#bad room acoustics is bad for: your long term hearing. your ability to hear what people say. YOUR VOICE!!!!

[fangparade]

attended a lecture today about room acoustics and it was the most interesting lecture i've been to in a while

[olivemac]

1300 miles | chapter four | b.b.

Summary | Bucky Barnes is adjusting to civilian life, living in Brooklyn, visiting Sam in Delacroix when he can, and trying to figure out what he wants. When he meets Jo Landry, the tattooed lead singer of a New Orleans-based band, he thinks he might have found the answer. Too bad they live 1300 miles apart.

Time Frame | post-TFATWS

Pairing | Bucky Barnes x fem!oc

Rating | explicit

Warnings | mentions of combat-related injuries, alcohol use, tattoos/body piercings, coarse language, gay male character, bisexual female character, recreational/medicinal drug use (weed), pet names (doll, pretty girl, Sarge), smut [f/m, mutual masturbation, fingering, oral sex (f receiving), PIV, slight dom!Bucky, praise kink, very slight somnophilia], minor angst, and all the romance tropes/fluff because I'm a sucker for it; more warnings to come; 18+ ONLY, minors DNI

Tags | @mrs--barnes

Citation | Vernon, Justin, Dessner, Aaron, Mitchell, Anaïs. “Latter Days.” How Long Do You Think It’s Gonna Last? Jagjaguwar/37do3d, 2021.

A/N | This only took 800 years to finish. Sorry for the wait. Hope it’s worth it. Xoxo

A/N, pt. 2 | Made some very minor edits to the previous chapters – nothing that changes storyline, etc.

series master list | AO3 link | full master list

🎶 1300 miles playlist 🎶

_____

previous chapter

_____

After breakfast, Bucky returns the borrowed motorcycle to Sam and grabs his backpack from Sarah's house. Sam only badgers him about if for a few minutes.

"So, you're abandoning us for Jo?" he asks Bucky teasingly.

Bucky grunts in reply. "It's not like that," he says.

“I get it,” Sam shrugs. “After eighty years, you’re finally getting some.” Bucky glares at him. “Just remember, bros before hoes,” Sam concludes, laughing and clapping Bucky on the back. Then he adds, "Don't tell Jo I said that."

Bucky's been debating how much he should reveal when he finally says, "I really like her, Sam."

Sam smiles. "Good," he says. "You deserve someone who makes you happy."

Bucky returns the smile.

"Come on," Sam says, "I've got errands to run in town. I'll drop you back at Jo's place." Bucky tosses his backpack into the bed of Sam's truck as Sam tells him, "Just remember, we promised AJ and Cass we'd take 'em out on the boat on Saturday morning."

"I'll be there," Bucky says.

_____

Bucky stays with Jo for the next two days, wearing sweats during the day while he lounges in her apartment – something he isn't used to, just lounging – and sitting alone at the end of the bar at night, watching her serve drinks with Danny.

They're inseparable for those 48 hours. There's an impending deadline – a sense that they need to fit everything they can into the next few days before Bucky returns to New York.

He slips out of her bedroom Thursday morning, still smiling from the night before, to find her practicing yoga in her living room. Bucky stops and leans against the wall to watch Jo move from one pose to the next, his eyes lingering on her hips and backside. When she moves into downward dog, she spots him from between her legs.

“Morning,” Jo says, sinking deeper into the pose and working to keep her feet flat against the mat. She notices the smirk on Bucky’s face. “Enjoying the view?” she asks.

His smirk only grows. "I am."

She walks her hands across the mat to meet her feet and stands. Before she can turn around, Bucky is behind her, his front pressed against her back and his hands on her hips.

"Best part of the twenty-first century," he says, "is skimpier clothing." His thumbs rub upward across the soft skin of her exposed belly until they're moving beneath the band of her sports bra.

Jo laughs and turns in his arms. "Not the medical or technological advancements?"

"Nope," Bucky says, "definitely this." He pops the band of her sports bra with his thumbs, then pulls her even closer, one hand sliding down her back.

"Breakfast?" she asks.

Bucky hums. "I'd rather eat something else," he says with a smirk, leaning down to press a kiss against her neck.

Jo laughs loudly. "No," she exclaims, "you can't expect sex after you say something so cringeworthy."

Regardless, she lets Bucky lower her to her yoga mat and hover over her prone body.

"You were saying?" he smirks against her lips before kissing her.

Jo hums and snakes her arms around Bucky's neck, pulling him closer. His lips move across her jaw and collarbone down to the tops of her breasts. Bucky pushes her sports bra up carefully to reveal her breasts before taking a nipple between his teeth. Jo scratches her short nails across his scalp and holds him to her chest. He worries his tongue over the hard peak and around the barbell ends on each side of her nipple.

“Bucky,” Jo sighs, arching her back.

Bucky smiles against the skin of her stomach as he kisses lower. He likes hearing his name on her lips. After not having control of himself for so long, he likes that he has this small amount of power over someone else, this ability to make Jo fall apart so easily.

He peels her leggings and underwear down and off before lowering his face between her thighs. He blows warm air across her cunt, making her tremble.

"Open your legs a little more," Bucky says, pressing his large hands against the inside of her thighs. "Good girl," he praises as her legs fall further apart. Jo sighs again as Bucky looks up at her. "You're beautiful like this, doll," he says. Then he licks a thick stripe across her folds.

Jo keens and her back arches off the mat. His tongue meets her clit as his hands grip her thighs, holding her open. Jo reaches down and cords her fingers through his thick hair, pulling slightly. Bucky moans against her cunt and continues to circle his tongue across her clit before sucking it between his lips. Jo rocks her hips against Bucky's face, and he reaches up to take her hips in his hands and guide her movements. She pulls his hair again, harder this time, and Bucky grunts. He alternates his movements against her clit until she's coming hard against his face.

"Bucky," Jo moans, her mouth falling open.

Bucky pulls back and slides up her body. When he kisses her, she can taste herself on his lips. She snakes her hand into his hair and holds him close against her mouth, kissing him deeper.

"Favorite meal," Bucky smirks when they finally break apart.

"That's it," Jo says, laughing and pushing at his shoulders, "leave. Get out. Go." She points to the door.

Bucky laughs. "You wouldn't," he says, with mock hurt in his voice, as his fingers tickle against her sides.

Jo squeals and squirms against his onslaught. "Fine, fine," she shrieks, laughing, "you can stay! But no more of that!"

"What? No more of this?" Bucky laughs. He rolls onto his back, pulling Jo on top of him to straddle his face, and rips another two orgasms from her before he finally releases her, helps her redress, and follows her to the kitchen to start breakfast.

_____

In the late afternoon, before the bar is set to open, Jo takes her guitar out onto the balcony to practice. After a while, Bucky sets down the book he was reading and joins her. He watches cars and pedestrians pass below them on the street while Jo plays a song with a sleepy pace and melancholy lyrics on lost innocence. Bucky thinks it sounds pretty in Jo's soft tone.

Stacked yourself against the odds

Talking back to an act of God

You and your clever mouth

You were laughing when the lights went out

When Jo finishes and sets her guitar aside, Bucky pulls her chair closer to his and leans in to kiss her, cupping both her cheeks softly in his hands.

"What was that for?" she asks, smiling.

Bucky shakes his head, then says, "Sam said you had a record deal."

"So, you and Sam were talking about me, were you?" she teases.

Bucky looks sheepish, but Jo just smiles.

“Yeah, I had a record deal. Years ago. In Nashville. Then Danny got hurt, and we didn’t know for a while if he was going to make it or have long-term complications or what. So, I came home. He got better. We bought the bar. I still get to do what I love, and I get to be with the people I love,” she shrugs.

Bucky can sense a "but" coming.

“But…Danny blames himself for me not following my dreams. When the truth is, even if he hadn’t gotten hurt, I would have come home. I had an ex tell me once that I'm only happy when I'm failing." She rolls her eyes.

"And now?" Bucky asks.

“I’m just waiting to fuck this up,” she whispers.

Bucky snorts. "If anyone is going to fuck this up, it'll be me, doll," he replies. "I'm a 107-year-old ex-assassin who can barely use a smart phone and hasn't dated in eighty years."

Jo cocks her head to the side and says, "We could fuck this up to together?"

Bucky smiles. "Deal." Then he kisses her, his hand cupping the back of her head and his tongue sweeping into her mouth.

_____

When things are slow at the bar on Thursday night, Jo grabs her guitar and plays an acoustic set for the small crowd of regulars. Bucky watches from his seat at the end of the bar top, nursing his beer. The thought that this is somehow all too good to be true, that he doesn't deserve Jo or any of this, creeps back into his mind. He takes another sip of beer and clenches his vibranium fist, willing the thought away. By the time Jo's eyes sweep the bar to meet his, the thought is gone.

He follows her up to her apartment after closing time, and when the door is locked behind them, he pushes her up against it, his arms on either side of her head, caging her in. He takes a moment to admire her, her green eyes shining with a mixture of amusement and lust. He leans down and nudges his nose against hers, his breath soft against her lips.

“You gonna be good for me, doll?” he whispers.

Jo nods.

“Say it,” Bucky says, his voice dark.

“Gonna be so good for you, Buck,” Jo whispers.

Bucky smashes his lips against hers, rough and demanding. Jo moans into Bucky's mouth. His kiss is all teeth and tongue, and his hands wander to her hips and down to her thighs to lift her into his arms. He doesn't stop kissing her until he has her on her bed.

Bucky presses hot kisses against Jo's neck, then tugs her faded Nirvana t-shirt up and over her head. The rest of their clothes follow quicky until they're both naked. Bucky kisses between the valley of her breasts and licks at the tattoo beneath her sternum before taking one nipple into his mouth. His flesh hand comes up to pluck at the other nipple, and Jo cries out. Bucky pulls his mouth from her breast with an obscene pop and scratches the stubble of his cheek across her tender flesh.

Jo's hands thread through Bucky's hair, and she tugs him back up to her mouth for a kiss.

"Thought you were gonna be good," Bucky mumbles against her mouth. Jo whines. She can feel him smirking.

His hand comes up to graze against her cheek, and he kisses her softly, taking his time now. He's demanding, but gentle, and Jo feels as if every inch of her heated skin is on fire. But she wants more.

"You can be rough with me, Sarge," she whispers.

"Yeah? You like it rough?" Bucky flips Jo over onto her stomach. "On your knees," he growls, pulling her hips up.

When she's on her knees in front of him, he uses his flesh hand to push her chest further into the mattress. His vibranium hand holds her hips in place as he slides into her without warning. Jo gasps and shudders.

“You look so good taking my cock like this,” Bucky praises. His grip on her hip tightens as he guides her back and forth over his cock before holding her still and slamming into her, setting a swift pace. Jo keens and her walls flutter around him.

"Harder," she gasps.

"What do you say?" Bucky warns through gritted teeth. His right hand moves upward to tangle into her hair, wrenching her head backwards.

Jo whines, "Please."

When he pulls himself almost completely from her body, then slams back in, Jo's eyes roll to the back of her head, and she sobs. She's consumed by the feel of him.

Bucky leans across Jo's back and whispers in her ear, “You’re doing so good, pretty girl.” His right hand slips down beneath her body to toy with her clit. "Fuck, you're so wet."

Jo cries out, and her body shakes. Bucky feels the way she tightens around him.

“I got you," he whispers against her ear, "I got you.” His soft tone clashes with his rough movements and makes Jo’s head spin.

Jo comes with a cry of his name, and it sends Bucky over the edge. His vibranium hand whirs as it clenches her hip, holding her still as he spills inside her with a low groan. He falls onto his side, pulling Jo with him and holding her tightly.

“I didn’t hurt you, did I?” he asks, his voice soft.

“Not at all,” Jo replies, squeezing his hand.

He presses gentle kisses against her shoulder until she slides from the bed to clean up. Then he slips into a dreamless sleep.

_____

Jo wakes Bucky up Friday morning with soft kisses across his jaw.

"Hmph," Bucky grunts, not ready to open his eyes.

"Danny and I are going for a run," Jo says. "Do you want to join us?"

Bucky cracks one eye open to look at her. "Why?"

"Because I like you, and I like spending time with you," she says, rolling her eyes.

The corner of Bucky's lip pulls up and he opens his other eye. "No," he says, "why are you going for a run?"

"Not everyone has the metabolism and stamina of a super soldier, Sarge," she says, poking him in the ribs. “Some of us need the exercise.”

"What's in it for me?" he asks.

Jo rolls her eyes again before answering. "You can run behind me and stare at my ass in tight leggings."

Bucky hums and slides his vibranium hand down Jo's back to cup her left buttock.

“How long do we have until this run?” he asks, letting his other hand trail up and down Jo’s right side.

“Half an hour,” she answers.

“Good,” Bucky says, rolling her onto her back and hovering over her as Jo laughs.

They end up being a few minutes late to meet Danny.

When they finally emerge from Jo’s apartment, Danny is standing at the bottom of the stairs with Greta. Jo reaches out and scratches the dog behind the ears.

“Morning,” Jo greets Danny.

Danny yawns before responding, “It is indeed.”

“Late night?” Jo asks.

Bucky doesn’t hear Danny’s response. He’s too caught up watching Greta sniff his vibranium hand. When she seems satisfied with her inspection, Bucky strokes the top of her head. There was a dog at the small farm where he stayed in Wakanda, and it was nice to have the company at night when his brain wouldn’t shut off and he kept reliving everything he had done as the Winter Soldier. He wonders if maybe he should get a dog. Or maybe a cat.

“Hey,” he hears Jo say from beside him.

He turns his head to find her watching him curiously.

“Where’d you go?” she asks. “Looked like you were stuck in your head.”

Bucky shakes his head and give her a reassuring smile. “I’m here,” he replies.

“Good,” Danny says, turning toward the door, “Because we’re not gonna take it easy on you on this run, Barnes.”

Bucky sees Jo roll her eyes and smirk behind Danny’s back.

“Oh yeah?” Bucky says. “How far are we running?”

Danny’s smirk mirrors Jo’s. “On Fridays, we run until we're hungry, and then we stop for beignets,” he says.

And that’s just what they do. They run three miles in the park before heading to a local cafe. Jo grabs a table for them on the patio while Danny pops inside to order after insisting on paying; Bucky joins him to help him carry their orders. Outside, Greta laps water from the cafe’s outdoor dog bowl, then curls up at Jo’s feet and waits for Danny to come back.

When Bucky and Danny join Jo at the table, their arms laden with plates of beignets and fruit and coffees in to-go cups, Bucky sits as close to Jo as he can. She's wearing an olive-colored sports bra and matching leggings, and she shivers in the cool early morning air. Bucky hesitates before shrugging out of his hoodie and handing it to her. Jo's smile and the sight of her dwarfed by his sweatshirt is worth exposing his arm in public.

Bucky's phone vibrates from the pocket of the hoodie Jo is now wearing. She pulls it out and hands it to him. It's a text from Sam: "Don't forget about Saturday morning."

Bucky responds, assuring Sam he'll be there, and sets his phone on the table next to his plate. Jo glances down and snorts.

"Why is Sam your phone background?" she laughs.

Bucky purses his lips. "He thought it was funny. And I haven't gotten around to changing it. I'm good with tech when it comes to covert missions, not," he holds the phone up, "this."

Jo laughs again and takes the phone from his hand. She holds it in front of his face to activate the facial recognition, and then opens the camera app and takes a picture of the two of them.

Danny reaches across the table for the phone. "Here," he says, and their breakfast shifts into a photoshoot that leaves them all in stitches from laughing so hard at their own antics. Even Greta gets pulled into some photos. At one point, Jo pulls a piece of hair from her ponytail across her upper lip like a mustache, and, for some unknown reason, Bucky suddenly thinks it's the funniest thing he's ever seen.

He probably has a hundred photos on his phone now, just from breakfast. He watches as Jo scrolls through them, and when he sees one of her laughing with her head thrown back, he says, "That one." Jo smiles and shows him how to set it as his background. Bucky takes his phone from her and looks at the picture again. It's perfect.

They're almost done with breakfast, and Bucky has forgotten about his bare arm when a teenage boy approaches their table.

"Hey man," the boy says to Bucky, "You're Sergeant Barnes, right? You work with Captain America? That's so cool, man," he says, barely taking a breath. His excited energy reminds Bucky of Peter Parker. "That shit with the Flag Smashers in New York," the kid continues, "that was crazy. You're, like, a real hero, man."

He moves closer to Bucky to snap a selfie, then holds his fist out, and Bucky knocks his own fist against it, hesitantly.

"Thanks," Bucky mumbles, not used to the praise.

"Tell Captain America it's cool he looks like me," the boy says, pointing to his skin, before heading inside the cafe.

Jo just smiles at Bucky, watching the blush creep down his neck, but Danny says, "You should start charging for pictures." Jo rolls her eyes, and Danny laughs. Bucky can see the similarities between the two of them, and for a moment, he misses his own sister.

"Ready to head out?" Danny asks, breaking Bucky from his thoughts.

"Yeah," Bucky says, standing, "yeah."

When they're two blocks from the bar, Jo slows down.

“My legs are sore. Carry me?” she pleads jokingly, and before she can argue that she was only kidding, Bucky's bending down in front of her and pulling her onto his back, guiding her legs around his waist and her arms around his neck. Jo laughs.

"You're going to spoil her," Danny says, but Bucky just smiles.

Inside her apartment, Jo pulls off Bucky's hoodie and returns it to him.

"Looked better on you," he says and kisses her gently. "I need to head back to Sarah's," Bucky continues. "Sam and I promised AJ and Cass we'd take them out on the boat tomorrow morning, bright and early."

"I'll drive you," Jo responds, and she's grabbing her keys before he can protest.

_____

Bucky returns to the bar on Saturday night with Sam in tow. Jo's band is playing, and the smile she gives him from the stage when he enters the bar makes up for Sam's constant teasing throughout the day. He likes watching her like this. She’s free, uninhibited, beautiful. Too good for me, he thinks. The thought has been creeping in more and more lately.

Later that night, after Sam has left and the bar has closed, Bucky lets Jo lead him up the stairs to her apartment and into her bedroom.

"Let me take care of you," she whispers, running her fingers beneath his t-shirt. Bucky nods and allows her to strip his clothes off before he helps her out of her own. Jo maps each scar on his body with her fingers and her mouth, and Bucky's heart swells at her tenderness.

She pushes him backward onto the bed and tries to take his cock in her mouth, but Bucky stops her. He's not ready to give up that control just yet, worried he won't be able to stop himself from being too rough with her. When she straddles his hips and sinks down on his cock, he holds her hips with his hands and guides her movements. He guides her own fingers to her clit and watches as she falls apart above him before flipping her onto her back and driving back into her. When he comes, it's with a shout of Jo's name, and he drops his head against her shoulder, panting.

As he holds her while she sleeps, the thought he's been having – that he doesn't deserve this – returns, and Bucky lays awake brooding.

When Jo wakes on Sunday morning, Bucky is gone.

_____

next chapter - coming soon

[onestowatch]

REI AMI Is the Saddest, Baddest Bitch [Q&A]

The first time I came across REI AMI it was not through a well-intentioned pitch e-mail or by way of an eerily well-calculated Spotify algorithm. It was during an interview with FINNEAS, the sole producer and brother to Bille Eilish, and it was during that conversation above Hollywood Forever cemetery that I came to discover what exactly excited him so much about the up-and-coming artist with only three singles to her name. 

At her core, REI AMI is an artist of duality quite like no other. It is not a duality carefully explored through a large body of work or multiple online personas but one expressed with a reckless abandon, often in less than three-minute outbursts. REI AMI takes the appeal of Gen Z’s distaste for strict genre conventions and sees just how far she can push it. "

MAKE IT MINE,” her debut single, opens in haunting fashion, painting a transfixing picture of ominous pop perfection. Yet, on the same track, we are introduced to an entirely differently REI AMI. Gone is the siren with her cutthroat delivery. Instead, we are thrown down the rabbit hole, left to dance a psychedelic waltz that quickly sputters out of existence. The effect is all the more pronounced on “SNOWCONE,” which balances an impressive chaotic bravado and acoustic melancholic bedroom pop with inimitable ease.  

I had the chance to speak to REI AMI, on the set for an upcoming music video, about Sailor Moon, living a double life, and the importance of being both a sad and bad bitch. 

Ones To Watch: Who is REI AMI?

REI AMI: REI AMI is me. I grew up watching a lot of Sailor Moon. There are two characters, Sailor Mars and Sailor Mercury. Sailor Mars, her name is Rei, she's like the more hot-headed, very direct, blunt, bad bitch. Then there's Sailor Mercury, Ami, and she's still a bad bitch but like, she's more sweet and sensitive and reserved, and I thought those two characters best represented like, the two polar sides of my personality. I was like this is it! REI AMI sounds so dope. I have an emotional attachment to it. There's value in that and also it just represents duality. It's not having to choose between this or that. It's about embracing both and I feel like I can do that in my music. The transitions, they make sense because I can go from twerking to crying (laughter). Bad bitch to sad bitch, you know?

This idea of duality, from your name to your music, is outright impossible to ignore. 

REI AMI, this is who I am, I don't have to pick and choose just like, let's fucking go. With "MAKE IT MINE," "SNOWCONE," and "DICTATOR," they all have transitions, so those are like straight REI AMI tracks. Some currently unreleased songs that I have are straight REI tracks or AMI tracks, and if I want to do both it's REI AMI. But I know that, especially with "SNOWCONE," my producer Elie and I wanted a drastic switch-up because I go through highs and lows, and I'm not alone in that. 

“I want you to feel, and I want you to go from twerking, being a bad bitch to knowing it's okay to be sad. It's okay to be a bad bitch and still be sad.”

I think it's a very human experience that everyone deals with, and I thought it would be really important and really cool to sonically represent that and allow my listeners to experience what I go through on a daily basis. The reception it's gotten and the DMs from people telling me how much it meant to them was like the most validating, rewarding thing, because shit like, my song made you feel some type of way. That's the goal. I want you to feel, and I want you to go from twerking, being a bad bitch to knowing it's okay to be sad. It's okay to be a bad bitch and still be sad.

Yeah, it really gave me the vibe of this girl killing it at the club and then going home and crying in her pillow.

Yes! Like, "Ugh, I hate my life!" Shit like that, we all go through it.

I discovered you in relatively unconventional fashion. FINNEAS, who loved your production—

—and co-signed the fuck out of me!

Yeah, it was an immediate co-sign! He was like, "I only have one One to Watch right now, and it's REI AMI."

Oh my God, I'm fucking dead. I just... What the fuck is going on in my life? Like, of all the people, the first song I ever heard from Billie was "COPYCAT," and I've been following her since. She's obviously a worldwide superstar, and FINNEAS, they work exclusively together, so that story was already so beautiful and appealing, and that's very much like my producer and I. I work mainly with one collaborator because it works. You know, don't fix what's not broken. Obviously, I'm open-minded to working with other people, but what we have is so special, and I feel like I really see that in Billie and FINNEAS' relationship. So, it was just a very validating thing to get it from FINNEAS. From all of the people, FINNEAS was like, "Yes, REI AMI is that bitch!" Thank you FINNEAS, thank you for understanding!

How did you start making music with your producer?

So, freshman year of college, which was like 5 years ago, so I've been recording and writing for five years. I didn't release anything up until this year just because I felt that I wasn't ready, and I was still trying to figure out who I was and what kind of message I wanted to spread. You know, I was a dumb bitch, and I was making a lot of sad, heartbreak R&B songs, because I thought that's what people wanted to hear. R&B is the new pop, I love R&B, and I grew up on it. I was playing it so safe. I wasn't taking risks. And for the longest time, I wasn't having fun making music. Then I went through some real fucked up shit in my life earlier this year that spiraled me out of control and put me in a bad place both mentally and physically. I wanted to quit. I was like, "I haven't released shit so it doesn't fucking matter, no one's going to know or care." But then Elie was like, “No, pull up.” 

I went to the studio, I got shitfaced, and he started making a beat. I had a hook written down and it ended up being "MAKE IT MINE." And the weird breakdown in between was because I was so shitfaced and he intentionally did that so I would stumble on it because he wanted to know what drunk REI would say, and that's what happened. We shot the video the same night—he literally got up from his producer desk and was like "Uh, so do you want to shoot the video tonight?" I was like, "Say less." 

“Why would you want to make another song that sounds like 10 other songs out there? No, just fucking be you. There is no recipe, there is no equation.”

I love it! It feels so organic—all of your music does. 

Literally, it's just us fucking around and bullshitting. And that's how it should be. That session was the most fun I've had in years, and that's when I realized like if you're not having fun writing, recording, if you're not enjoying the process, you need to step back and re-evaluate your whole fucking approach. Like, what's wrong? What's good? And for the first time in such a long time, I felt so... myself. And take to mind, the production sonically, everything, is very left-field from what I was making, so I initially did not like the song. I was like this is so different, this is so weird. But then I was like wait, this is how it should be. Why would you want to make another song that sounds like 10 other songs out there? No, just fucking be you. There is no recipe, there is no equation. Fuck the equation, fuck what you want to hear. I want to make the shit that I want to listen to on the daily, on repeat for a week at a time.

I think that’s exactly what Billie and FINNEAS strove to do, and it seems like that’s where you’re headed with your music. There's no one else out there where I've been like, "Shit, she's a pretty good rapper," right before throwing me into a sad bedroom pop spiral.

Yeah! And I love hip-hop, I really got into it in high school when my friend put me onto Kendrick’s Section.80. I don't know much about that genre, because there's so much to learn and so much that I need to understand and really dive into and study, but Section.80, in terms of storytelling and his vocal abilities, like Kendrick is not just a rapper, he's a vocalist. The way he delivers vocally was so new to me, and it had such an impact on me. So, I've always been a huge fan of rap and hip-hop but I never thought I could do this until this year. 

With "DICTATOR," when I first wrote it, I had gotten my wisdom teeth taken out and I was high as fuck on Vicodin and I was like, "You know what, Imma fucking spit bars because I feel crazy right now." The first half of "DICTATOR" was all written by myself, me in my room, high as fuck. I ripped a beat off of YouTube, I was like, "I'm going in!" and then I sent it to Elie and he was like "Pull up this weekend, it'll be produced out and we'll re-record it, and that's what happened.”

What does your day-to-day life look like compared to this crazy music life?

(laughter) I am Hannah Montana. I have a full-time day job and they have no idea. I work for a custom packaging company and our biggest client is Sephora, so I oversee all of their international and domestic programs. It's a nine-to-five, but it's such a lax company that I can do music and be here and be places, but they have no idea. I'm the youngest in the company by like... a lot! So like they're not going to be like, "Hey girl, what's your Instagram, like add me!" (laughter) Like no one's doing that shit. They think I'm just chilling in LA.

So, what's next for you?

So I have a series of singles coming out next year with videos and then there's a fuller length project—a mixtape dropping around May-June, followed by some live shows. It's crazy, a lot of people are like, "When are you going on tour? When are you performing? I want to see you live!" And as much as I want to perform, I want to get it right. And being the neurotic person that I am, I'm not going to put on a show that's half-assed. If fans are paying money and coming, giving me their time, I want to make sure it's worthwhile and the energy I give out, I want it reciprocated. As much as I hate making them wait, like, hey, good things take time and I promise you, it's going to be such a wild experience. I'm so excited like, oh my God I cannot wait!

With 2019, coming to an end, what was your favorite thing about the 2000s?

Well, okay, I'm sorry but early 2000s pop and music in general I mean come on, the classics like "Milkshakes," 50 Cent’s "Candy Shop," "Moneymaker" by Ludacris and Pharrell, the Pussycat Dolls, Fergie, old The Black Eyed Peas, you know. I think that obviously molded my sound like you know, Missy Elliot and Destiny's Child and Beyonce—oh God when she was just rising and becoming that fucking monster you know? I think I miss 2000s music so much, and it always puts me in a good mood.

What's your 2020 resolution or goal?

Okay, I mean I want to do COLORS, I want to do Genius videos, I want to do the Teen Vogue Playlist of Your Life, Pitchfork’s Over/Under, Song Association on Elle. I want to do all of those things because those shows on YouTube are how I found some of my favorite artists. I want to go on tour and I just want world domination. I want to go internationally like, ugh I have so many ideas. I want to release the dopest merch where my dog is the brand mascot. I guess touring would be like the ultimate, whether I go on a headlining tour or a supporting tour. Just to be able to go out there on the road and meet my fans. That's an experience I've never had, and I'd love for 2020 to be the year where I do that.

What's the one thing you wish you could tell 18-year-old REI AMI?

Stop giving a fuck. Just stop. At the end of the day, if you're not happy doing what you're doing, especially when it comes to the music, stop, grow the fuck up and do what you want. Fuck what other people have to say. It took a long time for me to get there, and I believe synchronicity is very much real and timing is everything, but I just wish I cared a lot less about people and their opinions of me. Be a boss bitch! Goddammit! Stop being a little bitch. That's exactly what I would say. "Stop being a little bitch, bitch!"

Who are your Ones to Watch?

Ant Saunders. Ant fucking Saunders. His voice is fucking incredible. "Yellow Hearts." I haven't been able to stop listening to that. It just puts me in such a good, uplifted, happy mood. His voice is just so rich and so mature.

[anxiety-counselling-brisbane]

SHOULD COUPLES GO TO THERAPY?

Should couples go to therapy?

Choosing to go to couples counseling can make a very big step. It involves recognizing that things are not perfect in your partnership, which are often difficult to implement and frightening to recognize. If you are not particularly familiar with what the treatment is, you may feel ambiguous and confused, not to mention that it may require considerable effort - finding a suitable provider, identifying insurance and other financial aspects of the obligation, and reaching the time to fit everyone's schedule. The idea of​​seeing a marriage or couples therapist often lies in the back burner, where one or both parties think it may be a good idea, but also feel uncertain how to proceed - and whether their specific problems can actually be helped.

To help demystify the process, I outlined some common problems that suggest that a couple may benefit from seeing someone. It is important to remember that most therapists, for couples and individuals alike, offer a copy of the free consultation to let you decide whether they are right for you or not. Don't be afraid to communicate and ask questions - the better, the better, even if it's not a good game, you can go ahead.

1. Trust has been broken.

One of the most common reasons for seeking couples therapy is the need for help to overcome a major breach of trust. Perhaps it was betrayal in the form of sex. Maybe it was an affair. Maybe it was a series of lies or deceit about money. In any case, the foundation of trust can often be rebuilt by creating a forum in which both parties are free to express their weakness.

2. Arguments are getting more frequent.

Do you notice that the rhythm of your daily life turns into a more conflict-oriented feeling? They may all be “small” arguments, or the explosions are huge and leave a lot of drama in their wake. In either case, the pattern of increase is important. This may be a flash on the screen, as one of you is going through something difficult personally. But it can also point to a risky path in ongoing debate. More importantly, it can indicate significant problems below the surface that are not really dealt with.

3. Communication is poor.

Public conflict may not be the problem, but you constantly feel misunderstood or ignored. Or you may feel like you don't have a good idea of ​​what's going on with your partner recently emotionally; he or she may be a stranger. Often, one of the most tangible results of couples therapy is an increase in communication, and a significant improvement in its quality. A skilled counselor can equip you with tools that will help you communicate, hear and understand each other better on a daily basis.

4. There is definitely something wrong, but you are not sure why or why.

As with individual therapy, couples therapy is sometimes useful not only for solving problems, but also for identifying them. Let's say that something in the dynamics of your marriage has changed, but you can't really describe it. Or do not feel comfortable with your partner as I used to. Or you find yourself chronically upset, but you're not sure why. These are often early signs that the reactions have become unhealthy or dysfunctional. This does not mean that a person should take responsibility, but that the relationship itself can be used exactly, and the therapist's office is often a very useful place to start this process.

5. There's something you want your partner to know, but you can't tell.

Sometimes the beauty of treatment begins in the room itself: it can become a safe and supportive place for you to bring things that are difficult to talk about elsewhere. A well-trained coach with a warm presence often helps you overcome your fears of sharing something with your partner.

6. One or both of you becomes dysfunctional during the conflict.

We know from John Gutman's research that how couples handle conflict is one of the best predictors of whether their relationship will begin. You or your partner may close, criticize, or become revengeful or passive aggressive. Unfortunately, there is no shortage of dysfunctional ways of dealing with conflict - which makes the original problem much worse. 

7. You have gone through something destructive that changes the way you communicate with each other.

Sometimes, the harsh double blow of a setback in life is not that the setback itself hurts, but also its effect on marriage or partnership. Many couples go their separate way after a tragic child loss, for example. At other times, it is long-term unemployment, a health crisis, or disturbance within one of the partner's original families. You may not consider going to couples counseling in the aftermath of something very large; after all, you have enough to worry about as it is. But maintaining a strong bond in your relationship can unite you and give you extra power to overcome the storm that comes.

8. You feel stuck in bad patterns.

There is no limit to the number of patterns that partners develop in everyday life, from how and when to eat and sleep (lack of sleep is associated with marital problems), to the amount of time they spend away or with others, to those who deal with different household chores, and how they interact with each other's families. The pattern of unsatisfactory dysfunction may be as simple as one spouse's always using the other like an acoustic panel on work complaints, but don't bother to reciprocate without losing interest. Or it may be deeper, such as the long-term division of housework that feels unfair (or irritating). However, the longer the pattern, the more energy and time it takes to change it. Better to start early.

9. Intimacy is over or diminished deeply.

It is almost vulgar for two partners to feel that the “spark” is over after spending a decade or more together, and that they are more roommates than their soulmates. Sometimes it is because grinding everyday life is breaking the ability to communicate, which is simply a matter of rearranging priorities. At other times, it may be more worthwhile and represent two partners who have been quietly growing, changing in incompatible ways for a long time, or even learning how to meet their needs elsewhere.

10. Physical intimacy is a problem.

Sexual problems can be a symptom and cause of relationship problems, which means it is often at the forefront of the couple's daily complaints. Sometimes the change is obvious and frustrating - the couple moves from repeated physical intimacy to almost nothing, which is annoying. Sometimes, it is a gradual freeze from being sexually verified by each other to barely satisfied. Sometimes there is a more open conflict, where one partner expresses frustration, a partner is constantly rejected, or sex is used as a bargaining tool. Whatever the problem, a skilled counselor can help you get started.

Source URL : Psychologist North Brisbane

[cjostrander]

Jimmy Eat World: Integrity Blues

Good morning everyone! Today i’m going to tackle a promo review and it will be the latest by jimmy Eat World. There hasn’t been anything new yet this year that has interested me; so i figured it would be worth scratching off another new one before returning to my anniversary reviews. This is an interesting piece that i feel is much stronger than their prior “Damage” album. It did bring up some elements of Radiohead’s latest album (great album by the way) in terms of atmosphere and is a nice direction for them to take. We shall see how well it flows because that is possibly the only real area that i could consider some sort of complaint. Let’s get started and see how these guys do on their ninth album.

You and Me: It begins with a soothing acoustic riff that echoes its way through your ear drums and joins forces with some harmonious choir vocals to create a very atmospheric effect. The drums take on a semi-electronic beat while the guitars gain in energy and cheer. They will do well to treat the listener with a combination of straightforward melody combined with drawn out complexity in approach. The vocals are very soothing and sit nicely in the middle range with Tom Linton providing his staple backing vocals. The lyrics prove to be very strong and could compare vocally to Invented and Chase This Light; but with a very organic tone.  It definitely contains a very spaced foundation but the instrumentals maintain a surprisingly strong degree of energy and contained softness to start this album off on a rather strong note. It already stands above Damage in my opinion due to the more risky approach and stronger delivery of melody in the lyrics. (i liked Damage just noted a lot of filler pieces that could of used a little extra push in their flow). 9/10

Sure and Certain: This is a single and begins with a soothing yet playfully energetic guitar melody and drum pattern. The bass hums along peacefully while Jim warms up his strong vocals into a very blissful tone. His lyrics continue to captivate the listener with their degree of substance and smart spacing. This piece along with the prior song will prove to be strong live picks for a relaxing cafe style concert setting. The chorus makes a frequent appearance on this song but manages to hold it together quite well. There is a nice little instrumental segment that combine with backing choir vocals to create a very majestic atmosphere. The guitars even manage to infuse the track with a nice bit of climatic drive without throwing the song’s theraputic tone out of rhythm. Not a bad piece for a single due to it’s ability to capture a relatively wide range of listeners in the indie circle as well as some pop rock fans too. I liked the opener a bit better due to its ability to pull off over five minutes of complexity smoothly while this one proves more safe and is at three and a half minutes long. Either way i still stand by this one as a fair peace to begin promoting with for now. I believe Get Right was the first track that surfaced but was more of a demonstration of Jim’s solo material for Jimmy Eat World. I would of actually liked to of seen what Jim Adkins could of done for a solo record (probably something more acoustic and piano driven); but its easy to label these guys as a consistently strong group that wouldn’t warrant such side projects. Enough of my rambling on this one lol. Onto the next one! 8.5/10

It Matters: Highly echoed keys begin this one on a very poppy note while the bass and drums support it very smoothly. Jim enters as casually as one can expect and his lyrics warm up gradually over time but do hit a nice level of strength once the chorus enters. The chorus is very soothing and can be viewed as one of the more typical pieces for older fans to grasp onto immediately so that they can be more easily adapted into their more risky work. The bass rumble actually has a nice groove to it; which could be a nice segment to develop a nice dance to. The guitar solo proves to be interesting due to its disengaging touch and pure focus on organic melody. I definitely contains a spur of the moment quality to it and should give enough diversity to get the listener to the end of the song without becoming bored with repetition. I will acknowledge that this is another decent piece to unwind to and allow your current troubles to melt away. The keyboard element is a nice touch of class for it and will further add to their range of sound. I could call this piece out as being safe again like the prior song and as a result would risk boring a listener that was focused heavily on what’s going on. I would suggest not putting too much emphasis on songs like this and let the song take up the atmosphere of the room. That will make it a very pleasant experience. Ironically i was listening to this album yesterday while running a blanchard grinder; so it was interesting how well the loudness of that machine interacted with the softness of this album. Definitely a sweet Ying and Yang effect that helped motivate me to tackle this album today. 8/10

Pretty Grids: This one uses a very raw key rhythm that is quite interesting and the bass/drums enable Jim to enter with an immediately catchy vocal direction. His lyrics are very strong and the overall dark nature of his chorus creates a night effect that is highly reminiscent of Futures. That comparison alone is enough to convince a seasoned fan to give this track a listen. The guitars provide a very supportive nature while the drums seem to be the dominant instrument with the bass a close second. There is a very soothing interlude towards the end where Jim takes on an echoed tone and the acoustic riffs enter to give the drums an organic tone. It is rather soothing and pulled off very well melodically due to the lack of clutter and strength of Jim’s relaxing voice.  8/10

Pass the Baby: The bass begins with a low rumble and the drums enter with an electronic tone. The electronic elements i believe are new to this album though Damage may have tinkered with it a bit. The vocals enter just as low and give the song a nice opening texture as the backing vocals deliver a soothing companion element. The bass continues to direct the song in a fluid manner while the guitars conservatively infuse melodic riffs every now and then. This dynamic did conjure up thoughts of Radiohead’s atmospheric approach (drums/bass rhythm)  but retains a very clear identity for Jimmy Eat World. The chorus is very relaxed and features predominantly Jim’s soothing verses and leads into a rather relaxing instrumental segment. The drums keep a steady beat while two guitars work together to liven the piece up just enough to keep the listener from losing energy . It then surprises the listener with a few loud drum bashes before going into an aggressive jam rhythm which is surely out of character for this album; but is very pleasantly appreciated. It will appear rather nicely live and will play a humorous role of waking up a listener who may find himself dozing off from the abundance of easygoing tunes on this album.  I liked the very finely hidden Radiohead elements in this one and the jam segment demonstrates that the band isn’t opposed to delivering material with the energy of Futures and Static Prevails in this era of their career. 8.5/10

Get Right: This is the second single and Jim’s very own solo piece for when he went touring by himself for the first time. The fact he gave the song to the band should assuage fears that he seriously considered a solo career aside from his band. It is a shorter piece at just under three minutes; so i’m expecting a more direct approach than the last song. The guitars and drums begin with a nice degree of tension and rough rhythm that follows the previous song’s jam ending fluidly. Jim has a more demanding delivery than one may have expected in awhile and as a result the overall texture of this song will do well to capture the listener’s direct focus. It still spaces itself out effectively and will ensure that this piece doesn't feel rushed or drawn out but definitely a three minute tune. Jim’s delivery gets very lively towards the ending and you hear sense a very tense approach to his lyrics that are elevated to a decent level by backing harmonies from his band mates. This one i would see as a hit or miss depending on what you expect from them at this point in their career. Its tense approach is a decent change of pace for maintaining momentum on the album and would fit relatively well with earlier song during a show. You can sense Jim’s solo touch on it as a result of its tenseness which i honestly thought would have gone even softer than this album due the general approach of the band over the last three albums; but if Jim can write more raw material on his own then future releases may touch upon that approach in the future. We shall see. 8/10

You Are Free: This middle track marks a return to more spacey guitar openings and the bass works with the drums to create a more familiar sense of harmony for fans to enjoy. The vocals lose the roughness of the past song and develop a very soothing tone. The chorus to this one is phenomenal in how simple the lyrics are but how emotionally drawing they are in terms of emotion. The instrumentals manage to deliver a high dose quality support and the keys will do well to add in little extra bits of complexity without taking the focus away from the emotion in Jim’s lyrics. I would view this piece as a highlight song that should attain single status. I do see that the interlude segments could be a bit drawn out for airplay but its melody and emotion will do well at attracting a good level of listeners to this album. Fans should be happy with this one and will likely come to share my opinion of it as one of the stronger tracks on the album. I agree the instrumentals could of used a little extra push to them but it gets the job done and will be a greater listen when on shuffle mode. 9/10

The End is Beautiful: This is another of my personal favorites on this song and it begins with a simple key note and a steady drum beat. The guitars take on a somber melody while Jim enters to further develop the sad atmosphere that seems just right for this song. The chorus approaches rather quickly and will resonate with the listener immediately on an emotional level despite its simple lyrical structure. The guitar prove to be a steady instrumental focus and the rest of them focus around it to provide to soothing approach to push Jim’s voice to the next level. As the song builds Jim really pours his heart into this song and the energetic melody of the guitar solo surely provides an uplifting break for them. Casual fans could pick repetition in the lyrics apart for this song but when you hear Jim’s sincere delivery it’s hard not to fully appreciate it for what it is. Three more to go and this review is set! 8.5/10

Through: The guitars start off on a pretty soothing tone and Jim enters rather energetically. The instrumentals adapt cleanly to support his level of drive and the song as a whole takes on a much more positive tone than the previous song. The lyrics continue to develop a good level of substance and the energetic jam solo towards the end will provide enough punch to capture a nice bit of attention during a live show. It’s a very quick song but it does well at speeding along the album before they reach their lengthy finale piece. 8.5/10

Integrity Blues: This title piece begins with some classical strings in the background and a heavily echoed voice from Jim. The lyrics are a bit hard to understand as a result but it does conjure a very holistic tone for the more religious listeners to contemplate. It definitely is a newer approach for the band to tackle though you could think of it as a very souped up version of My Sundown.  Other than that this one really doesnt seem to hit the mark much for me. It definitely has a very climatic tone overall and would be a great piece for a movie soundtrack; thus giving it a nice purpose overall. Other than that, i could of skipped this song and not even have missed a beat in terms of flow. It’‘ll still be appreciated easily enough from their indie fan base. Now for the finale! 6/10

Pol Roger: This finale track is nearly seven minutes long and will prove to be an indepth listen. Brass and a low bass rumble start this song on a mellow note while Jim eases his way into the song with a calming sense of melody, His lyrics are low but provide enough substance to follow along rather nicely. The chorus infuses a high degree of mid range energy and Tom supports Jim with some harmonious backing vocals to a successful outcome. The chorus on Jim’s part will deliver a nice dose of cheer for the listener to be happy with this song before the more drawn out soft segments enter to space out the song. It doesn’t take away too much energy but the hot and cold approach will be easy to notice if you are focusing heavily on the song like i am. The solo is another nice element that will add extra emphasis to the song and help to conclude this song and album on a decent note. 7.5/10

Overall album rating:8.1/10

[delicadenza]

Gratuitous YOI High School Glee Club AU Incoming

What originally started off as a random brainfart shared between @mayerwien​ and myself to the effect of ”oh lol it would be so adorable if leo de la iglesia sang solos in his church choir” mutated rapidly into “ok we need a huge-scale high school glee club AU complete with choreography and song list.” Since we’re both trying to squelch the temptation to write it out into a full-on multichaptered fic/screenplay/series of TV and music video storyboards, here we are putting the summary together to share with the rest of Tumblrsphere.

This AU takes place in an unidentified high school in an unidentified country, where the glee club has been whittled down to three members–President Victor, Vice President Chris, and Official Club Secretary/Treasurer/PR Officer JJ–as the other members have either graduated or left the club due to their general all-abiding weirdness. Glee coach Yakov tells them that as per directive from the principal’s office they need to add to their roster or they can’t be an official club. Hence the first major story arc is probably Victor resorting to weird guerrilla recruitment tactics (e.g. listening for random musically-inclined people in the hallways, stealing people from other clubs, etc.) to beef up their numbers and in the process discovering Yuuri, your archetypal shy, golden-voiced ingenue. Silly Hijinks ensue, they eventually get their shit together and (re)enter the competitive circuit, More Silly Hijinks Ensue.

(Disclaimer: we’re playing this mostly for laughs so there’s not much here by way of complex or cohesive plot, ages have been thoroughly messed around with, and a lot of the character-trait-assignment is more than a little cracked-up but hey we’re running with it and having fun with it, especially the weird and wonderful process of setting all our cracky thoughts to music, so we hope you do too. <3 Feel free to headcanon the life out of our headcanons as well because this AU needs to Live.)

Character intros + songs (links click through to YouTube; we’ve picked appropriate-sounding cover versions where possible for maximum Imagination Factor) under the cut!

Victor: Senior, president of the glee club, its primary soloist, all-around Golden Boy who’s beloved for his smooth key changes and surprising vocal improv. Can Sing Anything, even the front page of a newspaper, probably. The catch is he’s unsure about whether or not to continue pursuing music after graduation, as he’s worried that both his abilities and his interest in singing will have peaked in high school. Still searching for that One Thing that will make him excited about music again, whether it’s new songs, or new people to sing with. The other kids at school tend to be intimidated both by his mountain of singing accolades and his eccentric demeanor, and so give him a wide berth–Victor in turn sort of shrugs it off and remains unaware of his deep-seated loneliness until he’s finally mustered up a full club and realizes this must be what it’s like to share a music room with lots of people who want to be there with you, and that it’s being part of something special that makes you special. (Character song: “Love Song for No One” by John Mayer; it’s a song that helps him relax and step back from the high-octane performance pieces he’s always doing for the club, and gives voice to certain complicated feelings he would have no idea how to talk about on his own.)

Yuuri: Sophomore, plays a hundred different instruments (or welp just the guitar, piano, violin, and maybe the clarinet) and sings besides and has loved music since he was a little kid, but suffers from a lot of anxiety about his singing in particular that leads to debilitating stage-fright. Over the years he’s gotten better at working with instruments in front of an audience–he’s played piano for the drama club and such a couple of times–but has yet to sing in public; as of AU start Phichit and his family members are the only ones who know he can sing. A big fan of Victor’s voice but has never worked up the courage to tell him so, or even go to any of his former glee club gigs without Phichit to drag him there; has in the past usually settled for hovering uncertainly outside the music room door and listening. Victor discovers him taking a shower in the boys’ locker room after school one day For Some Reason ala Pitch Perfect, because Yuuri thinks the place is empty and forgets himself enough to belt out a few lines of “Titanium.” Victor promptly jumps in the shower and attempts to duet with him on the spot. He has a warm voice with a full timbre that rises easily over the accompaniment; his main charm point is first identified as his sincerity, but it becomes apparent later that he can deliver on more dramatic numbers when pushed. In spite of his lack of performance experience his diaphragm is well-exercised from years of shower concerts. (Character song: “Bad Day” by Daniel Powter, which he likes to play for himself on the keyboard in his room to pick himself up when Times Are Hard.)

Yuri: Freshman, conservatory-trained-from-the-womb upstart wonderboy, former boy soprano who passed the puberty test with flying colors and continues to boast impressive range and vocal control. Always chooses the most ambitious performance pieces to Make a Point, and applies himself fiercely to his practice, but secretly chafes against the rigidity of his classical training and has no idea what to do about it; his dearest dream is to have more opportunities to let loose and sing more RAAAHHHK. Yakov is a friend of his grandfather, which is why he got nudged into the glee club, but he’s duly dismayed when it’s populated by three weirdos and no one else. Used to sing in the same boys’ choir/do chorus roles in the same small-time musicals as Otabek, back in the town they both lived in as kids, but promptly forgot about him when he moved away in middle school. His favorite band is Paramore, but you didn’t hear it from him. (Character song: “That’s What You Get” by Paramore; his Iconic Moment is when he slams the door to his room and puts this on full blast so he can scream along to it in an attempt to either block out or understand his feelings, probably sometime after Otabek comes back into his life and he remembers their Shared Past via an ultra-meaningful duet or five.)

Chris: Senior, vice-president of the glee club, Victor’s sometime duet-partner because his lower range makes for pleasing harmonies, the high point of their career being a cover of “Take Me or Leave Me” from Rent for Broadway Night in their junior year. Insists he Doesn’t Mind Not Being a Tenor, though his true feelings about it–about anything, really–are obscured by his cavalier, flirt-with-everything-that-moves facade. His leadership policy is to shrug in a vaguely affirmative fashion at all of Victor’s strange plans because they sound fun but actively helping him get things done takes too much energy. Has an ongoing long-distance relationship with an unidentified upperclassman of theirs who’s since moved on to college glee. Has a lot of fangirls, who describe his voice largely in terms of sweet, viscous things–melted chocolate, honey, molasses, and so on. The only one in the club who can pull off a growl. (Character Song: a particularly slinky rendition of “Hallelujah” by Leonard Cohen–with all the sexy lyrics in, obviously.)

JJ: Junior, fills pretty much all the other leadership positions as needed in the glee club after they lose nearly their entire member base. Has his eye on Victor’s spot as Favorite Soloist but always gets passed over in favor of Victor for solos and usually ends up serving as his alternate. Yakov’s told him multiple times that he has a good voice but an abrasive onstage presence. Of the original three members he’s the only one who doesn’t take well to the directive to beef up their numbers, as he’s convinced that the three of them can be a functional glee club all on their own. Or that he can be a glee club all on his own, with just his girlfriend to back him up and sing duets with him occasionally. Leaves the glee club for much of the Derpy Recruitment Arc to establish Glee Club JJ-Style, which let’s be real is nothing but him and Isabella, and one of the first major conflicts faced by the cast is whether or not they actually want him back, and how to get him back once they decide they kinda do, in spite of everything. (Character Song: “Who Wants to Live Forever” by Queen, Breaking Benjamin cover, because. Because. Though of course everyone secretly says they like his poignant love ballad duets with Isabella more than anything he does on his own; her presence has a way of humanizing him and making him more likable to the audience.)

Phichit: Sophomore, Yuuri’s best friend, eventually gets assigned to manage the glee club’s social media accounts after he joins up. Loves music but never thought to pursue it formally because he’s interested in a lot of other things too–amateur photography, dancing, baking, synchronized swimming, painting props for the drama club, you name it–and used to spend a lot of his time helping out other clubs in a pinch. Spends his magical pockets of free time cheerfully playing his guitar in the quad, and uploads covers of his favorite songs to YouTube and Soundcloud, which is how Victor discovers him. Drags Yuuri onboard to play piano or second guitar or sing harmonies for him sometimes, but keeps him carefully out of frame in all the videos per his request, leaving his followers more than a little curious about who the Mystery Voice belongs to. Starts off with a pretty light, bright voice, with a cute falsetto; his initial specialty is the low-key feel-good acoustic number, but since joining the club he’s started learning to sing with more weight and power. (Character Song: “Photograph” by Ed Sheeran; it incorporates his two favorite things to do in life, plus it jives with his generally hopeful outlook on life and love and pretty much everything. Also it’s Yuuri on the glass xylophone, naturally–they were hanging out in the music room one day and someone had left some random glasses lying around so they had a weird idea to mess around with them and suddenly it was beautiful.)

Otabek: Freshman, mysterious transfer student with a velvety baritone everyone inevitably falls in love with. Yuri’s erstwhile neighbor, friend, and choirmate, but fell out of touch with him because his family moves around a lot. Has dreams of playing in a band one day, but struggles with reaching out to and connecting with others, and is generally unsure about the idea of finally finding a place to belong. A self-taught guitarist who did odd jobs around his neighborhood so he could buy his first guitar. Joined the glee club after he passed by the music room one day and heard Yuri doing his scales, because of course he would remember that voice, of course he would. His first duet with Yuri in years is in an empty auditorium after practice, which of course he opens with, “Are you going to sing with me or not?” (Character Song: “One Song Glory” by Jonathan Larson; he goes up to the rooftop of his apartment building and practices this by himself as the sun is going down.)

Leo: Freshman, a dancer whom Victor steals from the school dance troupe after discovering that 1) he also sings lovely solos for his church choir, 2) he has a fairly active YouTube channel for his covers, which primarily consist of mashups and medleys. Strikes up a friendship with Phichit pre-AU Start over YouTube Musician Life; they’ve guested on each other’s channels once or twice. Interested in music production and wants to pursue it as a possible future career path, so of course he does all the mixing and instrumentation for his tracks, and later for the glee club once Victor decides to take advantage of his wide skillset. Is such a dear sweet ray of sunshine he accepts all of Victor’s wild mixing and choreography help requests, but his greatest personal challenge is when Victor asks him to personally coach Seunggil on his showmanship. (Character song: This insane mashup of Hailee Steinfeld’s “Starving” and Frank Ocean’s “Aylin Ivy”, which is his greatest accomplishment until the day he finally gets Seunggil to smile onstage.)

Guanghong: Freshman, a friend of Phichit’s from the baking/cooking club with unexpectedly dark music taste. Outwardly soft-spoken and sweet, but finds it bothersome that others tend not to take him seriously in favor of calling him cute and pretty all the time. Unexpectedly he and Yuri bond over this common problem of theirs, and over their shared RAAAHHHK singing dreams, though Guanghong’s are more of the Evanescence persuasion, in contrast to Yuri’s Paramore. His bedroom is primarily pink but it’s also covered in posters of his favorite darque bands, so everyone who comes over to his house experiences a certain measure of cognitive dissonance that’s to be expected when you know him well. Hits All the High Notes, All the Time. (Character Song: “Bring Me to Life” by Evanescence, which Leo agrees both to mix and do backing vocals for; he’s both charmed out of his mind and slightly afraid the whole time they work on it together.)

Seunggil: Sophomore, pianist in the school orchestra whom Celestino gives to the glee club as an accompanist in the attempt to help him polish his coordination and people skills. His singing talent is discovered somewhat by accident because the rest of the club notices his eye twitching all the way at the back of the room whenever someone goes off-key. When he comes onboard as a singer it becomes apparent right off the bat that he has perfect pitch but absolutely zero showmanship; no matter how high-energy the song-and-dance routine, he goes through the motions with an immovable straight face. (Character song: “Piano Man” by Billy Joel; his first ever solo is a cover of the song, except he’s rearranged all the jauntiness out of it and what’s left is unexpectedly mournful and heart-squeezing and makes everyone in the room want to hug him.)

Emil: Sophomore, the resident beatboxer, super friendly computer nerd who shares Leo’s interest in composing and sound production. True to form, electronica is his primary genre, and Leo always jokingly calls out Emil’s mixes for being too synthy, but they’re unique in that he still somehow manages to give his songs a strong melody line. His pet project/personal challenge upon joining the glee club is engineering a cappella arrangements for Daft Punk songs. (Character song: “Shooting Star” by Owl City, which he plays for the club one off-day that they’re all feeling down; the others had always been kind of weirded out by his music taste prior to that moment, but then suddenly everybody was tearing up over the twinkly sounds coming from his laptop.)

Michele: Junior, jumped ship from the drama club after Sara left. His greatest acting strength is his ability to deeply internalize the thoughts and emotional state of the characters he plays, a skill that’s still somehow put to good use in glee, especially during character- or narrative-driven performances. Butts heads with Emil often because he finds electronic music soulless, and/or because Emil smiles too much when he performs and doesn’t have enough gravitas. Has a deep, dramatic voice, but struggles at times with controlling his vibrato. (Character song: “To Where You Are” by Josh Groban; he bursts into the music room singing it the day Sara leaves, and everyone is freaked out of their minds but his vocal chops are undeniable, so it only takes until the end of the song for Victor and Chris to decide to adopt him.)

Sara: Junior, formerly the prima donna of the drama club, with acting skillz well-honed enough that it doesn’t bother her to play alongside her twin brother, but after two straight years she’s getting tired of it. She left drama on a whim to answer Victor’s recruitment call in an attempt to be more independent and find a change of scene; somehow did not anticipate that he would follow her to glee without even looking back, leading male role in the winter musical or no. Helps Leo with choreography, and takes the lead in particular on crowded high-energy ensemble routines. Her voice is powerful and rich and somewhat dark in tone, and handles dynamic changes well. (Character song: “Mine” by Taylor Swift, but a slowed-down, melancholic version; she has a penchant for sad, high-drama songs that allow her to make use of her theater background, but it’s all acting, no drawing from personal experience, oh no, she’s a strong independent woman who doesn’t need love.)

Mila: Sophomore, Yuri’s cousin who considers herself his older sister figure and nursemaid by obligation, even if he insists he doesn’t need her to look after him anymore. Plays spiker on the girls’ volleyball team, but entered the glee club mostly to keep an eye on Yuri, and because she enjoys high levels of activity in her life. Contends with a lot of doubt from all corners about whether or not she can balance all her extracurricular obligations without sacrificing performance for any of them, but she’s determined to Prove Them Wrong. Keeps Yuri’s embarrassing baby photos and home videos on her phone to show everyone. Has considerable vocal agility, so she gets a lot of riffs and runs. (Character song: “Fight Song” by Rachel Platten; it’s her song for both her teams as they go into the full flush of their respective competition seasons, and she somehow manages to convince everyone to fistpump enthusiastically all the way through each chorus.)

Georgi: Senior, a longtime friend of Victor’s who finally joins him in the glee club after four years of nagging/”gentle persuasion.” Used to be involved in theater, but quit at the end of his junior year after his girlfriend and leading lady left him for his understudy. The theater people he left behind worry that sadness is the only emotion he truly knows how to convey–and that the way he performs it is oftentimes too intense and lacking in restraint–but Victor insists he can work with Georgi’s moodiness and turn his emotional energies toward truly affecting musical performances. Everything he sings starts off sounding somehow operatic. (Character song: “On My Own” from Les Miserables, which he had originally wanted to mash up with “I Dreamed a Dream” and “Memory” from Cats, but Victor had the foresight to see that such a combination would make this year’s Broadway Night very heavy very fast, and managed to convince him to choose just one.)

Isabella: Junior, classically trained conservatory girl, JJ’s girlfriend since freshman year. Has been sought out by Yakov for the glee club more than once in the attempt to bring in fresh voices (and more girls, for balance), but she’s always declined On Principle, given the Victor-JJ conflict–which she’s fully cognizant is a conflict mostly on JJ’s side, but you’ve got to be supportive. Eventually convinces JJ to stop being a big baby and return to the glee club and learn to be a team player, and finally joins up with him. Initially her most well-known performance piece is her tearjerking duet with JJ to “A Thousand Years,” but she starts making a name for herself after a while as the Power Ballad Girl. (Character song: “I’ll Stand By You” by The Pretenders, which she sings on the heels of one of JJ’s tantrums on an especially bad off-day and reduces the entire club to tears. Yakov included, though he pretends to have a cold.)

Minami: Middle-schooler from the sister school with which the main school has close ties, president of his school’s glee club, huge Michael Jackson stan. His singing is kind of rough around the edges especially since his voice started changing, but he makes up for it with his exuberant Performer’s Aura. You can pick him out in any group of dancers in a heartbeat because he’s for sure giving the choreo 200000% each time. Watches all of Phichit’s covers and is obsessed with finding out who his mystery collaborator is, finally sees Yuuri perform at the regional glee club competition and knows in a heartbeat that it’s him. (Character song: “Rock with You” by Michael Jackson, which everyone at his cool is convinced is too big a song for him and his club but of course Minami-kun’s convinced he and his team are going to prove them wrong, they were born to make history.)

Minako: Guidance counselor, coaches the dance troupe on the side. Sees Yuuri often for his anxiety episodes and is instrumental in coaching him through all his qualms about performing. He hides out in her office whenever he’s nervous or upset, but soon discovers she’s not going to let him skip out on glee club practice after she physically picks him up and delivers him to the music room his first and second sessions. Always playing jazz and showtunes when she’s not seeing someone for a consultation, and it’s very likely you can hear her singing from the hallway outside her office. (Character song: “Don’t Rain on My Parade” by Barbra Streisand, which she has a fully choreographed routine for. She sings this to/at Yuuri aggressively whenever he’s having one of his episodes, and she considers it a major breakthrough the day she finally gets him to join in.)

Celestino: Music teacher, advisor and conductor to the high school orchestra, feeds his instrumentalists to the glee club so naturally they do lots of collab work. Taught Phichit everything he knows about the guitar, though to this day no one knows how Phichit managed to convince him to teach him for free. Also one of the first people to discover Yuuri’s facility with literally every instrument under the sun after he and Phichit break into the music room to jam after hours one day pre-AU start. Since then Yuuri’s convinced Celestino’s looking at him funny, and hides behind Phichit on days that he drops by glee club practice, but all he really wants is for the strange shy but unreasonably multitalented boy to get comfortable with performing. (Character song: ”That’s Amore” by Dean Martin, which is the first song he ever teaches Phichit to play because he’s convinced the boy is carrying a torch for his strange shy best friend and just doesn’t realize it yet; Phichit staunchly denies it the whole way through but agrees to learn the song anyway because it’s fun.)

Lilia: School principal, former powerhouse female soloist and glee club president Back in the Day, maintains an interest in glee club activities in spite of her strained relationship with ex-husband glee coach Yakov. Sits in on practice sessions sometimes, much to everyone’s terror, but once she warms up to everyone and they to her she eventually becomes a valued source of craft- and life-advice. She and Yakov appear to be on the way to rekindling their romance after the club starts Going Places, because shared pride in the success of their mentees and happy memories of themselves in their own prime before they got jaded and old, etc. etc. (Character song: “Hello, Young Lovers” from The King and I, which endears her to Phichit in particular, and which she ends up reprising an uncomfortable amount of times after the kids start coming to her with Love Trouble.)

Yakov: Glee coach and history teacher, glee club vice president under Lilia Back in the Day. His regular students know him to be crabby and tough to impress, but the glee club kids eventually find ways to earn his appreciation and occasionally even wring Warm Paternal Moments from him. Has a hands-on voice-coaching style that helps him attune himself to the needs and strengths of each of his singers individually and together, and retains a keen ear for harmony that’s put to good use arranging duets and ensemble numbers. Insists he can no longer sing in his old age, so of course it becomes the club’s personal mission to prove otherwise and get him to perform at least one number with them before the year ends. (Character song: “The Way You Look Tonight” as sung by Fred Astaire, which the kids strong-arm him into serenading Lilia with on their ex-wedding anniversary; he puts up a brave fight about it for a few days but anyone would buckle under pressure from an army of teenage cupids.)

[holesphere92-blog]

Did You Hear the Awesomeness of Soundproof Curtains?

Do soundproof curtains truly stop invasive sounds? Is it market buzz, or is it true? Can you stop traffic sound, the neighbours 'music', the racket of the 2 am stagger-home crowd or the Airbus A380 flying overhead? The response is both yes and no. Intrusive noise is really difficult, particularly if you're a shift worker who needs sleep while the rest of the world raises a racket. Whatever your circumstances, let's explore your choices and empower your right to silence. Sound Proof Curtains We'll take a look at the claim inferred by acoustic or soundproof curtains. We'll weigh the financial investment, it's benefits, the approach and innovation, and we'll equip you with basic methods to figure out if the item you're acquiring is all that it claims to be. Do Soundproof Curtains Really Stop Noise? To address this question, we need to deal with a wordplay issue. When a customer calls a member of our team a 'expert', we understand they're stating they're proficient at their job. We also understand they're not anticipating Buddhist or Hindu spiritual guidance. In the same method, when individuals in the industry speak about 'soundproof curtains', they're in fact discussing sound muffling or sound minimizing acoustic curtains. The only method to really soundproof a window is to remove it, cover it with soundproofing materials, or to put curtain upon drape, upon curtain, upon curtain, upon curtain, (and continuing) until we achieve a 100% noise elimination goal. Who would desire that? What else can you do? Ultimately, there are click here of acoustic properties that figure out how sound behaves and gets in within an area. If your noise concerns are very bad, you may require to evaluate the quality of your walls, the nature of your interior home furnishings, and even consider setting up double-glazed windows. These will all impact your soundproofing success. These steps are likewise excessively costly, typically unbelievably unwise, and all too often, definitely difficult. Sound Proof Curtains Stop Noise The next most reliable strategy is the setup of soundproof curtains. Do they work? As long as you comprehend that the expressions 'acoustic curtains', 'soundproof curtains' and 'sound blocking curtains' are utilized interchangeably by the market which they refer to sound muffling innovation, then the answer to the concern is "Yes! Soundproofing drapes really do work." Let's explore what is possible. Why Invest in Acoustic Curtains? When we talk about acoustic curtains (or sound blocking curtains), we are discussing drapes that affect the behaviour of sound. These curtains don't initiate their magic till a sound goes into the room. This is essential to keep in mind due to the fact that this forms not only the service picked, but likewise tempers our expectations into a more sensible space. With this in mind, we need to keep expectations practical. The way audio waves act in your room has many influencing elements. Bearing this in mind, we subjectively approximate that a 60% reduction in volume is sensible in most circumstances. What if it was only 40%? If so, this would imply: People talking as they stroll by your tenement window (60dBA) would, to you, sound comparable to the hum of an operating computer system (40dBA). A diesel truck passing 10 metres from your window (85dBA) could seem like light traffic ( 50dBA), and That patrol car on urgent duty (" Why do they constantly come down my street?) won't be like heart-stopping sirens (115dBA) however more like the sound of the shower running ( 70dBA). Is that enough of a reduction to justify the financial investment? Something is missing from the equation, obviously: the dollar worth of the investment. Unfortunately, nevertheless, that's not something we can address without understanding your scenarios. That's also why we're constantly offered to address your questions. One telephone call can see you empowered in a precise and practical way. If you 'd like to do that, call (02) 9971 8802, or complete the Contact Request Form. Either way, somebody will help guide you through the journey. Purchase Acoustic Curtains What Do Soundproof Curtains Do? Soundproofing and sound blocking curtains do not 'block' sound; they absorb it. A practical equivalent to consider is motor automobiles. There was a time when a 'strong' automobile was considered the most safe cars and truck. Nowadays, nevertheless, the best vehicles are those that crumple in a way that absorbs impact without damaging the lorry's residents. Soundproof or sound blocking drapes do the same thing. Noise is a mechanical wave; energy moved from one particle to another. When sound energy reaches a wall, floor, piece of furniture, window or soundproof curtain, the energy either transfers into that object or 'bounces' off it. If, as a result, we hear the sound twice, we hear an echo. For how long we continue to hear it is called reverberation. Soundproof curtains absorb this sound energy. In their essence, soundproofing drapes acoustically change the sounds within a space. Acoustic curtains will: Act as a 'sound-blocker', by absorbing sound energy coming through your window. Minimise noise-bleed by avoiding openings in the drape's sides, leading or bottom. Reduce reverberation (the sound was there, however only briefly). Acoustic Curtains for Your Home Making Sound Blocking Curtains Work For You When developing an acoustic curtains service, we develop sound blocking ability by focusing on five features. Material Size (covering more than the window). Layers (Multiple). Hardware (rods and hooks). Looks (they must not decrease your front curtain alternatives too significantly). The product we are discussing here is not the front drape. We'll talk about that when we think about aesthetics. Here, we're focused on the layers of acoustic product that hang behind the front piece. We utilize what is called 'three-thickness' product which, as you might think, is a reference to product density. It is a sturdy material, with high fibre material in an extremely tight weave. This is a best-practice, high-quality acoustic drape material. Other extremely specialised materials are readily available for specific amplitude (vibrations or oscillations) requires, however this is extremely hardly ever needed. Size likewise matters. An efficient sound-absorbing acoustic curtain covers more than the requirement window location. A soundproof curtain needs to preferably drop from ceiling to flooring and likewise extend at least 15 centimetres past the edge of each window frame. Layers matter since extra layers produce extra soundproofing surface areas, and also produce echo/reverberation capture zones in between the layers. We typically utilize two layers of industry-best three-thickness material. This generally accomplishes the objective, though we can add additional layers if you would prefer. Your hardware (rods and brackets) likewise need to cope with the extra weight. We likewise keep in mind aesthetics, due to the fact that we wish to look good! Your surface area drape potentials stay huge. Sound Proof Acoustic Curtains. Be Careful Soundproof Curtain Fakes. Fakes do exist-- in so far as what is on deal is not all it might be. Dishonest dealerships sometimes promote any drape that is thicker than average as a 'soundproof curtain'. A simple test is to assess the product with the details we've provided in this article, and likewise ask the provider, "What makes it soundproof? "If the product does not have the features we've gone over if the provider claims that they can sound block 100% of noise, or if they are unable to describe the sound blocking homes of the curtain, you're most likely handling an imitation (or their newest staff member). As we close, you now know that:. 1. Acoustic curtains do not stop intrusive noises; they muffle them. 2. Soundproof curtains is a market term, instead of a claim to outright sound reduction.

3. There are numerous building and space qualities that influence sound reduction. 4. Sound blocking curtains work in absorbing sound energy. 5. Your scenarios will influence the particular outcomes you enjoy. 6. Design features of product, size, layers, hardware and looks are all crucial. 7. Soundproof curtain phonies do exist-- beware!

[traprebels-blog]

How to Use Music Legally in Your Work

In case you are a producer, director or challenge coordinator for any type of movie, television or video undertaking, you understand how difficult it can be to find production music that encapsulates absolutely the important themes and the message of your challenge. Not solely is production music and background music for movie and tv usually extremely costly, but the time required to shop round to the multitude of music suppliers or composers can also be in depth.

nd since musical originality is often a concern, sometimes producers with limited budgets that can't afford to pay a composer to create a score of music particularly for their movie, television present or video challenge, but can purchase common music or beforehand used movie scores run the chance of listening to the very same manufacturing music and background music they paid so dearly for in one other film weeks or months later.

Many movie and television professionals that don't have multi-million dollar budgets wonder what to search for in prime quality production music. Because the market for background music of all varieties, significantly people who claim to be "affordable" and "original" can be so inundated with poor-sounding, purely imitative scores and particular person musical pieces, weeding by way of the rocks to seek out the gems is usually a painstaking process for which nobody has the time or energy.

The following are 4 essential parts to search for when searching for the best production music and background music on your film, tv or video challenge:

Glorious sound high quality. This may look like an apparent component, as a result of it's typically essentially the most instantly noticeable when listening to good music, but many don't think about sound quality until it is very dangerous. In case you are a producer or director, you most likely have an understanding of sound high quality in movie or television, however could also be much less sure of your ability to gauge it in production music and background music.

In the event you don't benefit from having a musical knowledgeable on staff, you'll be able to certainly gauge the quality of the music yourself by occupied with a couple of vital elements. If the music has been recorded under the very best conditions, you'll hear an ideal balance between bass and treble, in addition to constant sound and textures whatever the quantity at which you might be listening to the music. It is possible for you to to pick the person sounds of various instruments and not only a muddle of sounds, some pretty indistinguishable.

Vivid, true instrumentation. Some production music that claims to be "reasonably priced" sounds extra like bad elevator music or music that has been recorded in a dark room by somebody's youthful brother utilizing an affordable synthesizer from the 1980's. Even if the music is synthesized (and as a professional with a limited funds, it's best to understand that sometimes it has to be with the intention to preserve costs down), it doesn't have to sound pretend and hollow. Synthesizers are capable of producing instrument sounds which can be true-to-life, and one of the best manufacturing music and background music can have depth and approach if not totally embody the richness and intricacies of actual violins, cellos, brass, woodwinds, electrical guitars and percussion. In the event you can tell the instruments are merely simulated, your viewers will know as effectively.

Originality. This one looks as if something apparent to search for in nice production music, however is definitely way more difficult than at first thought. If you can't afford well-liked music, or don't wish to danger listening to the music you have chosen in different movies or television applications that don't have anything to do together with your unique venture, you want to discover background music that is thrilling and progressive, but additionally makes some musical sense and has continuity, and most importantly, matches the general feeling of your manufacturing.

First-fee manufacturing music may have technical accuracy and stylistic significance, however will probably be special and in a position to stand alone as a chunk of fine music. Nonetheless, as a producer, director or mission coordinator you want one thing original that still invokes the perspective and magnificence of your movie and even perhaps reminds audiences of the favored pieces of music you possibly can not afford.

Properly-written and -carried out music by artists with actual and verifiable credentials. Production music suppliers, even the smaller ones, which are reputable and of the finest quality will provide credentials for the artists and composers they enlist, and will have full and confirmable information about all points of their production music. Movie and television professionals must be prepared to ask specific questions of those suppliers if this history isn't available, because sometimes a very new production music provider can have gifted musicians involved, however not essentially but have the resume to show it. If the provider's music has been utilized in different movies and initiatives, it is best to ask for a list and ensure the initiatives are related or a minimum of remotely related in fashion and quality to your production.

What number of instances have you ever turned to music to uplift you even additional in joyful instances, or sought the consolation of music when melancholy strikes?

Music affects us all. However solely in current instances have scientists sought to clarify and quantify the way in which music impacts us at an emotional degree. Researching the links between melody and the mind indicates that listening to and enjoying music actually can alter how our brains, and therefore our bodies, function.

Evidently the therapeutic energy of music, over body and spirit, is simply just starting to be understood, even though music remedy will not be new. For a few years therapists have been advocating the use of music - each listening and examine - for the discount of tension and stress, the reduction of pain. And music has also been really useful as an assist for optimistic change in temper and emotional states.

Michael DeBakey, who in 1966 grew to become the first surgeon to successfully implant a synthetic heart, is on file saying: "Creating and performing music promotes self-expression and gives self-gratification whereas giving pleasure to others. In drugs, growing revealed reports show that music has a therapeutic effect on sufferers.

Medical doctors now consider using music remedy in hospitals and nursing homes not only makes people feel higher, but additionally makes them heal sooner. And across the nation, medical experts are beginning to use the brand new revelations about music's impression on the mind to treating patients.

In one research, researcher Michael Thaut and his group detailed how victims of stroke, cerebral palsy and Parkinson's illness who labored to music took bigger, extra balanced strides than these whose therapy had no accompaniment.

Other researchers have discovered the sound of drums might affect how bodies work. Quoted in a 2001 article in USA Immediately, Suzanne Hasner, chairwoman of the music therapy division at Berklee Faculty of Music in Boston, says even these with dementia or head accidents retain musical means.

The article reported results of an experiment through which researchers from the Thoughts-Body Wellness Center in Meadville, Pa., tracked 111 cancer patients who performed drums for 30 minutes a day. They discovered strengthened immune programs and elevated ranges of cancer-fighting cells in lots of the patients.

"Deep in our long-term memory is that this rehearsed music," Hasner says. "It is processed within the emotional a part of the mind, the amygdala. This is where you keep in mind the music performed at your wedding, the music of your old flame, that first dance. Such issues can nonetheless be remembered even in people with progressive ailments. It can be a window, a technique to reach them..."

Simply why people developed such a biologically primarily based appreciation of music continues to be not clear. The appreciation of food and the drive for sex advanced to help the survival of the species, but "music didn't develop strictly for survival functions," Blood informed Related Press at the time.

She additionally believes that as a result of music activates the components of the mind that make us completely satisfied, this implies it will possibly profit our physical and mental effectively being.

This is excellent news for patients present process surgical operations who experience anxiousness in anticipation of those procedures.

Polish researcher, Zbigniew Kucharski, on the Medical Academy of Warsaw, studied the effect of acoustic remedy for worry administration in dental patients. Throughout the period from October 2001 to Might 2002, 38 dental patients aged between 16 and 60 years have been noticed. The sufferers received variations of acoustic therapy, a apply the place music is obtained through headphones and in addition vibrators.

Dr Kucharski found the detrimental emotions decreased 5-fold for sufferers who acquired half-hour of acoustic therapy each before and after their dental process. For the group that heard and felt music only prior to the operation, the fearful feelings decreased by an element of 1.6 only.

For the final group (the control), which obtained acoustic remedy solely through the operation, there was no change in the degree of concern felt.

A 1992 research identified music listening and leisure instruction as an efficient strategy to reduce ache and anxiousness in women present process painful gynecological procedures. And different studies have proved music can reduce other 'negative' human emotions like fear, distress and depression.

Sheri Robb and a team of researchers revealed a report within the Journal of Music Therapy in 1992, outlining their findings that music assisted rest procedures (music listening, deep respiration and other workout routines) effectively decreased anxiousness in pediatric surgical patients on a burn unit.

"Music," says Esther Mok within the AORN Journal in February 2003, "is an simply administered, non-threatening, non-invasive, and cheap tool to calm preoperative nervousness.

To date, in response to the same report, researchers cannot be certain why music has a relaxing have an effect on on many medical sufferers. One school of thought believes music may reduce stress as a result of it might help sufferers to calm down and also decrease blood stress. Another researcher claims music allows the physique's vibrations to synchronize with the rhythms of those round it. As an illustration, if an anxious affected person with a racing heartbeat listens to slow music, his heart rate will slow down and synchronize with the music's rhythm.

Such outcomes are nonetheless one thing of a mystery. The unimaginable potential that music has to have an effect on and manipulate emotions and the brain is plain, and yet still largely inexplicable.

Apart from brain exercise, the have an effect on of music on hormone levels in the human physique will also be quantified, and there is definite evidence that music can lower ranges of cortisol trap rebels within the body (related to arousal and stress), and raise levels of melatonin (which may induce sleep). It might also precipitate the discharge of endorphins, the body's pure painkiller.

However how does music reach prompting emotions inside us? And why are these emotions usually so highly effective? The easy reply is that nobody knows... yet. Up to now we can quantify among the emotional responses caused by music, however we can't but clarify them. But that's OK. I don't have to grasp electrical energy to benefit from mild when I switch on a lamp when I come into a room, and I haven't got to understand why music can make me feel higher emotionally. It simply does - our Creator made us that approach.

There's no denying that everyone enjoys music. Whatever nation you are from and wherever you are in the intervening time, you merely appreciate what music has dropped at this world. Some are gifted enough to land music careers nationally or internationally and a few are fortunate enough to take pleasure in a fruitful music career after being found by brokers from music industries. While carving out a music career can take up time and an entire new dimension of dedication to your craft, many musicians enjoyed the process and achieved significant results from it.

There are a number of ways to go if you decide to take up a profession in music. Unbiased musicians are at present exploiting all the probabilities they may discover in order to get a shot of being signed by music corporations. If you're a music artist, you must also explore all of the angles so you can begin carving out your own music career.

Quality work of music - That you must record your individual craft with high quality audio, instruments, background music, and many others. Music corporations are at all times on the lookout for the next great artist. They always look for professionals as hanging a cope with them could be much easier than wannabe amateurs. You can start by investing your cash, time and effort by creating high quality music. Have any individual who's additionally musically inclined to hearken to your recordings to realize an outsider's perspective.

Work ethic drive - Focusing solely on your craft can unveil a brand new dimension to your passion and creativity. Turning into a good musician would not happen overnight. It takes years of practice and it also takes a complete lot of time of dedication to your ardour. An excellent work ethic can normally boost and solidify the standard of music you create.

Be artistic - Don't be afraid to experiment on totally different music kinds. The music trade could be very advanced these days. New genres are on the rise and most of them have taken the mainstream music by storm. Do not put a limit on creativity and creativeness. Also be versatile on covering a number of genres. Music licensing firms normally see that quality as a big plus earlier than signing individual musicians.

[thelittlekicksband]

Read the full article HERE:

https://graffitipunctuated.com/2017/02/16/the-little-kicks-interview-shake-off-your-troubles/

THE LITTLE KICKS: I’VE GOT NOTHING TO BE SCARED ABOUT…

FEBRUARY 16, 2017 NILS VAN DER LINDEN LEAVE A COMMENT The Little Kicks are back. Four years after releasing their breakthrough album ‘Put Your Love In Front Of Me’, the Aberdeen-based indie-pop band are on the verge of releasing its confident follow-up ‘Shake Off Your Troubles’. Lead singer Steven Milne tells us about recording the LP in a lodge by Loch Ness, getting out of their comfort zone, not forgetting to have fun, paying tribute to a close friend, and why he’s got nothing to be scared about.

What troubles are you shaking off with the new album? Or hoping listeners will shake off when they listen to it?

Our last album in 2013 – ‘Put Your Love In Front Of Me’ – always clicked with anyone who heard us play live but for home listening it was perhaps a slow burner. Lyrically it encapsulates a period of personal uncertainty for me and we were going through various changes as a band during its making. By the end of the ‘PYLIFOM’ campaign in 2014 we had amicably lost two founding members but gained two new very talented members in Andrew (guitar) and Adam (bass) respectively who brought a lot to the table.

The band suddenly felt, looked, and played like a new band and when you couple that with a big change in my personal circumstances, I started naturally writing in a much more upbeat, confident way. So we wanted to make a record that reflected that change in mood and while I’m not saying everything is perfect, there is definitely a message to be thankful for what you have, don’t take things like friends or good times for granted, and most importantly don’t let anyone beat you down.

How do you think decamping to a lodge by Loch Ness influenced the album?

Recording at the lodge was indeed a massive gamble, but it definitely paid off.  Despite doing a lot of research prior to arriving we were still nervous about potential issues – objecting neighbours, bad acoustics for recording, even forgetting things. When we got there with all our gear, our producer, and recording equipment we immediately turned the three-bedroom space into a live recording studio and started making noise. Thankfully, it was as we expected and worked perfectly. The thick carpets and wood in the surrounds and ceiling were particularly great for recording.

We kept a schedule with breaks together, always cooking for each other, and even if in the downtime the TV was on (we took a PS3 and played a lot of ‘FIFA’…) it was always on mute due to the red light being on. The lodge had a balcony which looked out onto Loch Ness and often you could sit out there while someone else inside recorded but we were never out of earshot and constantly giving each other feedback. Our guitar amps and equipment were set up 24/7 in hallways, living room spaces, and in between beds.

The nearest pub was ten minutes away and we had no phone signal, internet, or communication with home. Even if we were going to boil the kettle or use the toilet, we had to check with our engineer that he wasn’t recording as there were microphones set up in the bathroom and kitchen for vocals.

We took a plentiful selection of nice food, wine, beer, and coffee so that in the evenings when we finished and the weather allowed, we could have BBQs and dinners on the decking before getting back to it until the early hours. We lived there for ten days and literally worked on the record non-stop – coming home exhausted. I would do it again in a heartbeat!

You’ve said the album shows a massive increase in the band’s confidence and abilities. Where do you think this confidence came from?

I think a combination of factors have led us to this point but mainly I would say there is a confidence gained from the reaction to the songs. Despite what I said before, we did take lot of confidence from the positive response to our last record. People coming up to say that they play your music at parties all the time or that they identify with the sadder elements of a particular song, and that your music has helped them in some way, is a very affecting thing to hear.

First and foremost I gained a lot of confidence from the guys within the band’s positive reaction to the new songs when I brought them in to the room or sent a demo around. Although I primarily write the songs at home I have been deliberately quicker to bring the ideas into the practice room this time around when they are at a more bare-bones stage. I think that has conversely helped the guys to be more confident in putting ideas forward too and made it a much more collaborative writing process.

Is there any one moment on the album that best shows off those increased confidence and abilities?

Lyrically I think probably the line “I’ve got nothing to be scared about…” is probably as honest an assessment as any of the mentality of making this record. We always start with sketches of songs that could easily go the other way and be weirder and longer, but by the end of the writing and recording process our music tends to veer towards making melody-focused pop music which is in a traditional structure. While in the past I think we perhaps felt a little ashamed about that or almost embarrassed to admit it, I think now we are much more comfortable in our own skin. I like to think that our music is poppy but has plenty of interesting sounds and hooks within it that it’s more credible and interesting than what the term “pop music” usually implies.

What did you learn from recording your previous album that you wanted to avoid or repeat this time around?

On our last record we learned how to utilise the studio more, as well as the importance of good microphones and not to concentrate on doing too many takes or trying to get the perfect take. You can end up beating away the heart of an idea by over-thinking or over-playing it, so we wanted to avoid that by getting into recording the songs sooner. We also learned what we didn’t want to do this time round – to deliberately avoid using any comfort zone methods or sounds we know work and to be more experimental this time round. Being a new environment, the lodge setting easily enabled us to do that by allowing us to take longer on newer ideas and relax about takes. We also utilised new toys such as vocal effects, synthesizers, tape machines, and percussive instruments in a way we wouldn’t have ever attempted before. I would also say having Adam and Andrew – both reasonably new members – who can both sing meant we could employ three-part harmonies across the songs to great effect for the first time. We also learned how to utilise and use our sampler more to such a degree that it’s now a key extra instrument to playing the songs live.

Could you share anything about the lead single, ‘Don’t Get Mad, Get Even’?

I had a scrap of a demo for that song on my iPhone for about two years as a voice memo. Then, suddenly, around a fortnight before going into the lodge we needed another song for the pile so I wrote a demo of this song from thin air and sent a very rough voice memo of me playing it to the guys. The next thing is they are really excited about it and saying it has to be worked on and has to be on the record. So we take it to the band room and the guys add harmonies, we chop a verse or two out, and the whole thing is sitting pretty.

We get to the studio and we decide it has a Fleetwood Mac or Midlake vibe and we cut it live and suddenly that was it finished.  Everyone played a blinder on the recording and that song was the first song to be finished for the new record as we tackled it first. It was a really great moment in the lodge when it came together and for me it’s the perfect example of a writer being too close to the material – as the band took the scrap of an idea in this case and helped turn it into something much greater through collaboration. Truthfully I didn’t see it as a single but I was happily outvoted.

This is a long shot but, based on a sentence in the album bio and the song name, does ‘Gone But Not Forgotten’ have anything to do with all the big names who died in 2016?

Shortly after our last album’s release, a very close friend of the band who had given a lot of his time and expertise to help us passed away. Then a short time after that another good friend of mine told me he was suffering from depression. I came home to the piano one evening thinking about both people and feeling pretty helpless and this song came out very quickly and naturally. I felt it was maybe too raw to share and perhaps too downbeat for the new record but at the same time for us to not pay tribute to this person in any way on our next record felt wrong.

As soon as I sent it to the guys, I would say it became not my song anymore. It became clear to me that I had written a song that summed up how we collectively felt about this person and recording it would allow us to pay tribute. I would say the guys really put everything they had into the recording of this track and tellingly it was the only song we even came close to falling out about at any point (most likely because emotions were running high). It took me over a year to even attempt to play it publicly and it’s a very difficult song to sing so I wouldn’t expect to see us play it live often but the recording is very pretty and it’s the one quiet moment on an otherwise upbeat album.

You famously recorded Fleetwood Mac’s ‘Dreams’. Which other songs would you consider covering?

We don’t do many covers and that Fleetwood Mac song was a classic that shouldn’t have been touched! But when we tried it out we found it really worked with our sound and vocal style so I guess anything similar to that in feel would be good. I would like to try ‘Tinseltown In The Rain’ by The Blue Nile as I think it’s a beautiful song that we could do well. And perhaps with the guys now doing harmonies so well we could do something cool with a Bon Iver or Beach Boys song. For a more suitable party-starting cover I would love to try ‘Nighttime In the Switching Yard’ by Warren Zevon as it’s one of my favourite songs and always makes people dance.

When you first started the band, were there any songs or artists you all bonded over, that made you realise “this collection of people could work together”?

Truthfully we don’t actually all like the same music but I think that’s why the band works so well. We all bring differing influences from different artists to the table and while there is a handful of bands we all like and can agree on we all have pretty different tastes. Some of the modern bands we would probably all agree to be great would be acts like Local Natives, Foals, Hot Chip, Fleet Foxes, The Twilight Sad, and LCD Soundsystem among others. As well as many old and new Scottish bands that we often play in the van. Needless to say, older music like ‘70s disco, Fleetwood Mac, Can, Chic, ‘80s pop, Orange Juice, The Beatles, and David Bowie are all collectively agreed to be great too.

And what is it about this collection of people that makes The Little Kicks so unique?

I think the main reason the band works so well as a unit is that ultimately we all want to serve the song and to create something unique together. We don’t want to sound like or copy anyone else and we enjoy making and performing music together a lot.

I would like to think being that wee bit older than when we last released an LP we are getting better at our instruments and benefitting from a more focused attitude to practice too. That’s something that makes us much more confident when playing live but also a factor when in the studio trying to make the best thing that you can with what you have.

Ultimately we all have real life priorities to consider (be it partners, work, or family), so if we are going to take time away from such things for the band it needs to be time well spent and we need to give it 100%. We don’t have a manager or a booker so I think it makes everyone a lot more invested in the project as it feels like a group effort when things go well but importantly nobody’s fault when it doesn’t which is thankfully rarely. Bands can forget to have fun and at the end of the day your band should be a set of pals playing together and having a good time. I think we all feel that being in The Little Kicks is fun and we are very (probably far too!) comfortable with each other at this point.

The Little Kicks release ‘Shake Off Your Troubles on 3 March. Pre-order it now at www.thelittlekicks.co.uk. The band play Venue 2, 229 Clubin London on 23 February.