 on drug and weapons charges, and again on September 24, 1988, following a high-speed car chase on Interstate 20 near the Georgia–South Carolina state border. He was convicted of carrying an unlicensed pistol and assaulting a police officer, along with various drug-related and driving offenses. Although he was sentenced to six years in prison, he was eventually released on parole on February 27, 1991, after serving two years of his sentence. Brown's FBI file, released to The Washington Post in 2007 under the Freedom of Information Act, related Brown's claim that the high-speed chase did not occur as claimed by the police, and that local police shot at his car several times during an incident of police harassment and assaulted him after his arrest. Local authorities found no merit to Brown's accusations.

In 1998, a woman named Mary Simons accused Brown in a civil suit of holding her captive for three days, demanding oral sex and firing a gun in his office; Simons' charge was eventually dismissed. In another civil suit, filed by former background singer Lisa Rushton alleged that between 1994 and 1999, Brown allegedly demanded sexual favors and when refused, would cut off her pay and kept her offstage. She also claimed Brown would "place a hand on her buttocks and loudly told her in a crowded restaurant to not look or speak to any other man besides himself; Rushton eventually withdrew her lawsuit. In yet another civil suit, a woman named Lisa Agbalaya, who worked for Brown, said the singer would tell her he had "bull testicles", handed her a pair of zebra-print underwear, told her to wear them while he massaged her with oil, and fired her after she refused. A Los Angeles jury cleared the singer of sexual harassment but found him liable for wrongful termination.

The police were summoned to Brown's residence on July 3, 2000, after he was accused of charging at an electric company repairman with a steak knife when the repairman visited Brown's house to investigate a complaint about having no lights at the residence. In 2003, Brown was pardoned by the South Carolina Department of Probation, Parole, and Pardon Services for past crimes that he was convicted of committing in South Carolina.

Domestic violence arrests

Brown was repeatedly arrested for domestic violence. Adrienne Rodriguez, his third wife, had him arrested four times between 1987 and 1995 on charges of assault. In one incident, Rodriguez reported to authorities that Brown beat her with an iron pipe and shot at her car. Rodriguez was hospitalized after the last assault in October 1995, but charges were dropped after she died in January 1996.

In January 2004, Brown was arrested in South Carolina on a domestic violence charge after Tomi Rae Hynie accused him of pushing her to the floor during an argument at their home, where she suffered scratches and bruises to her right arm and hip. Later that year in June 2004, Brown pleaded no contest to the domestic violence incident, but served no jail time. Instead, Brown was required to forfeit a US$1,087 bond as punishment.

Rape accusation

In January 2005, a woman named Jacque Hollander filed a lawsuit against James Brown, which stemmed from an alleged 1988 rape. When the case was initially heard before a judge in 2002, Hollander's claims against Brown were dismissed by the court as the limitations period for filing the suit had expired. Hollander claimed that stress from the alleged assault later caused her to contract Graves' disease, a thyroid condition. Hollander claimed that the incident took place in South Carolina while she was employed by Brown as a publicist. Hollander alleged that, during her ride in a van with Brown, Brown pulled over to the side of the road and sexually assaulted her while he threatened her with a shotgun. In her case against Brown, Hollander entered as evidence a DNA sample and a polygraph result, but the evidence was not considered due to the limitations defense. Hollander later attempted to bring her case before the Supreme Court, but nothing came of her complaint.

Legacy

Brown received awards and honors throughout his lifetime and after his death. In 1993 the City Council of Steamboat Springs, Colorado, conducted a poll of residents to choose a new name for the bridge that crossed the Yampa River on Shield Drive. The winning name, with 7,717 votes, was "James Brown Soul Center of the Universe Bridge". The bridge was officially dedicated in September 1993, and Brown appeared at the ribbon-cutting ceremony for the event. A petition was started by local ranchers to return the name to "Stockbridge" for historical reasons, but they backed off after citizens defeated their efforts because of the popularity of Brown's name. Brown returned to Steamboat Springs, Colorado, on July 4, 2002, for an outdoor festival, performing with bands such as The String Cheese Incident.

During his long career, Brown received many prestigious music industry awards and honors. In 1983 he was inducted into the Georgia Music Hall of Fame. Brown was one of the first inductees into the Rock and Roll Hall of Fame at its inaugural induction dinner in New York on January 23, 1986. At that time, the members of his original vocal group, The Famous Flames (Bobby Byrd, Johnny Terry, Bobby Bennett, and Lloyd Stallworth) were not inducted. However, on April 14, 2012, The Famous Flames were automatically and retroactively inducted into the Hall of Fame alongside Brown, without the need for nomination and voting, on the basis that they should have been inducted with him in 1986. On February 25, 1992, Brown was awarded a Lifetime Achievement Award at the 34th annual Grammy Awards. Exactly a year later, he received a Lifetime Achievement Award at the 4th annual Rhythm & Blues Foundation Pioneer Awards. A ceremony was held for Brown on January 10, 1997, to honor him with a star on the Hollywood Walk of Fame.

On June 15, 2000, Brown was honored as an inductee to the New York Songwriters Hall of Fame. On August 6, 2002, he was honored as the first BMI Urban Icon at the BMI Urban Awards. His BMI accolades include an impressive ten R&B Awards and six Pop Awards. On November 14, 2006, Brown was inducted into the UK Music Hall of Fame, and he was one of several inductees to perform at the ceremony. In recognition of his accomplishments as an entertainer, Brown was a recipient of Kennedy Center Honors on December 7, 2003. In 2004 Rolling Stone magazine ranked James Brown as No. 7 on its list of the 100 Greatest Artists of All Time. In an article for Rolling Stone, critic Robert Christgau cited Brown as "the greatest musician of the rock era".

He appeared on the BET Awards June 24, 2003, and received the Lifetime Achievement Award presented by Michael Jackson, and performed with him.

Brown was also honored in his hometown of Augusta, Georgia, for his philanthropy and civic activities. On November 20, 1993, Mayor Charles DeVaney of Augusta held a ceremony to dedicate a section of 9th Street between Broad and Twiggs Streets, renamed "James Brown Boulevard", in the entertainer's honor. On May 6, 2005, as a 72nd birthday present for Brown, the city of Augusta unveiled a life-sized bronze James Brown statue on Broad Street. The statue was to have been dedicated a year earlier, but the ceremony was put on hold because of a domestic abuse charge that Brown faced at the time. In 2005, Charles "Champ" Walker and the We Feel Good Committee went before the County commission and received approval to change Augusta's slogan to "We Feel Good". Afterward, officials renamed the city's civic center the James Brown Arena, and James Brown attended a ceremony for the unveiling of the namesake center on October 15, 2006.

On December 30, 2006, during the public memorial service at the James Brown Arena, Dr. Shirley A.R. Lewis, president of Paine College, a historically black college in Augusta, Georgia, bestowed posthumously upon Brown an honorary doctorate in recognition and honor of his many contributions to the school in its times of need. Brown had originally been scheduled to receive the honorary doctorate from Paine College during its May 2007 commencement.

During the 49th Annual Grammy Awards presentation on February 11, 2007, James Brown's famous cape was draped over a microphone by Danny Ray at the end of a montage in honor of notable people in the music industry who died during the previous year. Earlier that evening, Christina Aguilera delivered an impassioned performance of Brown's hit "It's a Man's Man's Man's World" followed by a standing ovation, while Chris Brown performed a dance routine in honor of James Brown.

On August 17, 2013, the official R&B Music Hall of Fame honored and inducted James Brown at a ceremony held at the Waetejen Auditorium at Cleveland State University.

ART THE BOX began in early 2015 as a collaboration between three organizations: the City of Augusta, the Downtown Development Authority and the Greater Augusta Arts Council. 19 local artists were selected by a committee to create art on 23 local traffic signal control cabinets (TSCCs). A competition was held to create the James Brown Tribute Box on the corner of James Brown Blvd. (9th Ave.) and Broad St. This box was designed and painted by local artist, Ms. Robbie Pitts Bellamy and has become a favorite photo opportunity to visitors and locals in Augusta, Georgia.

"I have a lot of musical heroes but I think James Brown is at the top of the list," remarked Public Enemy's Chuck D. "Absolutely the funkiest man on Earth ... In a black household, James Brown is part of the fabric – Motown, Stax, Atlantic and James Brown."

Tributes

As a tribute to James Brown, the Rolling Stones covered the song, "I'll Go Crazy" from Brown's Live at the Apollo album, during their 2007 European tour. Jimmy Page has remarked, "He [James Brown] was almost a musical genre in his own right and he changed and moved forward the whole time so people were able to learn from him."

On December 22, 2007, the first annual "Tribute Fit For the King of King Records" in honor of James Brown was held at the Madison Theater in Covington, Kentucky. The tribute, organized by Bootsy Collins, featured appearances by Afrika Bambaataa, Chuck D of Public Enemy, The Soul Generals, Buckethead, Freekbass, Triage and many of Brown's surviving family members. Comedian Michael Coyer was the MC for the event. During the show, the mayor of Cincinnati proclaimed December 22 as James Brown Day.

As of 2019, a significant collection of James Brown clothing, memorabilia, and personal artifacts are on exhibit in downtown Augusta, Georgia at the Augusta History Museum.

Discography

Studio albums

Filmography

The T.A.M.I. Show (1964) (concert film)- with The Famous Flames

Ski Party (1965)- with The Famous Flames

James Brown: Man to Man (1968) (concert film)

The Phynx (1970)

Black Caesar (1973) (soundtrack only)

Slaughter's Big Rip-Off (1973) (soundtrack only)

Adiós Amigo (1976)

The Blues Brothers (1980)

Doctor Detroit (1983)

Rocky IV (1985)

Miami Vice (1987)

James Brown: Live in East Berlin (1989)

The Simpsons (1993)

When We Were Kings (1996) (documentary)

Duckman (1997)

Soulmates (1997)

Blues Brothers 2000 (1998)

Holy Man (1998)

portrayed by Carlton Smith in Liberty Heights (1999)

Undercover Brother (2002)

The Tuxedo (2002)

The Hire: Beat The Devil (2002) (short film)

Paper Chasers (2003) (documentary)

Soul Survivor (2003) (documentary)

Sid Bernstein Presents ... (2005) (documentary)

Glastonbury (2006) (documentary)

Life on the Road with Mr. and Mrs. Brown (2007) (documentary; release pending)

Live at the Boston Garden: April 5, 1968 (2008) (concert film)

I Got The Feelin': James Brown in the '60s, three-DVD set featuring Live at the Boston Garden: April 5, 1968, Live at the Apollo '68, and the documentary The Night James Brown Saved Boston

Soul Power (2009) (documentary)

Get on Up (2014)

Biopics

James Brown: The Man, the Message, the Music (1992), the first biopic about James Brown

Mr. Dynamite: The Rise of James Brown (2014), released in April 2014, written and directed by Alex Gibney, produced by Mick Jagger.

Get on Up (2014), released in theaters on August 1, 2014. Chadwick Boseman plays the role of James Brown in the film. Originally, Mick Jagger and Brian Grazer had begun producing a documentary film on Brown in 2013. A fiction film had been in the planning stages for many years and was revived when Jagger read the script by Jez and John-Henry Butterworth.

In other media

Games

In the video game World of Warcraft, the first boss character of the Forge of Souls dungeon is Bronjahm, "the Godfather of Souls". His quotes during the fight are musical references, and he has a chance of dropping an item called "Papa's Brand New Bag".

A different version of "I Got You", recorded in 1974, is playable in the rhythm video game Rock Band 3. In addition, "Get Up (I Feel Like Being a) Sex Machine (Pt. 1)" is available for download across the series, while "Super Bad (Pts. 1 & 2)" was released later, only for the third game.

In the Worms Armaggedon and Worms World Party video games, many of James Brown's song titles are used in the "Soul Man" custom voice setting like "Papa's Got a Brand New Bag" or "Like a Sex Machine", clear references to James Brown.

Television

Appeared as Lou DeLong in the 1987 Miami Vice episode "Missing Hours".

As himself (voice) in the 1993 The Simpsons episode "Bart's Inner Child".

In 1991, James Brown did a Pay Per View Special with top celebrities such as Quincy Jones, Rick James, Dan Aykroyd, Gladys Knight, Denzel Washington, Mc Hammer and others attended or were opening acts. This was produced with boxing promoter Buddy Dallas. 15.5 million households tuned in at a cost $19.99.

Music

The songs "James Brown Is Dead" and "James Brown Is Still Alive" are all about reports on the iconic musician James Brown, and were released in 1991.

See also

Earl Tucker, a vaudeville performer whose dance moves appear on film

[dailyexo]

[NEWS] EXO - 181227 Billboard: “EXO's 'Love Shot' Album: The Producers & Songwriters Break Down Every Song”

"The long-awaited one-two punch of EXO’s Don’t Mess Up My Tempo and subsequent Love Shot repackage provided fans with two heaping doses of polished pop. From Daft Punk’s Tron to U.K. garage, EXO checks off all the stylistic boxes on their latest works, expanding upon and further fleshing out their diverse discography.

The sonic gambles have paid off: The Love Shot repackage has already swept iTunes charts around the world from Thailand to the United States, building upon the record-breaking success of its predecessor Tempo. The members of EXO are still going strong six years into their careers, with Love Shot representing a new apex for the boy band.

We spoke with the producers behind EXO’s greatest LP thus far for the stories behind the songs.

“Love Shot”

Mike Woods: Last year in January, we had a camp with Marz Music and SM. They had liked the song since January [2017] -- Korea's just very strategic when they release songs and how they brand everything around the song. It was purposely [for] the repackage album from day one -- not necessarily day one, but they were deciding between "Tempo" and "Love Shop" -- the original [title] is "Love Shop," by the way. So we kinda knew that the repackage album would have "Love Shot" being the title single.

We wanted something that was very, very performance-driven, very dance-driven -- something that would sound good loud and in an arena. We like the fact that it's kind of in a different time signature -- it's in 6/8, so that's not like a generic pop song. With Korea, we like to do things that push the boundaries, not super generic, because they're very musical. Things like that translate a lot better than they do in America. We really like the anthemic [sound] -- even [with] "Oasis," that's what we strive for. We like to do things that just sound big -- I feel like that's our niche with me, Kevin [White], and Bazzi. It's fun, big, and loud. We saved it for the last day 'cause we knew we wanted to end the camp with a bang, and in our heads, we knew what song we wanted to make. We had voice notes of it from the first or second day we got there, but we wanted to save it for the end 'cause we knew it would be a big song for them.

“Tempo”

Leven Kali: Two years ago I went to Seoul for the first time for a writing camp with SM, and we started “Tempo” during that trip. It took a few sessions after that back in the states with the rest of the writers [Tay Jasper and Adrian McKinnon] to finish it up, and then Digi, the main producer, brought it home with the final touches. We didn't know where the song would end up, but I'm grateful that it ended up with EXO because they always execute the records at a unique and high-quality level. I'm really happy [with] how it turned out and blessed to be a part of their story.

The song is inspired by a lot of different genres and artists, like Teddy Riley, OutKast, and Take 6. Adrian is one of the most talented singers and musicians I’ve ever met, and he really brought that doo-wop flair to the track. In K-pop they really encourage experimental arrangements, so we got to be creative with this one.

“Tempo” was so fun to make because the energy during the entire trip was on fire. We were working so fast, coming up with tons of good songs, and definitely dabbling in the Seoul nightlife. Digi and Adrian had started the song on one of those crazy nights, and when we got back to the studio, it was a party making the record. Gotta give a big shout out to the blue soju. Also, fun fact: The original spelling of the song is “Ttempo,” with two Ts.

Digi Chammas: “Tempo” was a huge group effort with the writers and they absolutely killed it. I feel like you can tell it was a group of us having the most fun making that song. The constant switch ups and harmonizing is how we like to work. When we do that, there is a lot of back and forth for months with fine tuning, especially the a cappella section because it’s so special. Adrian [McKinnon] is a genius with his harmony. It’s one of my favorite songs I’ve produced, and EXO just crushed it. Crushed it! Having a single with them is what I’ve always wanted, and to be a part of such an exciting release is unreal.

"Tempo" is an amalgam of R&B, funk, disco, EDM, and '90s house. It all goes together without trying too hard. The pieces just fit. Doing edits on the demo wasn’t annoying or daunting because it just never got annoying to listen to.

I wanted to bring a bright energy to their music while still letting it still be serious without being too serious. Also, bed squeaks. They just work.

“Trauma”

Keynon “KC” Moore: Since [co-producer] DaBenchwarma and I are both managed by 3Sixty Music Group we collaborate on many different songs. Danny [Smith, KC’s manager] is telling me he had a plug for 5 Seconds of Summer. And I know they wanted to kinda go [in] a crossover, kind of urban [direction], but still keep it pop. So DaBenchwarma sent me over a few tracks for that and I wrote to four or five of them. And “Trauma,” as it is now, was one of them. It was actually called "A Little Bit" originally. I wrote to that -- usually what I do is I'm a night owl. I'll write really late, like 3 a.m., and then I'll toy with the melodies in my head. If I can remember the melody the next day when I get ready to record, it usually works out. The next day I went in and recorded it, so when I sent it over to DaBenchwarma, that was one of the tracks he really liked. Danny sent the records over to the A&R for DNCE and Ryan [Jhun], but Ryan hit us back first and was like, “We really like this track -- I’m going to send [it] to SM Entertainment, but let’s make some changes before I pitch it.” We made all those changes, [and] Ryan hit us back [and] said, “They want this for EXO.” A special shout out Ryan’s team Marcan Entertainment because none of this would be possible without them.

Maroon 5's last album was very [influential] -- I have a friend that wrote on it and she's one of my biggest inspirations. I wanted to keep things simple -- I'm still working on really simplifying what we call "pop music," trying to strip things down enough to where it's still very much intelligent but easy for a two-year-old to catch onto. Maroon 5, definitely, I feel like I utilized some of their simplicity and took my own take on it from there.

To me, it's a progressively pop song in which it's simple, but it definitely has a lot to it if you really strip it down and listen -- there's so much going on.

Cedric “DaBenchwarma” Smith: When I started working on that particular track, I was working on some stuff for DNCE at the time, and KC was writing some stuff for them as well. One of the songs that we'd written to, Danny had just gotten a pitch from SM again. At the time I was doing a lot of urban music, and so… it took me a day or two, because I had to readjust myself, just kinda reset and get in a different zone for the type of track it is. 'Cause it's uptempo, guitar-driven pop, a lot of energy. And I had to readjust and reset to get it how I wanted it, and once I sent it over to Keynon, we just started vibing out to it. We were like, "Man, I think we got something here." And so we sent it over to Ryan Jhun; he and his team loved it but wanted to make a couple of adjustments to make it fit for EXO. After making the adjustments, Ryan sent it to SM Entertainment. They loved it but ask[ed] for some changes and edits in additional to the changes Ryan’s team requested, plus a rap verse was requested since it wasn’t in the original pitch. We made numerous adjustments so it could be more energetic so that EXO could showcase their dancing. They're just a very multi-talented group; we wanted the music and the track to reflect who they were.

I was listening to so much at [that] time. I don't like to listen to one thing too long -- I kinda get influences from a little bit of everywhere. A little bit of DNCE, Maroon 5 -- guitar-driven melodic tracks that just keep you moving rhythmically from top to bottom. For me, I was looking for records that have that strong guitar influence in 'em at the time. I think that's one of the things that caught [SM’s] attention, 'cause it gets your attention right from the front of the melody of the guitar, and it drives the song right on home.

Last time we did an urban R&B mid-tempo style [track]. But this time around, we just wanted to do something more upbeat. Like I said, they have so many talents, with their dance and the stage presence and the energy they give. We were doing a track, we heard the energy to it, we [were] like, "Hey, this'll be a little different than what we did, but I think it'll be perfect for them because of how versatile they are." One day they may do the R&B, mid-tempo [sound], then next they come out with [a] high-energy dance track, and they can kill it all.

“Wait”

Andreas Öberg: This is kind of an interesting story, because it's an older song. We did this back in 2014, so the name "Wait" is very appropriate. I've done many camps, over ten camps together with [SM] in Seoul, but this was in my own camp -- it was arranged by a publisher in Korea called Iconic Sounds. So we were doing a week of sessions, and we had one day off. We were gonna go somewhere, but for some reason we didn't. We were indecisive [about] what we were gonna do that day, so Jimmy [Burney] and I were talking and we had done a bunch of songs based on tracks, more full-on kind of productions. We said, "Oh, we have this afternoon off, why don't we just go to the studio, do something just you and I, acoustic guitar and vocals?"

Back then, EXO were already doing winter albums, so we were aiming at that. Shortly after the camp, [SM] said, "Oh, this is perfect for EXO's winter album." So we got it confirmed as a placement. It was supposed to, I think, be on one of those Christmas releases. But then for some reason, they said, "Oh, sorry, no, we decided to use it at a later stage." Through the years, at different times, they told me, "Yeah, it's about to come out." So we didn't pitch it elsewhere because we thought it was coming out, but it always got pushed. And now, finally, four and a half years later -- I think it was autumn of 2014 that we created this song. We were kind of joking about it, "Wait" being an appropriate title, but it ended up where we kinda intended it to end up. We're really happy with the results, how it sounds with EXO's vocals.

I had to re-record the guitar a month ago because they changed the key slightly. It's basically two channels of guitar, one [with] basic chords, a little bit of lower bass mid-range chords, and then there's one other channel where I lay out some of the chords in the higher register just to get a little bit more glitter. We wanted to create something emotional for the winter season. Not necessarily a plain Christmas song, but this is, I would say, a winter season song. I think in Korea, in my experience, the releases from the labels are very season-based. People and fans are expecting specific colors, chords, styles of music.

Jimmy Burney: Four years ago I was in Seoul, Korea at SM doing some sessions with my friends from Iconic Sounds, a very talented music production crew. I went to breakfast one morning with Tesung [Kim], who is the head guy at Iconic, and he asked me who else I had been writing with in the K-pop market at the time. I told him about my buddy Andreas Öberg who does really well in the K-pop scene, so they ended up flying him out as well. Andreas is a genius on the guitar. So after a few sessions of writing to fully produced tracks, I suggested maybe doing something a little more stripped down. He started playing this beautiful progression and the record just came together like magic. A year after that, we were told that EXO would be cutting it and releasing it. That ended up not happening that year; we had to wait a little longer... so long to the point I almost forgotten they even recorded it. It was a nice surprise to wake up and see that the repackaged album it’s on had went No. 1 in 60 countries [on iTunes]. So I guess it was well worth the wait.

I really wanted to do a record that captured raw emotion, and the best way I felt it would stand out was to write a song that was opposite of what we had been writing the whole trip. Don’t get me wrong -- I think uptempos, drums, 808s, synths, and other fun sounds are amazing, but there is nothing like the feeling of a real instrument, like guitar, piano. It was really fun to arrange this with Andreas who has a great ear for structure and harmony. When I recorded my vocals on the demo, I wanted to make sure that it captured the essence of raw emotion so that whoever ended up cutting it would feel it immediately.

Andreas and I started creating this song in the evening -- I was extremely jet lagged. We ended up taking a break and my friend Siwon Choi from Super Junior came and picked us up and took us to dinner and a night out on the town showing us Seoul. We got back to the studio after midnight and finished writing and recording “Wait.”

I had another song with EXO years ago called "Love Love Love.” I’m honored to be a part of another album, I think EXO are amazingly talented. Since “Love Love Love” had more rap elements, it was really nice to give them a record that was more vocal driven this time around.

“Sign”

Patrick "J. Que" Smith: We called it originally "Body Don't Lie," but I think it might've been a little too spicy, so they made some flips to it. But the process of writing it was super, super easy. I remember we got over there and HM -- Harvey [Mason, Jr.] -- brought the track to the table. This trip, in four or five days, we maybe wrote fifteen or sixteen songs. So we've written one or two songs, and Harvey comes in the room excited -- "I got one! I got it! I know I got it!" And he plays the track, and immediately everybody's hype. We sit down and we start writing and we start vibing off of each other. We blew through the song fast, cut it, dressed it up, played it for the crew, and they were like, "Yo, we love this one, we definitely think we wanna use this one." We got the call when we knew they were gonna cut it. The guys ended up recording it, and I remember being back in L.A. at this time, getting a call from Harvey saying, "Hey, it's going really well, they wanna know if you can write a rap for 'em." We sat down, banged out a rap really fast, and sent it back.

Before we started writing, that [concert aspect] comes up now. You have to picture it on stage. If you can't hear it being sung, if you can't see it being performed in a stadium, then it's not the record it needs to be. We've met them, and they're all amazingly sweet guys, but seeing them perform was just wild. It's like watching Clark Kent turn to Superman. They're so amazing and mild-mannered and good natured and super polite, and then when they step on stage, they just become these superheroes. When we sit down to write, you just understand that you can't write this song for Clark Kent. We knew that we had to write the song for Superman. If Superman can't sing this song, we're not doing our job.

“Ooh La La La”

Digi Chammas: “Ooh La La La” came together so smooth. Bazzi is an animal with the pen. One of the A&Rs said something a little Latin would be amazing for EXO. Bazzi and I sat in the studio listening to this bossa guitar loop I had made with Justin Lucas right before I had gone out to Seoul. Honestly, [Bazzi] probably had half of song done within 5-10 minutes while I did the drums, haha. Then I just touched up the arrangement later that week before I left for L.A.. [Bazzi] knows how to write the catchiest shit ever. All I had to do was make it slap.

“Ooh La” is a Latin bop. It has low end and it moves. The inspiration for that was just EXO. When you have them as [the] goal, it’s easy to get inspired because you can almost already see them bodying it. You just know what direction to go.

Justin Lucas: The guitars throughout is me. It's got a bossa nova-inspired kind of groove. Me and Digi [Chammas] were messing around with the sort of bossa nova-inspired feel on the guitar, and then he sort of flipped that to more of the K-pop feel. We got together and played around with ideas, and while we were there writing, they sent some ideas. They said, "Hey, we're finishing the track, here's the bridge chords, can you do the bossa nova-style guitar over this section?" Once we started writing to the initial idea, it [took] about two days and it was done.

“Gravity”

Greg Bonnick, LDN NOISE: Whenever we start to work on records for EXO, we usually start by creating tracks freely and try to be as experimental as possible. Being fortunate enough to have worked on past records, we are quite connected to their journey, so therefore [we] have a feeling of what we would like to hear them do next as listeners and fans.

For “Gravity,” we started with a simple beat like Michael Jackson’s “Billie Jean,” and then played a funky bassline. As we layered more sounds, it became more like a disco/funk hybrid and gave us a futuristic feel. We visualized the movie Tron and the soundtrack by Daft Punk for the mood of the song and added the lead sound from “Power.” The lyrics added to the theme, and then Chanyeol helped with translation.

“With You”

Mikey Akin, Sons of Sonix: We basically had the writing session for another artist by the name of Aston Merrygold who's based back home in London, and it was a writing session that we had with him. It was us, Varren Wade, and Aston. I felt like [Aston] loved the song, but he was still deciding his sound for his project, so the record was still open. And then Varren had a meeting with one of the representatives at SM, someone that was looking after EXO, and played the record to them in the meeting, and they loved the record. SM was like, "Yo, we would love to take this for our project." ["With You"] was [created in] May 2016, and it found a home eventually. [SM], they must have heard it top of this year or later.

Myself and Mo [Samuels], our whole production is based in fusion, a lot of fusion [from] our background, us being British and Nigerian. Being from southeast London, you grow up listening to so much garage, so much jungle, so much grime, so what we tend to do is we fuse elements of each genre that makes our foundations in our productions. So even though the record is an R&B pop record, you have the elements of U.K. garage in there. I guess that's kinda one of the reasons why the record must have stood out, because it's something new, but something they could relate to. We just added a different spin to it with the U.K. element. It's kinda like cooking, when you make [something] a certain particular way and you [add] extra ingredients, and you go, "Oh, this is new, I didn't know you could do that!" But you're not scared to enjoy the meal.

[Chanyeol's involvement] was more of a direction kind of basis, making it fit into EXO's vision for the song. Because you gotta understand, if someone presents to you a whole complete record, there's still things you might wanna change. When we were finishing off the record and doing post-production on the record, he did have his input in terms of if we could try this and move this section of the rhythm there and have a drop out here. It was a collaboration back and forth to get the best out of the record.

“24/7”

The Wavyz: The initial idea for “24/7” came together almost a year before it got released. Our team is constantly working on new stuff for K-pop artists, and this is one of the ideas that we felt super strongly about.

Funny enough, it actually was meant for NCT 127 originally. We didn't find out that EXO was interested in it until around March, which is when we started to rework some of the parts.

We were going back and forth with [SM Entertainment] about different options for the intro of the song. We felt like we hit a wall and were stuck until the engineers we work with -- Aaron Berton, Andrew Hey -- walked by whistling the melody from the chorus. That’s when we knew it had to be the intro!

Our goal for this song was always to make it sound effortless while still keeping a high, driving energy going throughout. We wanted it to stand out from the other records on the album.

“Bad Dream”

Bianca Atterberry: It was [titled] "Stranger" when we initially wrote it. Me and Deez and Mike Daley and Mitch, they played the track. Deez will have a track listening when we come in and then we'll sit down and listen to the tracks that they've created. We started with melody -- that's how I normally start in general. I'll hear it and then we'll come up with the melody, and [Deez]'s so good at hearing harmonies and backgrounds and little ambiances. His ears are crazy. Deez is a very hard worker, so he was like, "We gotta get it done." That's all harmonies, all backgrounds, all lyrics -- we [got] it done that day. I feel like songs that are made in the moment are best.

It almost sounds like a '90s R&B song [in] the intro, and then it just hits with this energetic drive to it. It has a whole 'nother drive, almost like a poppy drive to it. But I felt like the melodic pocket needed to be a little bit more open because the beat was moving a lot, so I didn't want the melody to be too fast. I wanted it to be something you could still sing to and vibe to, so I was just going through melodies. I just sang, girl, I don't know where it comes from! I freestyle [the] majority of the songs that I write -- I'll just come up with the melody and sometimes I'll have the concept within whatever I just came up with. I'm not saying anything, I'm just [mumble-sings], you know what I mean? Just hearing what naturally feels good in that pocket.

Of course [the inspiration] would be a '90s male group, of course. It's New Kids on the Block, *NSYNC, Backstreet Boys. Because I know that they have these supergroups and they're still in that '90s vibe but then they have these pop elements to them as well. They also dance like Backstreet Boys and *NSYNC, and it's like they all had a baby, basically. That's what the vision normally is for EXO and groups like that.

Deez: “Bad Dream” was written during a song camp hosted by SM Entertainment. Normally in SM camps, producers bring their tracks, and the songwriters choose one of them to work on based on the discussion between the writers, and also with the A&Rs. When I’m in those song camps, I usually get involved in the track and vocal producing and toplining. For this song “Bad Dream,” I worked as a vocal producer and topliner. This was my first collaboration with the co-topliner “Blush” [Bianca.] She has [a] classical voice, but at the same time, it’s very trendy -- you don’t see that very often. Right after I listened to her voice, I could easily come up with melody of the song. She’s absolutely one of the best U.S. songwriters I’ve met. Blush and I worked on the track in very extemporary way, as we both like that type of work.

In song camps, I normally create one song per a day, but the chemistry with Blush made us to do two songs on that day, and “Bad Dream” was the first song of the day. It took 6-7 hours for the toplining and the vocal production. [It] was a very satisfying session. I normally do not follow any leads, but for this one, I was exactly targeting EXO, as Blush’s voice gave me the inspiration.

When we were going through Mike Daley’s tracks, it was hard for me and Blush to choose, as most of Mike’s tracks were used during the previous sessions. While we were struggling, Mike played a track that I heard while I was in L.A. last year. Mike let me listen to the track at that time, and I kept that one since I really liked it. I was thinking of TVXQ. Mike didn’t remember the fact that he gave it to me already, and played to us. Blush and I agreed with working on the track, and result was more than great.

Mike Daley: Usually when I go out [to Korea], I try to have a couple tracks ready from my camp just to be able to start the first couple of days off, and then start making new stuff when I'm out there. But that was a track I worked on with a producer I work with a lot, Mitchell Owens. So we started working on a couple of songs and if you hear two different beats -- it started off as a guitar-R&B vibe [track], and then I just started messing with some of the chords and different sounds and got a whole different vibe in the verses. [I] tried to make it sound a lot different than the intro, 'cause I know that's the stuff Deez likes writing to.

I think their sound, it can't be anything regular, down the middle. It's gotta be a little left of center, just something that's engaging, because their performances are so crazy. That's what I'm thinking about with the track, trying to make something that performance-wise will be cool.

Some of the new EDM pop elements, I got some inspiration from that. But then still, the real feel-good R&B, boy band vibe, which is what I came up in with The Underdogs -- that's always a part of what I'm doing.

“Damage”

Greg Bonnick, LDN Noise: For “Damage,” we really wanted a bouncy hip-hop record but with [an] anthemic chant feel to the chorus, so even though the verses were laid back, the crowd could really engage with the hook. We started with a piano riff and clap and built the song around that, adding in different elements as it progressed. It was a lot of fun and something different for EXO, one of our favorites.

Deez: “Damage” was created during the same camp that “Gravity” was made. The work flow with LDN Noise was pretty similar, but I wanted to stress [the] bridge part of the song. As you can hear, the chord progression, the melody, [and the] harmonies of the background vocals in the bridge part are quite dramatic. Since the initial track was [a] very strong hip-hop track, I wanted to give some turn around through the bridge part, and it was very satisfying, as listeners could have more [of a] spectacle when they get to the final chorus, with the bridge.

Adrian and I [are] always obsessed with new topline[s] and fresh harmonies, and this song was particularly a challenge for us. I think we were just trying to make the topline of the chorus part with obvious counterpoint. We took a break to think out of the box, and boom, all the rhythm and notes of the chorus hit my head. Based on them, we worked on the catchy rhythm.

“Smile On My Face”

Iain James: “Smile On My Face” came together in Los Angeles at Brian Kennedy’s studio with myself and Sam Hook. Sam is very close friends with the artist Trey Songz, and the song originally started out as an idea for him. It didn’t take long to be produced, mainly because Brian already had a lot of the track in place, especially the chord structure. So it was really just a case of myself and Sam coming up with the concept, defining the lyric[s], and then creating the melody, which I remember being a lot of fun as we’re both singers.

In terms of inspiration for the song, I think it was clear from the start that we wanted it to be an intimate love song, something for a singer to really connect with, and have a catchy chorus -- which I think it really does.

The song I did for EXO-CBX was probably a bit more fun and upbeat, so I’m glad we could do something a bit more heartfelt this time for EXO. Something their fans could really connect with, and something that would really show off their vocal abilities.

“Oasis”

Mike Woods: The original title is "Running," and the chorus [was] "I'm on the run/Baby I'm running."

Kevin White: I think the first or second thing [Bazzi] did [was] the "Running" [part]. I think at first it was kind of a mumble, and then he transformed it into words. We work real close with Bazzi -- we have a really good rapport and really good working relationship. I think this is one of the earlier songs we did in the camp. I remember Mike playing the stabbing chords, and then that kinda hit in the verses, and I remember we were saying, "It'd be crazy if the drums hit with that and then cut out." So it's doing a lot of things that come naturally to us.

Mike Woods: With us and Bazzi working together, I think we always try to do something that hasn't necessarily been done before or the way that we've done it. That's a really big thing for us anytime we work collectively, it's always about "How can we push the boundaries?"

Kevin White: The big choral stack... we just knew it had to go there because I think we were really searching for that big anthemic chorus that everybody's gonna sing in a stadium -- that's always the goal."

Credit: Billboard.

[jvnxa]

zoe kravitz. cis female. she/her.  ／ alissa adelman aka jynx just pulled up blasting celebrity skin by hole— that song is so them! you know, for a twenty-five year old singer, i’ve heard they’re really volatile, but that they make up for it by being so empathetic. if i had to choose three things to describe them, i’d probably say oversized band tees, missed call notifications, and loose pages falling out of an overstuffed notebook. here’s to hoping they don’t cause too much trouble! (sam, 22, est, she/her)

jynx aka alissa adelman was born and raised in nyc’s upper east side. her father is one of those important wall street bigwigs and...all she knows about her mother is that she’s never known her mother.

her dad was the typical rich successful man who showered his child in all of the presents and money that she could ever ask for in order to make up for the fact that he was always too busy working to ever spend any actual time with her and instead left jynx to be raised by a revolving door of nannies

from a young age it was obvious that jynx had a talent for music & ofc her dad was willing to pay for her lessons so long as it kept her occupied so she started with singing and piano but moved on to learn a few other instruments including the guitar and even began dipping her toes into songwriting. by the age of 14 she had written and recorded a whole demo album in her bedroom and once it was done, she started sneaking out at night so that she could go hang around the local big name recording studios in the hopes that she would catch a producer leaving for the day and hopefully convince them to listen to her demo

she never did

sis really tried though. now ofc her dad could’ve paid a record company to just hand her a contract and she knew that, but dammit. jynx wanted music to be her lifelong career and she wanted to earn it herself. she knew that she was genuinely talented even though her demo album was probs lowkey garbage lmao and she knew that she could be successful, and she didn’t want anyone to be able to say that she didn’t truly work for her career

she was so determined that she spent y e a r s relentlessly hounding record companies but no one would give her the time of day, so she developed a different strategy after seeing some flyers around the city and at the age of 16 she joined a local bar band who happened to seeking a lead singer...and got kicked out like two weeks later for being absolutely fucking insufferable

join local band in need of a lead singer. attempt to overhaul said band and push all of the other members into the background. face resistance from said other members. get angry, lash out, get kicked out of the band, repeat. it was a vicious cycle that went on for a couple years.

it was while she was in the midst of this vicious cycle that she met her (now ex) boyfriend and they were...whew. A WHOLE MESS. he was the frontman of a different band that was gaining more and more popularity by the day. he was older and he seemed so cool, and so ofc jynx fell for him hard. they got together and appeared to be madly in love, but all was not perfect at all.

they were veeeery on and off, the type of couple to get in a screaming match and “break up” over nothing only to get back together like ten minutes later. this guy also wound up getting jynx hooked on drugs, getting her arrested, getting her name plastered all over the tabloids for everything except her music, which was something that she still hadn’t quite found her footing in yet

until finally at the age of 19 she landed a record deal and, at the age of 21 after a lot of delays that had to do with her perfectionist nature and tumultuous relationship her first album was released and turned out to be a major success with all of the singles charting, lots of streams and airplay and a sold out debut tour that would unfortunately get cut short

so basically what happened was her bf showed up after one of her concerts and ofc they got high together, but then jynx started to overdose. she passed out, but her bf thought she was dead and ofc he freaked out so, uh...he ran. literally bolted out of her tour bus and jynx has not seen him since

fortunately she was found by someone else in time and rushed to the hospital. of course the rest of her tour was cancelled so that she could recover and she subsequently did the obligatory few months in rehab only to get out and immediately go back to using. that was over a year ago now and since then she’s been working on her second album aaaand it’s almost finished! people are starting to wonder what’s taking her so long and the answer is honestly just the fact that she’s nearly impossible to work with tbh

and now for some quick little fun facts!

jynx is jynx, not alissa. she uses the stage name in order to a) be pretentious and b) distance herself from her family name as a way to shut down the argument that it’s the only reason why she’s famous/successful. as for where the name came from? well, a jinx is defined as a person or thing that brings bad luck. and if you just read that whole pointless and Extra™ af bio, then you know that jynx is no stranger to bad luck. as for why it’s a y instead of an i? it’s bc misspelling things is edgy and cool that’s literally it. but yeah. jynx, not alissa, or she’ll get all huffy.

pan af, has dated & hooked up with people both before and after her disaster bf and sometimes while they were “broken up” for all of ten minutes. tbh she kinda...gets with people solely to use them as songwriting material and then just dumps them when she’s gotten some material out of them? yikes! so she can be a bit of a heartbreaker.

since music is really the only thing in her life that she takes seriously, it’s what most of her energy tends to go into and it’s why she can be so impossible to work with. she’s always full steam ahead and she always thinks that she’s right, which doesn’t really pair well with the fact that she’s also very stubborn. recording studio employees have literally quit on her in the middle of a song more than once before bc they just couldn’t deal with her anymore. she’s that bad.

she’s quite intelligent and empathetic and genuinely talented but unfortunately her stubbornness and perfectionism and short temper often overshadow her best qualities and become all that people are able to see when they look at her. jynx, surprisingly, doesn’t seem to realize that dialing back the attitude might help her in her quest to be just be taken seriously for fuck’s sake

her only vc rn is halsey btw!

some potential wc i’m terrible at thinking of these so please don’t feel limited by this list!

best friends

step siblings

cousins

perhaps someone from her mom’s side of the fam

attempted good influence

exes ( she probs has a bunch who hate her how very hal of her )

former / current hookups ( again, she probably has a bunch )

ex friends / bridges she’s burned ( probs has more of these than anything else lmao )

straight up enemies

other singers or musicians who have tried to work with her

people she’s written songs about!

[peace-coast-island]

Diary of a Junebug

We’ve got the blues

Tonight is all about the blues - the musical kind! Big Top and Agent S are performing all weekend after days of rehearsing. They've been inspired to form a blues duo after watching a documentary on music history. I'm really digging their sound and now I want to look into more bluesy artists!

Joining us at the camp on an impromptu vacation are Storm, Buddy, and Sam. It's nice to see Storm and Buddy again and an even bigger surprise to see Sam, who I haven't seen in what feels like forever. In fact, I didn't even know they were around the area - Peace Coast Island, to be specific.

So, what would these three be doing in a place like Peace Coast Island? Storm's the only one who really has a reason to fly up to the island from Airy since he's a recording artist at a studio over there. Ever since he started performing at Golden City, Storm has been getting back into writing songs and recording music.

And he's not the only one who's been hanging around the recording studio. In fact, Storm's working on two projects at once - a new single and an album with the Airy Community Choir. That's why the three came up to Peace Coast, to record some music and make plans for the choir album.

The upside of being friends with musicians, particularly recording artists, is that you get teasers or early access to new material! After we got lost in the Floating Petal Garden, Storm was struck by inspiration and with Sam and Buddy's help, it became a song that hopefully marks the start of a promising future. Us campers were spoiled by hearing the recording and a live performance. If this song doesn't get Storm some well deserved recognition, then I don't know what will.

In Hopes and Dreams is a song written by Storm, Sam, and Buddy. The song's about grief and how the ones you love can hurt you a lot by leaving. The unexpected death of his cousin/Buddy's brother led Storm to thinking about how losing loved ones through death leave the kind of scars that stay with you for life. Then Sam came along, contributing to the lyrics based on his own experiences with grief, particularly with Ellie's death - something he rarely opens up about.

In a way, working on that song was kinda therapeutic for the guys. Buddy's doing a lot better since I last saw him, which is good. Sam's lyrics were inspired by a conversation with a grieving Buddy, where he mentioned Ellie, leading to a moment of vulnerability for the two. He was the one who pulled Buddy out of a deep depression as if it wasn't for him, Buddy wouldn't have gone to the Floating Petal Garden with us.

The lyrics themselves are a strong point of the song, and knowing the story behind them makes it hit even harder. It's an emotionally driven song, one that gets you thinking about the impact you leave on people. The song also makes you think about your mortality, how your absence will hurt the ones you love the most. How sometimes you can love someone with all your heart and be kinda mad at them for leaving you. It's a feeling we all know too well - Buddy with his brother, and Sam with his wife are just a few examples that stick out.

After hearing In Hopes and Dreams for the first time, I knew that I'd be listening to it on repeat for a while. Not only it got me thinking about my own feelings with loss, it also got me wondering about Sam and Ellie.

I've met Ellie a handful of times and she was a lovely person, one who I wish I could've gotten to know better. Sam and Ellie were happily married, a sweet love story that was sadly cut too short. Not too long after Ellie May, also known as Little Ellie May-Berry, came along, Ellie was diagnosed with a rare and aggressive cancer. She passed away a little less than a year later, leaving behind a young grieving husband and a daughter who would sadly never get to know her mother.

In the years that passed, Sam rarely spoke about Ellie. Though it's becoming harder for him now that little Ellie May's asking questions about her mom. Along with Buddy dealing with his own loss, Sam was kinda forced to finally deal with his unresolved grief. Working with Storm on In Hopes and Dreams gave him an outlet for those emotions he had buried for the past six years, finally putting that part of his life to rest. It's a slow process, but he says it's getting a little easier to talk to Ellie May when she brings up her mom.

In Hopes and Dreams came together in a matter of a couple of days. The demo was recorded at Sam's house with Storm on lead while Sam provided a guitar accompaniment and backing vocals along with Buddy. Since this is the first song Storm has written in almost a year, he wanted to strike while the iron was hot and arranged a recording session with Lawrence as soon as the demo was done.

With the demo going super well, Storm became inspired to record some songs with the choir. At first he wasn't so sure if everyone would be on board to do an album but they were quite enthusiastic about it. Nothing's really set in stone on that yet but Sam and Buddy have already recorded some demos and Storm's working out arrangements for recording sessions.

So Storm, Sam, and Buddy flew to Peace Coast Island earlier this week to record In Hopes and Dreams. With JB Lesedi as producer, the recording sessions went smoothly and quickly. I know some lucky friends who have worked with JB, who's not easy to get. Storm got lucky as JB's schedule happened to clear up, making him available on short notice. Knowing him, he saw potential and immediately got to work on the song. Like in the demo, Storm sang his heart out while Sam and Buddy provided backing vocals.

Along with recording In Hopes and Dreams, the guys also did some work on the choir project, which JB offered to help out with. Sam sang Precious Memories and Buddy sang Just a Closer Walk With Thee, both which sounded great. I knew Sam can sing, but hearing him front and center shows how great he really is. Buddy's also got a good voice, though I shouldn't be too surprised since he often joins Sam when he pulls his guitar out. The Airy choir's quite good so I'm looking forward to hearing the rest of the album when it's finished.

After finishing up in the studio, Storm took Sam and Buddy around the island. They also visited Spectrum Falls and Golden Sunset Hills, two other places where Storm often visited when he lived around the area. Then, instead of heading back to Airy, the guys decided to drop by the camp since it's not too far. They've been enjoying the islands, the city, and the campsite. It's always nice to have old friends dropping by for a visit.

As for the blues, Storm and Sam have been getting into the beat. Big Top was looking for vocalists so it's a good thing the guys came along. It's fun seeing the four of them make music together!

As expected, the guys enjoyed fishing at the creek and the ocean. I brought up the idea of them coming back to the camp during a tourney event and they were all for it. Sam hopes to bring his parents, sister, and Ellie May along. It's been ages since I last spoke to Franny and little Ellie May's growing up so fast - I'm so looking forward to seeing them again! And of course, Storm and Buddy will be there too - in fact, they're pretty much honorary members of the Beryl family at this point.

The cousins have been enjoying hanging around OK Motors fixing up RVs. Buddy's got a knack for fixing up anything that has an engine. He even managed to disassemble and reassemble a car inside the courthouse once - an impressive feat, though a bit of a mess for the town council to deal with. It's so good to hear him talk about the shenanigans he and the guys get up to in town - the whole car in the courthouse incident being a sign that Buddy's slowly getting back to his old self.

Sam has been busy with the town council and raising Ellie May. As of two years ago, he became the head of the Airy town council so he spends most of his time running things there. Franny took over from Frawley as pharmacist at the drug store a couple months ago after graduating last year. His dad's still with the newspaper and his mom's with the clinic. Little Ellie May's a bit of a handful, curious and excitable as ever. Of course, most of the pics on Sam's phone are of Ellie May being her adorable self. I'm excited to see her again, though she won't remember me.

It's been fun seeing the guys hanging out, bantering and joking around like they would do in Airy. Sam even brought his guitar for an impromptu singalong. I should drop by there for a visit someday, it really is a nice little town. Storm's been living there for less than a year and he already feels like family, fitting in seamlessly with the townfolk. Things have changed quite a bit, but it's still the same old Airy.

Since finishing up with In Hopes and Dreams, Storm and Sam have been working on some new music. Storm's not sure exactly what direction he wants to go if he were to record a new album so he's playing it by ear. Not only Sam is a talented guitarist and singer, he's also got a knack for writing lyrics.

Sitting out here under the stars with the guys while listening to Agent S and Big Top playing the blues - it's a fitting way to unwind after a busy day of fishing and hiking.

[thebluesideofmyworld]

Our Songs - A Solangelo Fanfic

Summary: Alternate Universe. Will was a famous pop singer who has released an album, and some of the singles from that album topped the chart for a couple of weeks. Nico was an indie musician who played guitar and piano and he didn’t really care about what is happening in the entertainment industry. For him, it’s the music that mattered. Not who sang it. One night, probably the stars up above were aligned, or simply it was just fate, but they met.

(Rating: Teenage and Up Audiences || read on AO3)

Chapter 1: The Night They Met

Chapter Summary:  Nico was in the middle of working on a new song in his favorite coffee shop when Hazel called him. Leaving in a rush, he forgot his notebook and left it in the coffee shop. Will found the notebook.

Author’s Notes:

Ever since Troye Sivan dyed his hair into platinum blond, I can't stop thinking about this AU where Will was a singer (and yeah in this imaginary world in my head Will sang Troye's songs). I ended up writing a bulleted list of my headcanon about this idea, at first simply just to get it out of my system (because damn it I have papers to work on!) and posted it here. But apparently, I got quite some responses? So I was like, heck whatever, let's give it a try. And as most of the songs that will make appearances here are song from Troye Sivan, there would be some other songs from other musician/artist.

All the lyrics quoted in this fic belongs to the writer of the songs.

Despite the fact that I have to listen to music whenever I am doing anything, I am tone deaf, I can't sing at all, and the knowledge that I have about song writing process and music industry is next to nothing. So I do apologize for any mistakes and inaccuracies. 

***

Nico pulled the door and walked in. It was past 9 in the evening already, so there were only a few people in the coffee shop. Jason looked up at him and waved with a smile.

“Hey, Neeks! What can I get you tonight?” He asked as he walked to the register behind the counter.

Nico gave him a half-smile. “Just a medium flat white, please.”

“Sure thing,” Jason nodded as he punched in Nico’s order in the register.

Nico inserted his card into the card-reader and waited until the screen told him to take out his card.

“Okay, it will be right up in a minute,” Jason said.

“Thanks!”

“Oh, and Nico? I love your latest video.”

“Thanks.”  Nico smiled. He tilted his head a bit to the left. “Do you like the song, or you like that Piper was the one singing it.”

How the red color creeping in into Jason’s cheeks was already enough as an answer.

Jason cringed. “Uh. Both.”

Nico smirked at him. “Really?” He asked Jason, a bit teasingly. “I’ll let Piper know that you like her…voice.’

The blush on Jason’s cheeks was even darker now as he rubbed the back of his neck. “Uh. Thanks.” Then he straightened his back and smiled. “But really. I mean it. That song is really nice, Neeks. “

Nico’s lips curled up into a smile. “Thanks,” he said. “I really appreciate it.”

“You really don’t want to take it to another level? Seriously, you should try sending your demo tape to some recording companies.”

Nico ran a hand through his hair. It was not the first time he had someone giving him a suggestion along that line.

“Maybe. One day. But not soon,” he said. Truth was, it was not something that Nico was aiming for. At least not now.  He liked music. He liked putting in his thoughts into words, creating a melody that he thought fit with the words. But to be a part where music was heavily industrialized? Not something that Nico was crazy about, to say the least.

“Yeah. But with your talent, I’d say it’s something that you should think about,” Jason said. “Lots of artists started as YouTuber, you know.”

Nico chuckled. “Yeah. Maybe it’s their path.”

To be honest, Nico didn’t really think himself as a real YouTuber. It was Piper, his childhood friend, who first made him upload videos of his songs on YouTube. Piper herself had already had her own vlog channel for a few years. She had thousands of followers, who seemed to enjoy Piper’s various content, ranging from makeup tutorial, her reviews on books or her covering some love songs (well, Piper had a great voice, that’s something that Nico would totally agree, that’s why sometimes Nico asked her to sing the songs that he wrote to be uploaded to his own channel). And whenever Annabeth made a special performance on her video, the number of people who liked the video seemed to increase.

So one day, a little bit over a year ago, Nico sat in his living room, Reyna holding a camera to record him singing and playing his guitar. Even though she complained about how Nico let his hair fell on his face, covering almost half of it, Piper kept on pestering him to upload the video. So that’s what Nico did. He uploaded the video without any expectation, other than hoping that Piper would leave him alone after that.

Piper didn’t.

In fact, shortly after Nico uploaded that damn video, Piper uploaded a new video on her channel, rambling about how she had this awesome talented friend, who just started his own channel, providing a link to his video on the description. And well, Piper was Piper. There was just something alluring about her that made people tend to do what she said.

So people came to check his video. And much to Nico’s surprise, apparently it wasn’t that bad? But to be honest, if it wasn’t for a comment from someone who said that the song that Nico wrote and sang really touched them and made them feel better about what they’re going through, Nico wouldn’t have uploaded more videos. That comment made Nico realize that through his songs that he wrote and uploaded, he could somehow help people without meeting or even seeing them to make them feel better, even for just a little bit. Hey, even just a bit better than nothing, right? And it was a concept that Nico found really appealing.

“It could be your path too,” Jason said.

Nico shrugged his shoulders. “Maybe. One day. But not in the near future.”

He turned around and made his way to his favorite spot in the coffee shop, the one in the corner where he could spend hours just writing whatever that comes to his mind that he thought he could develop more into new songs. Sometimes when he had his guitar with him, he would also record some melodies into his phone.

Nico sat on the comfortable chair, and took out a small black notebook. He brought it with him everywhere as it’s where he wrote his ideas.

“Working on a new song?” Jason asked as he placed a carton cup in front of Nico.

Nico hummed as he wrote a new line that just crossed his mind.

“Good luck with that. I’m sure it will be great,” Jason said.

Nico looked up and returned Jason’s smile.

“Thanks,” he said.

Jason nodded and left him.

Nico bit his lower lip as he stared at the lines that he just wrote. He crossed the word great, and wrote grand instead right above the crossed word.

He got so absorbed in it, and it was his phone going off that jolted him back to reality. He slid his hand on the screen and picked his phone up.

“Yes, Hazel?”

“Nico? Can you… uhm… come over?”

Nico knew that his half-sister only used that tone when something happened.

“Sure,” Nico said, quickly stood up and grabbed his jacket. “I’m in The Oracle now so I’ll be there in like… 15 or 20 minutes?”

He could hear the relieved sigh at the other end of the line as he gulped now-cold drink from his cup.

“Oh, thank you, Neeks. Frank is visiting his grandma in Canada, so I don’t know who else to call.”

“Hm. What happened?” Nico said, already walking to the door.

“Leo had this crazy idea-“

Nico groaned as he threw his empty cup to the bin. He half-heartedly waved at Jason and pushed the door. Of course. Of course it was Leo.

“What did he do this time?” Nico asked as he walked out of the coffee shop.

***

Will looked up to the sky above him. There was a nostalgic feeling as he looked up, thinking of those good old days back in his hometown in Tennessee, where the sky was bright because of the stars, not because of the lights from neon lamps like here in New York City. Will let out a sigh as he looked around. It was almost eleven at night, but New York City never slept. Sure, it was not as busy as in the daytime, but there were people walking around him, going wherever they were going to, bringing along the stories of their lives with them as they walked.

Will kept on walking slowly, somehow reminiscing the days when he was just a boy in a small town in Tennessee, recording himself covering some popular songs and uploaded them on YouTube.

It felt like it was just last week, while in reality, he’s been here in NYC for almost two years now. Who would have known that one of his subscribers was the daughter of one of the CEOs in a recording company? Who would have known that those videos he uploaded would lead him released an album last year?

Will sighed and stopped in front of a coffee shop. He looked up at the sign, reading the words “The Oracle” printed in purple colors over green background. Will just realized that ever since he moved to his apartment, just two blocks away, he had passed this coffee shop for a couple of times, but never tried to walk in. He peeked through the window. The coffee shop looked quite comfortable, with warm orange lighting. Will checked the opening hours and pleasantly surprised to see that the coffee shop would open until 2 AM.

He walked in to door and walked in. A tall blond guy with a pair of glasses looked up at him from the book that he was reading. He smiled at Will as he slid down from the stool. Will made his way to the register where the blond guy was standing now.

“Hey, what can I get you tonight?”

Will glanced at the name tag that the blond had on his chest, and read it.

Jason.

Will smiled at him, feeling somehow grateful that this Jason guy didn’t seem to recognize him.

“Can I get a cappuccino, please?”

“Sure,” Jason punched in his order. Will paid for his order, then turned around. He gazed around, trying to decide where to sit while waiting. Then he saw a table in the corner with two chairs that looked comfortable. Without really thinking about it, he made his way there.

Will pulled one of the chairs to sit on it when his eyes caught something on the floor, below the table. Brows furrowing down a little, he picked it up.

A little black notebook. Will sat down on the chair and opened the book. Maybe the owner had some contact information, so he could tell them that they left the notebook here. Or maybe he could just tell Jason then someone left it.

The first page of the notebook was blank, so Will flipped on to the next page. Some words were written there into a couple of lines. Some of the lines were quite wordy while the other only had one or two words. Out of curiosity, Will read the words.

Something funny pulled his heart.

Whoever it was who wrote this, they were a wonderful writer.

It was like a poetry. A poetries that talk about being tired of waiting for something unknown, about couldn’t take the frustration any longer.

Will reread the words again.

Tired of all this waiting Can’t you see I’m bleeding? That I’m barely moving How much can I lose before my time is through? Everybody’s watching e verything I'm doing Am I just a fraud?

Will opened the next page, and found other lines like that. Another lines that really touched his heart.

A part of him telling him that he should stop reading, as it looked like something really personal. But another part of him wanting to read more. And this part of him was much stronger.

Will flipped the pages quickly, and stopped at the last page that held the writing.

He read the lines that written there. Some of the words were crossed out, a new word written above each of them.

Will read it, and felt strangely breathless.

The lines were beautiful.

Will was still having half of his mind on the words that he was just reading when he looked up to where the voice came from. So he was not ready at all to see that the voice came from a guy with black hair with a pair of dark eyes. And dear God, this guy was beautiful.

“Yes?”

There was something like a conflicted expression on the guy’s face. Like he wanted to be mad at Will but at the same time, he did not really want to.

“Uh,” the guy pushed away some hair that fell over his forehead. “That is my notebook.”

Will’s eyes darted to the book that he was still holding, then back to the guy in front of him.

“This is yours?”

The guy nodded. “Yeah.”

“These words are really beautiful!” Will blurted out.

The guy in front of him blushed instantly. “Uh… Thanks?” he said, sounding somehow unsure.

“Are they poetries?”

The guy bit his lower lip as he stared at Will, like he was contemplating about what he should think of Will. After one or two seconds, the guy huffed.

“Kind of,” he said, rubbing the back of his neck as he gazed down to the floor. They are actually… Uhm.. Song lyrics.”

Will’s eyes widened. “Are you freaking kidding me? You write your own songs?”

The guy lifted his gaze back to Will and nodded. “Yeah,” he said, half-mumbling.

“Me too!” Will exclaimed excitedly.

The guy arched an eyebrow at Will, and he looked slightly surprised. “Really?”

Will nodded repeatedly. As he pulled his phone out from his pocket. “Yeah. So you know, sometimes the lyrics come to me or sometimes it’s just the melody so I used this app to record…you know… stuff and everything so I can work on them later on,” Will rambled as he fiddled with his phone, opening the app that he was talking about. The guy peeked at Will’s screen.

“Hey! I use that too sometimes!”

Will looked up at him. “You have your stuff with you? Can I listen to it?”

The guy arched up his lips into a small smile. “Only if you’re also going to tell me about your stuff.”

Will grinned. “Sure thing.”

He stretched his hand to the dark-haired guy. “And I am Will, by the way.”

“Nico,” the guy took his hand and shook it. “Nico di Angelo.”

It was almost unfair that his name, di Angelo, really suited him, Will thought to himself as Nico pulled the chair across of him and took a sit.

“So, Nico,” Will said, leaning forward a little. “Do you, by any chance have any recording or whatever for this one?” Will asked, pushing Nico’s notebook towards him, opened on the page with the first lines in that book that Will had read.

“Oh, Stronger? Yeah, let me pull that one up,” Nico said as he fished his phone out from his pocket.

Will watched as Nico fiddled with his phone. He wondered, maybe up there, the stars were aligned. And maybe that was why he came into this coffee shop. Maybe that was why he found the small notebook. Maybe that was why he met Nico.

***

Additional Notes:

The lyrics quoted in this chapter is from the song Stronger by Fyfe

Likes, reblog, comments or whatever form of feedbacks are highly appreciated because for unknown reasons I feel excited yet really nervous about this fic 

[shirlleycoyle]

The Rise of the Highly Unlikely Twitch Streamer

“If I’d known at the start of this year that I’d be paying a queer artist in Germany to draw a horse wearing clothes for Twitch, I’d have been like: what the fuck is going on?” says British musician Shura. The horse in question has become a regular character in Shura’s lockdown life, a shared joke that grew from a story told to fans on Twitch, where she now streams three times a week. 

The streaming platform, which emerged in 2011, is still mostly known as a place for gamers. But during lockdown, creatives from music, comedy, TV and so-called “variety streamers” have taken to Twitch to share their talents and engage with fans. 

Back in spring, Shura was in New York when festival performances and tour shows for her latest record forevher were abruptly cancelled. Other musicians began regular Instagram Live gigs – many unpaid. Shura did a few, but: “It was not satisfying – you’re literally performing to a wall.”

Instead, she played videogames to relax. “I knew what Twitch was, but never understood why you would want to watch anyone on Twitch,” she says. 

But while researching The Last of Us Part II, Shura browsed Twitch. She came across American gamer ChellOAG and loved her stream: “I was like, maybe I should do this? There were a lot of videogame references in my first record, so by chance I set myself up really well to become a gaming musician on Twitch!”

Her followers and subscribers are, she estimates, 95 percent prior fans of her music. Twitch has offered Shura a surprising way to forge a closer bond with them: “It was like making this giant sofa on the internet where you can hang out and still have some connection with your fanbase.”

While the music industry has focused on mailing lists to reach fans, Shura feels she’s found a more effective route through Twitch and the associated Discord server many streamers use as a place for followers to chat: “It’s been weird to realise there are these other tools that musicians have previously neglected.” She’s also determined to create a welcoming environment for fans in the gaming world, which still has pockets of misogyny, racism and homophobia: “It’s important to make this safe space where people who are queer can go and not have shit thrown at them.”

Shura has done some music streams – on the one-year anniversary of foreveher’s release, she played demos, did a Q&A and piano performance. Yet even while gaming, she’s found streaming replicates the on-stage experience: “You get that same adrenaline rush. You’re performing – if you want people to enjoy themselves, you have to find ways of engaging beyond the game.”

Sean Morley. Photo: courtesy of subject

Comedians also saw their schedules wiped during lockdown. Scottish comedian Limmy has streamed for years, but announced his retirement from TV to focus on Twitch. Others joined him there – Josie Long and Richard Herring, while Bilal Zafar has thousands watching him in character as a PES football manager.

Sean Morley, standup and co-host of Mandatory Redistribution Party podcast, also moved comedy onto Twitch during lockdown. At first: “I had friends do guest parts, I’d write loose plots – like a comedy play.” 

But after committing to twice-weekly streaming, he realised Twitch demanded a different approach. He introduced more audience interaction to two solo streams, Meme Machine and King Morl, and recently started an interactive game, Escape the North, with comics in Manchester. 

“The premise of Meme Machine is: I’m making an image for Twitter, I want to go viral, but I have no ideas,” Morley explains. “So I ask people to donate ideas, then we make memes based on that.”

Fans have immersed themselves in unexpected ways. Morley plays Creative Commons-licensed music during streams – fans made their own albums containing shared jokes and posted them on Creative Commons for Morley to find. The Meme Machine community also received a commission from composer Ben Gaunt for a video to be played at a Nottingham University symposium. “It’s one of the weirdest things I’ve ever seen, let alone made,” says Morley.

King Morl is a little different. It uses an existing game, Crusader Kings II, but the audience can modify the world. “We let the chat choose a long-form objective. They learned early on that there were non-human characters in the game. They all said: make the pope a bear.”

Months-long storylines developed. Morley uploaded past streams to YouTube so anyone could catch up: “Even when there was 30 hours to get through, people started doing it.”

King Morl recently had its cinematic finale where a bear was finally crowned pope. “People were quite emotional – they said it helped them through a really horrible year. It was sweet. You can’t get close to that vibe with an hour-long [stand-up] show.”

Claire Lim (AKA Wee Claire) on Twitch. Photo: courtesy of Claire Lim

It’s this collaborative, community aspect that Scottish TV presenter Claire Lim loves most about streaming. Lim, known as Wee Claire on Twitch, has presented for the BBC and NME and joined Twitch in 2018. She started streaming videogames, but soon tried new formats, chatting and playing interactive games – guessing someone’s age based on their teenage crush or drawing followers’ portraits.

When she got a PC, she decided to make slicker TV-style formats: “It’s a big learning curve in terms of production, but I started to go: what can I do that’s always been a dream in my little nerdy head?”

Lim now hosts various chat shows, including the Top 10 List of All Lists and How I Met Your Streamer. There’s also the Wee Marbles Federation (“by far the most popular show”), a WWE-influenced programme that layers soap opera-style storylines onto a game called Marbles.

The pandemic encouraged Lim to learn new skills – she’s improved her editing and branched into music-making, creating a Christmas EP with input from her community, the Wee Squad. “People come to watch me, but it takes on a life of itself,” Lim says. “It’s 50 percent community, 50 percent streamer. The Wee Squad have helped me through the pandemic – economically in terms of subbing [subscribing], but also in terms of belief. The power of community is incredible.”

Like Shura, Lim also works hard to create a welcoming space for fans: “I have friends from the LGBTQ+ community, different backgrounds, ethnically and otherwise, so for me it’s important that my stream reflects my values.” Moderators (Lim highlights her “dad mod” DW who’s been with her since the start) uphold these values.

While streaming helps Lim hone presenting skills, it could one day be a career in itself. “I’ve had struggles trying to get agents and producers into what I’m doing on Twitch,” Lim says. “But if you’re looking to be an entertainer, be hugely creative and not just play games… I do think Twitch could be an alternative route. As long as you know that it’s just as hard.”

Morley has also turned Twitch into an income-maker. While streaming twice a week doesn’t equal his normal comedy earnings and there’s a battle with the algorithm to be seen, the in-stream tipping function mirrors “pay what you want”, his favoured comedy payment model. “You try to make people feel they are wilfully contributing to something they want to succeed,” Morley says. “Twitch has that from the start.”

Unlike Spotify and Apple Music, “the culture around Twitch is to support creators,” Shura says. “I’m also making significantly more from my merch than if I wasn’t on Twitch. It does help support all the other avenues at a time when your job basically doesn’t exist.”

All three artists plan to continue streaming when their industries return to normal. There’s also shared hope that Twitch will continue to diversify beyond gaming. Lim’s been watching more music streamers, such as The Village Ruse, while Shura’s given Ladyhawke tips on setting up her own channel.

Lim says: “There are so many amazing people on Twitch that are way funnier, more creative, dynamic and interesting than people I see on television. Twitch is a more diverse place if you go and find it. It’s not perfect, but the more people that come to it, the better it will be.”

@ohrhealy

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