#european indie make-up

[kedreeva]

Okay, I haven't wanted to talk much about the peafowl lately, been just kinda dealing with Stan's passing, but! I have news I don't want to keep quiet, so here we go with a little announcement.

I've been helping a friend of mine with a bunch of peafowl genetics work lately, as he's trying to prove out a really neat phenotype of speckled and white peafowl that showed up in his breeding stock, and he just spent tens of thousands of dollars importing two new morphs from Europe: European violet (aka, my dream morph) and Ultramarine (pretty and only otherwise being produced by TWO breeders in the WORLD). When Bill heard about Stan, he asked if I was going to go to a large farm auction that's a few hours from my house. I don't, normally, since it's a few hours from my house and the auctions usually make me kinda sad when it comes to peafowl (they stress out SO MUCH) even though it's cool to see how much they're going for at a wider audience auction.

Then he told me he would be going, and that if I wanted to come down the day before the auction, he'd bring me another male, to replace Stan. I had already made plans to hang onto Bismuth, at least for a few years, and to pick up babies from Indie x Arcana/Eclipse this november, including a male, so I didn't really need another male, and don't have the cash for one anyway. He said no, he meant one of the split EUV males from last year's first-USA breeding. For free. As a thank you for helping him.

To put this into perspective, importing the birds is a ~$10k affair, per bird. I had fully resigned myself to never even SEEING one of these birds in person, much less ever owning one. Even if someone else got them imported, they would remain thousands of dollars for the first few years, and quickly become mixed with other stuff, potentially even be lost by people breeding to purple. He went in on a group import with another breeder and they have both just started selling the full-color birds for over $2k apiece (alongside Ultramarine, which before their import was bred by TWO people in the WORLD, and babies from that are going for almost $7k each, but EUV is more widely spread). Splits (like the one I will be getting) are being let go for $750. This is also the color I have desperately wanted since I first saw them 8-10 years ago (though I believe they've been around slightly longer), but that I had resigned myself to never actually having.

To put it mildly, I'm probably going to burst into tears when I see Bill and this bird. It's going to be super embarrassing. And then I'm going to have to build more pens. And then I'm going to have to get as plain-blue, pure-indian blue hens as I can find, and become one of the most serious curators of plain pure EUV in the US, because I know the other two who have them currently will be outcrossing to other patterns/colors immediately and the people buying them will likely be doing the same, and everyone will be clamoring to make them into high Spaldings ASAP, or won't know not to cross them to purples and wreck the color.

Here's the sire cock, the one imported:

You will notice that this bird is purple in full sun, from the sunny side. That's the main difference between European violet and US purple- a US purple looks blue until you get the right angle on the sun vs the bird vs the camera, and you have to get the bird between you and the sun, so the purple is often in the shadow side- visible to the eye but not the camera. EUV is just purple. Even from the sunny side!!

And the Ultramarine, in case you were wondering about their color:

(pics reposted w/ permission from Bill)

The breeder is Spring Creek Peafowl, and in case anyone is secretly a peafowl breeder or knows other peafowl breeders with too much money that want in on a new color morph, he DOES have UM pairs and EUV hens (and more split males) for sale currently, for less than the only other person in the US that has them. They're still pricey, but cheaper. I WISH I had the extra to have my friend add on an EUV hen, but alas, I will have to wait to make my own in a few years. Even just the opportunity to do so is something I never expected to have!

[novlr]

6 More Writing Playlists for Scenes and Vibes!

If you love music, you’ll love these playlists! We’ve added 6 more amazing playlists to our already-growing collection.

From sweeping classical themes to write a royal court, some eerie tunes and soundscapes for writing a creepy carnival, vinyl classics for a vintage record store feel, pumping euro tunes for a European road trip, sea shanties for ocean voyages, and some vintage and modern French melodies for when you need a French bistro vibe, we’ve got you covered.

Writing a Royal Court

The pomp and circumstance of a Royal Court are palpable in this collection. This classical playlist is perfect for writing grand palaces, stately homes, balls, banquets, and court intrigues. Be transported to a world of nobles and chivalry where life is decadent and opulent.

Writing a Creepy Carnival

Creepy carnivals are staples of the horror genre, so we’ve put together this collection to help you write it. Whether your carnival travels the world, putting up stakes and causing mayhem wherever they go, or if you’re writing a static circus where visitors inexplicably go missing, then this is the playlist for you. Terrifying ringmasters, creepy rides, and eerie rituals – whatever your carnival holds, this is the playlist to write it to.

Writing in a Parisian Cafe

Sitting in a window of a cafe in Saint-Germain-des-Prés, watching the world go by, the young writer puts pen to paper. The characters who pass by them every day inspire and come alive. If you can’t people-watch, you can certainly imagine it! A mix of classical, acoustic folk, and French pop tunes, this collection will make you feel like you’re really there. So grab a croissant and a coffee and bring the Paris to you!

Writing a Vintage Record Store

Indie record stores have a vibe and are always full of interesting characters. There’s something special about them, and they’re always full of people who love music. This is a playlist for those who need to write a modern vintage feel. It’s a mix of tunes from the 1960s to the early 2000s – the kind of records vinyl aficionados would love a first pressing of. Get in the creative space to write about some of the weird and wonderful obsessive characters you’d find in an underground record shop in your favourite city.

Writing a Journey at Sea

Beware, me hearties, for here be dragons! Whether you’re writing an arctic exploration, an ancient sea voyage, preparations for a naval battle, or a band of intrepid pirates, there’s something in this playlist for you. With a mixture of modern folk tracks, sea shanties, and sea journey-themed instrumental pieces, this collection will conjure images of the salt spray on your face and the wind whipping your hair as you stand on deck, exploring unmapped places.

Writing a European Road Trip

Travel is always an adventure, but there’s something unique about a European road trip where you can fit so many different countries and cities into a small space of time. It’s a whirlwind of sights, tastes, and sounds, so this collection of tracks from all over Europe is sure to get you in the mood. From visiting the sights to sampling the cuisines, and nights out in some of Europe’s most infamous superclubs, this collection is sure to inspire you.

[literaryvein-reblogs]

Writing Reference: Symbolism of Food

We need food to live, so it comes as no surprise that we have accorded many ingredients with "magical powers".

Indeed, some of the things we eat every day carry both constituent elements and meanings which go far beyond mere nutrition.

Below is a list of some foods, real and mythical, which have become symbols in themselves.

AMBROSIA

For the Greeks, ambrosia was the food of the Gods.

Given that it conferred immortality, the deities on Mount Olympus guarded it jealously.

As well as ensuring eternal life, ambrosia could be used as an ointment that could heal any wound.

However, for a mortal, eating ambrosia was a big mistake.

Example: The story of Tantalus. He was invited to eat with the Gods, and so, presuming that he was accepted as one of them, he ate ambrosia. In the tradition of all good dinner party guests, he decided to return the favor and invited the Gods round to his place. Deciding somewhat sycophantically that they should feast upon all the good things that they had given him, he served up the flesh of his own children, and was banished to Hades.

CHOCOLATE

Long before the Western discovery of the Americas, the natives of Brazil, Mexico, the West Indies, and South America used the seeds of the chocolate tree to make a stimulating drink. These bean-like seeds were cacahuatl, or cocoa.

Primarily symbolic of love, chocolate is a sensual food with aphrodisiac properties that are due, in part, to association.

However, its melting point is the same temperature as blood, a very satisfying sensation.

The botanical name of the plant gives a clue as to its sacred status. Theobroma cacao means “food of the Gods,” from the Greek “Theo,” meaning God and “Broma,” meaning food.

The beans were so highly valued that the Mayans used them as currency.

Possibly the world’s first chocoholic, their ruler Montezuma was completely addicted to the beans.

He drank them infused in cold water with no seasoning. He served this sacred drink in goblets of beaten gold, and at the coronation of Montezuma II in 1502 a concoction of chocolate and psilocybin mushrooms was served to the guests. This must have been a heady mixture.

Cortés cultivated the plant primarily because of its reputation as an aphrodisiac; this secret was divulged by one of the nineteen young women given to him by Montezuma as a tribute. Perhaps the 2000 chocolate trees that he consequently planted were testimony to the efficacy of the beans in keeping the ladies satisfied.

By 1550, chocolate factories were operating in Lisbon, Genoa, Marseilles, and other European cities. The recipes became more and more refined.

Catherine de Medici slowed down the progress of chocolate for a while because it was so good that she wanted it all to herself.

However, although the Church tried to ban many of the foodstuffs that had been discovered in the New World, especially those that were considered as stimulants, their advice was largely ignored and it is possible that this disapproval increased the popularity of this illicit substance.

Neither Catherine nor all the forces of the Church could stop the world becoming chocolate coated.

Today, the form of chocolate has changed so much that Montezuma would probably find it unrecognizable, both in taste and form. However, it is still unrivalled as a token and symbol of love.

HONEY

Legislation decrees that all packaged food carry a “best before” date, but this seems to be particularly unnecessary in the case of honey, since jars of the stuff found in the tombs of Egyptian kings of several thousand years ago has proved to be perfectly edible even now.

It could well be because honey is so long lasting, and because it is used as a preservative, that it is a symbol of immortality and is used in funerary rites.

The bees that make the honey have their place in the realms of magical creatures accorded with supernatural powers, but more of that in the Fauna section.

The Promised Land is said to “flow with milk and honey” as being the very best that the Gods can offer.

The sweetness of honey is believed to confer gifts of learning and poetry.

We’ll never know if the story that Pythagoras existed on honey alone is true, but the fact that the rumor exists is in accord with his God-like status.

As well as being edible and fermentable, honey has healing and antiseptic qualities, and a dollop of honey smeared onto a wound will soon draw out any impurities and speed the healing process.

Honey is said to be an aphrodisiac and to encourage fertility and virility, wealth and abundance, and is a symbol of the Sun, partly because of the flowers from which it is made but also because of its color.

MEAD

Like honey, mead also carries the gift of immortality.

The Celts believed it was the favored drink of the Gods in the Otherworld.

It is a sacred drink in Africa, too, where it is believed that drinking the stuff will make you more knowledgeable.

It is very simple to make—it’s simply honey mixed with water and allowed to ferment—and this process of fermentation is akin to a magical process in itself, which is akin to transmutation in alchemy.

MILK

Given that milk is the first food, it’s not surprising that it is associated with many stories of the Creation, and is a symbol of divinity.

Amrita, or soma, the absolute nectar of life for Hindus and the equivalent of ambrosia, was created as a cosmic sea of milk was churned.

The curds that were created by this epic stirring formed the Earth, the Universe, and the stars.

Along with honey, there is an abundance of milk in the Promised Land, and Indian myths tell of a magical milk tree in Heaven.

Because of its color and its association with the feminine, milk is a symbol of the Moon.

The main food source for milk for us human beings (once we’re weaned) is the cow.

The cow is sacred in India because during times of famine it made far more sense to keep the animal alive for its milk rather than slaughter and eat it purely for its meat, so all parts of the cow are accorded sacred status and are ruled over by one or other of the Gods or Goddesses.

In the hidden symbolic language of alchemy, the Philosopher’s Stone is sometimes called the Virgin’s Milk.

NECTAR

Nectar is often referred to as ambrosia, but has secrets of its own to tell.

Flowers create it, and its scent attracts the bees, which then transform the nectar into honey.

Seemingly insignificant, nectar is nevertheless a very magical ingredient, created from flowers, sunshine, and bees working together in a collective consciousness known as the “hive mind” in an environment which itself is constructed from one of the key shapes in sacred geometry, the hexagon.

SOMA

Like the Greek Olympians, the Indian deities had a type of food, like ambrosia, that ensured their immortality.

This was soma, or amrita. Whereas dire consequences befell any mortal that dared to partake of ambrosia, the Indian Gods were more generous with their soma, and any mortal that ate it was immediately given immortality and access to Heaven.

The ancient Indian Vedic scriptures, the Ramayana, tell the story of Rama, an epic hero, the perfect man:

Rama was born after his father was visited by an angel.

This angel brought with him some magical food.

Eating this soma meant that Rama’s father was able to sire offspring that were the human incarnations of the God, Vishnu.

WINE

The symbolic meanings of wine are generally attached to the red variety; it seems that a nice dry white or a sweet rosé carries no hidden mystery.

The red color means that wine is often linked to blood, particularly since the wine is the “blood” of the grape.

Because it looks like blood, wine is often used in rituals where blood would otherwise be called for, and because ceremonial wine is often drunk from a shared chalice, it is seen, like bread, as a unifying principle.

Wine is male, and bread is female.

As a partner to bread in the ritual of the Eucharist, the consecrated wine is transformed into the blood of the Christ, a reminder of both sacrifice and immortal life, and it’s this transformative power that accords wine with much of its mystique.

When the water is turned into wine in the story of the Marriage at Cana, what is really being shown here is the transformation of the mundane into the magical, the Earthly into the Heavenly.

It is this magical process of fermentation at work that explains why wine is associated with Bacchus/Dionysus, and the intoxicating power of wine is symbolic of divine possession.

The phrase, “In vino veritas” links wine to the truth and is a reminder that those intoxicated by perhaps a little too much of that nice claret will be more likely to speak the truth than most, which can be good or bad, depending on the circumstances.

Source

[3rdeyeblaque]

September 9th marks the 284th anniversary of The Stono Rebellion of 1739✊🏾

When an Angolan brotha called, Jemmy, led a band of 20 slaves into rebellion on the banks of the Stono River in Charleston, S.C., which put unprecedented fear in Whites. It was because of this uprising that laws were enacted that outlawd the enslaved from learning how to read, gathering in groups, & growing their own food. Thus, making it one of the most significant rebellions in the history of the U.S. colonies.

Jemmy & the rebel band marched southbound on a road toward the river, carrying banners that proclaimed their war very, "Liberty!". Their numbers swelled with more enslaved women and men as they went. By nightfall, 100 rebels had joined the cause. They broke into a local firearms store, arming themselves with guns & ammo. As they marched, they killed every overseer in their path and forced any reluctant slaves to join them.

From there the band marched toward the house of a Mr. Godfrey, where they burned the house & killed Godfrey and his family. It was just shy of dawn when they reached Wallace's Tavern. Because the innkeeper at the tavern was kind to his slaves, his life was spared. The White inhabitants of the next several houses in their path were all slaughtered. Those enslaved by a Thomas Rose reluctantly joined the rebellion, but not before hiding their slaver - of which they were later rewarded for. Still, many more rebels gladly joined the cause. By this point, a Lieutenant Governor Bull eluded the rebels & rode on horseback to spread the alarm. Once the band reached the Edisto River, Whites colonists set out in armed pursuit. Shots were exchanged across both lines. By dusk, about 30 rebels had fallen & at least 30 more had escaped. In the end, most rebels were captured over the next month, then executed. The remainder were pursued and captured over the following 6mo - all except 1 who remained a fugitive for 3 years. The few survivors were sold off to plantations in the West Indies.

The immediate factors that sparked the uprising remain uncertain. Many rebels knew of small groups of runaways had made their way from SC to FL, where they had been given freedom and land. There was also an ongoing malaria epidemic surging across SC. Ultimately, this unprecedented act of rebellion demanded unprecedented legislature. The European colonists finalized a Negro Act into law which aggressively limited the privileges & movement of the enslaved. No longer would slaves be allowed to grow their own food, assemble in groups, earn their own money, or learn to read. Some of these restrictions had been in effect before the Negro Act of 1740, but had not been strictly enforced. This also resulted in the forced indoctrination of slaves into Christian schools systems.

Let us remember Brother Jemmy and those who fought, willingly or not, against the colonizers. Their sacrifice may have set a great legal precedent in European colonizer politics, but it set an even greater one that would spark many fires and fan many more flames of rebellion, war, and freedom. Every step taken from this moment onward was a necessary one to achieve our "freedom" as we experience it today.

We pour libations of water (especiallyfrom the Stono River), speak their names, & offer prayers toward their elevation.

‼️Note: offering suggestions are just that & strictly for veneration purposes only. Never attempt to conjure up any spirit or entity without proper divination/Mediumship counsel.‼️

[missredherring]

Someone Who Calls Me Baby

Dieter Bravo x Javi Gutierrez

Rating: T

Word Count: 1.4k

Contents: SFW. established mmfm relationship. sugar daddy/baby dynamics. small panic attack. anxiety. fluff.

Summary: He shakes his hands down at his sides, but it does nothing to expel any of the nervous energy running through him: his fingers still tingle as he taps them together and a faint ringing starts in his ears. 

When he scoops up his phone to reread the text from his agent the message hasn’t changed.

He hasn’t gotten the role in a while.

A/N: Uh... well. The bts pics of Pedro on set for The Materialists happened and an idea was floated around about having multiple Sugar Daddies... and somehow I came up with this idea of Dieter only being able to sustain his position as a Daddy for so long until he too became a Baby.

I'll probably explore this quartet again when we learn more about the mysterious M, but this is the main idea that wanted to be written right now.

There are no spoilers for The Materialists, and as we don't even know his name yet, I've used "M" as a name placeholder.

Not beta read and lightly edited. All mistakes are my own.

@sp00kymulderr @freelancearsonist @covetyou

He didn’t get the role. 

Dieter tosses his phone onto the couch and stands up. The need to get away from the thing starts his pacing. As he walks around and around his living room, he fidgets with the colorful bracelet you’d made for him and tied so sweetly around his wrist the other day to replace the previous one that had fallen off. 

The story had potential and he did want to work with the director attached to it, so it’s disappointing to not be chosen for the role, but beyond that it forces him to think about his financial situation. No role means no income coming in for said role, and while he isn’t in the red Dieter hasn’t seen his bank account this low since before moving to Sherman Oaks. Any time he thinks about it too much he starts sweating. Like now. 

He shakes his hands down at his sides, but it does nothing to expel any of the nervous energy running through him: his fingers still tingle as he taps them together and a faint ringing starts in his ears. 

When he scoops up his phone to reread the text from his agent the message hasn’t changed.

He hasn’t gotten the role in a while.

He needs to be responsible and save money. Dieter knows this, he really does. Enough people have told him, begged him even, but it always slips his mind in that moment when his card comes out of his wallet and he feels like he could give you anything in the world. 

Maybe he could start a budget for himself, but what would he have left to spend on you? Nothing compared to what he has been recently, that’s for sure. No more self care days together at exclusive spas that provide you with the softest robes he’s ever felt in his life. No more trips to indie galleries where you pick out new pieces for his collection. No more deep dives into craft stores for whatever supplies you need for the new hobby you’re trying out. 

If he can’t keep up with the outings the others are taking you on would you still want to be with him? If he can’t provide for you financially, what use is he?

He can’t take you yachting around various European bodies of water like Javi can, or fuck you in the backseat of a luxury car without worrying about the seats because it’s leased like M can.

At most he can bring you with him as he goes back and forth between LA and New York City and make you wait on set or in a hotel while he works. 

He’ll have to move, sell his things, get a small apartment that he’ll probably have to share with roommates. Roommates. Him, Oscar-winner Dieter Bravo, living with the other struggling artists just waiting for the callback that will change their lives. If he ever gets a call back again. 

Fuck. The inside of his cheek is starting to bleed, the coppery tang bringing him out of his spiral a little. The thoughts are still there, still swirling around him and waiting to yank his feet out from under him again. 

He’s sober. For real this time. He promised everyone that he wouldn’t do hard drugs by himself anymore. The temptation for distraction is strong, but he knows letting you down would feel worse than this anxiety that’s crawling up his spine.

His phone goes off in his hand and the sound he makes is more of a sob than anything else. 

Javi’s face is staring back at him, his smile brighter than the sunset behind him when they’d all vacationed at his home in Majorca last summer. 

He has to hit the accept call button twice before it picks up.

“Dieter! I was reminded not once, but twice that you would be alone this weekend. How are you enjoying your alone time?”

Javi sounds so calm and affectionate; it’s the warm breeze that finally breaks through his weakened defenses. 

Dieter flops down onto the couch, switches the call to speaker, and buries his face into the cushions. The fabric of the cushion scratches at his face with his effort, but it must not be enough, because Javi makes a worried humming noise. 

Javi inhales and Dieter’s throat squeezes tight and he finally stops making embarrassing noises. 

This is it. Javi will finally tell him what they’ve all probably been talking about without him: that he doesn’t fit in with the group. He isn’t a real Sugar Daddy; he’s like those artificial sweeteners that try really hard to replicate the same sweet flavor but just can't get it right. They’ve all just been humoring him until they could find the right time to bring the subject up, and that time is now. 

“Not so good, hm?” Javi asks and he doesn't wait for a response this time. He launches into a detailed report of his day, which is almost over thanks to the magic of time zones. Business meeting after business meeting, followed by an inspection of a processing plant to a review a batch of oil made with new presses and centrifuges. 

A lot of the jargon goes over his head, but some of it’s sounding familiar and Dieter lets himself be soothed. He even turns off the speaker in favor of pressing the phone to his ear, making it feel like Javi’s right next to him.  

Javi finishes his one-sided conversation with the reminder that olive oil, even oil as good as his, shouldn’t be used a sexual lubricant. Then he goes quiet and lets the silence settle over the line.

Dieter inhales and his lungs don’t feel as crushed as they did before, so he turns his head to free his mouth from the cushion.

“Thanks.” 

“Of course,” Javi says and Dieter can just see the elegant shrug that usually accompanies the reassurance. “We’ll talk about whatever’s bothering you when we’re all together. Is that alright?”

Can you wait that long or do you need help right now?

“Yea.” Dieter says and almost believes it. The anxiety spiral has lost it’s momentum, but it’s still there, always there, at the back of his mind. 

“Good. I fucking love you, man.”

“Can you say that without the macho bullshit?” Dieter tries for a light tone and winces at what comes out of his mouth instead. No wonder he didn’t get the role this time if his acting is this rusty.

“I love you, Dieter.”

Dieter closes his eyes to better hear the statement. He knows. Javi’s more than a friend, but there’d always been a hesitancy in crossing that line. A nervousness to being left vulnerable and unrequited. This arrangement they all have together isn’t usual and what if Dieter’s the one that pushes them too far and breaks everything beyond repair? 

“One more.”

“I love you, baby.” Javi says with enough earnest sincerity that there’s no room for doubt.

It feels… really good to hear that coming from Javi. He’s said it to you many times himself. He’s heard the others tell you the same thing too, but to have it directed at him? He understands why you bloom under the words like a flower in the sun, as a warmth spreads through his chest and the anxiety fades away enough for him to think clearly and be more active in the conversion with Javi. 

“How did I get such greedy partners?” Javi clicks his tongue, the question more to himself than Dieter, and a weight lifts off Dieter’s shoulders. 

Javi sounds content, more amused than annoyed, and the cadence of his voice as he gives Dieter what he wants, what he needs, is steady and sure. Like he wants to give him those words as much as Dieter wants to take them. 

The call doesn’t last much longer; Javi really did just want to call and say hello, but he insists they can talk for as long as Dieter wants. As much as he’d like to keep Javi with him, he can hear the drag in his voice, so Dieter thanks him again and tells him to go to bed. 

When the call ends Dieter stares up at his ceiling, feeling drained but calm. He blinks when his phone chimes and checks the screen eagerly, hoping it might be a message from M or you. Ideally you’d both reach out and complete his little feel good moment. 

He’s only a little disappointed when it’s an email from his agent with more offers and scripts for him to look over.

[jokeroutsubs]

Joker Out, who rose to popularity from the Eurovision Song Contest, starts off their European tour in Finland. A unique friendship was also born during the contest with Käärijä

Original article 

Caption: On their last visit to Finland, Joker Out surprised everyone by playing Cha Cha Cha. During the song, Käärijä also appeared on stage. Photographer Niina Mäenpää.

The Nordic gigs may also feature a tourist, Käärijä.

Original text and interview: Niina Mäenpää

A gold record from Finland, fans camped outside the venues from the early hours of the morning, the new song Everybody's Waiting streaming at a fast pace. Slovenian indie rock band Joker Out are going strong. The band, who emerged from last year's Eurovision Song Contest, have been super-popular in their home country for a long time, but it was the Eurovision Song Contest that blew them up.  

The European tour, which kicks off at the House of Culture this weekend, will run well into April. The band, who won a gold record  in Finland for their Eurovision song, Carpe Diem, will be coming to Helsinki for the second time. 

"We feel at home in Finland, and last time it was very cosy for us. Finns and Slovenians have a lot in common", says singer Bojan Cvjetićanin in a remote interview. 

Liverpool's Eurovision Song Contest not only left them with Europe-wide popularity, but also something else unique - a friendship with Jere Pöyhönen, aka Käärijä.

"Buddies for life. In all the Eurovision hype and chaos, we managed to find a very close friendship, and that is something truly unique", says Bojan.

After the weekend in Helsinki, the tour continues to Tallinn, Estonia. Käärijä will jump on board. 

"Jere will be joining us as tourists because he has some time off. We are definitely going to spend a lot of time together during those days", Bojan says. 

"Hopefully I'll get to the sauna in Finland too! I'm really looking forward to the gigs, and as Jere says, it's crazy, it's party."

See embed video on the original article: watch Joker Out reminisce about their experiences in Finland and Bojan imitating Käärijä.

Joker Out was seen at this year's UMK as Slovenia's point presenter, and the Nokia Arena went wild as Bojan, bassist Nace Jordan and drummer Jure Maček took the screen to present the points - Bojan wearing a green Käärijä shirt.

How did it feel to make an arena full of Finns scream remotely?

"We just hoped that our internet connection would last", drummer Jure laughs. 

The Nokia Arena was a special place for us, as the last time we saw the arena was when we drove past it during our gig in Tampere. Jere joked that, one day we'll make this arena, Bojan imitates his friend's rally English. 

So maybe a joint tour?

"Maybe we do, maybe we do, we’re gonna plan it now..." Bojan grins.

What is Joker Out?

Slovenian indie band, which describes their music as shagadelic rock ‘n’ roll

A Slovenian indie band, who describe their music as shagadelic rock and roll

Members: singer Bojan Cvjetićanin, guitar players Kris Guštin and Jan Peteh, bass player Nace Jordan and drummer Jure Maček.

Best known for Eurovision 2023, where the band jumped to popularity with their song Carpe Diem.

The new single ‘Everybody's Waiting’ tries a new musical direction and tells the story of the downsides of life in the crossfire of demands. The music video was directed by Bojan Cvjetićanin.

At the House of Culture Joker Out will play on Saturday 2nd and Sunday  3rd of March 2024. Saturday's concert is sold out, but there are still some tickets available for Sunday's extra show. Tickets on Lippu.fi.

Translated by @niini5 @drugsforaddicts @saallotar Proofread by IG Gboleyn123

[freethebook]

Would you give up everything you have, if it meant getting everything you want?

For Morgan Pajpjow, normalcy is perhaps a relative term. To most, moving to a new town twice a year would be a bit unusual, but that's Morgan's normal, and he's resigned to it. After all, what's the point of making new friends when it would just be wasted effort? So he keeps his head down, content to be ignored by most, and staves off the meddling and antagonism of the few who won't.

But when Morgan finds a silver branch waiting for him on his way home, normalcy abandons him. Down a disused fork in his driveway, he tumbles headfirst into the Otherworld--a land of arbitrary laws ruled by capricious fairies. A dance, a gift, or an invitation suddenly become waiting snares, eager to bind him into servitude. Now, far from home, Morgan will have to learn how to embrace vulnerability and ask for others' help, or face being stranded in the Otherworld forever.

______________________________________________________________

So since April is apparently Indie Promo Month, let's try this again.

Hi Tumblr, I'm Kurt and this is my debut novel! Morgan and the Fey sits squarely in the space where Garth Nix's Keys to the Kingdom meets the Nibelungenlied. If you're interested in stories about:

Lonely queer teens discovering friends and support,

Pan-European fairylore,

Getting lost in strange worlds,

Magic, whimsy, and maybe a touch of terror,

then this might be your book!

You can find Morgan and the Fey available for purchase as an ebook at any of the locations below:

Amazon

Apple Books

Rakuten Kobo

Smashwords

Everand

Palace Marketplace

And, if you're interested, you can also purchase directly from me at my Payhip!

[blackhistorystoryteller]

Black Americans should visit Ghana

To know more about black slave trade in Ghana

Monuments of shame

Cape Coast Castle - now a World Heritage Site - is one of about forty forts in Ghana where slaves from as far away as Burkina Faso and Niger were imprisoned. This former slave fortress could hold about 1,500 slaves at a time before they were loaded onto ships and sold into slavery in the New World in the Americas and the Caribbean.

Male captives who revolted or were deemed insubordinate ended up in the condemned cells - a pitch-black room where slaves were left to die in the oppressive heat without water, food or daylight.Rebellious women were beaten and chained to cannon balls in the courtyard

Built in 1482, Elmina Castle on Ghana's Cape coast is the earliest European structure erected in sub-Saharan Africa. Originally Portugese, it was later captured by the Dutch, who used it as a base for the Dutch slave trade with Brazil and the Caribbean. Under the flag of the Dutch West Indies Company, around 30,000 slaves a year passed through Elmina until 1814 when the Dutch abolished slavery.

The Portuguese position on the Gold Coast remained secure for almost a century. During that time, Lisbon leased the right to establish trading posts to individuals or companies that sought to align themselves with the local chiefs and to exchange trade goods both for rights to conduct commerce and for slaves whom the chiefs could provide. During the seventeenth and eighteenth centuries, adventurers--first Dutch, and later English, Danish, and Swedish-- were granted licenses by their governments to trade overseas. On the Gold Coast, these European competitors built fortified trading stations and challenged the Portuguese. Sometimes they were also drawn into conflicts with local inhabitants as Europeans developed commercial alliances with local chiefs.

The principal early struggle was between the Dutch and the Portuguese. With the loss of Elmina in 1642 to the Dutch, the Portuguese left the Gold Coast permanently. The next 150 years saw kaleidoscopic change and uncertainty, marked by local conflicts and diplomatic maneuvers, during which various European powers struggled to establish or to maintain a position of dominance in the profitable trade of the Gold Coast littoral. Forts were built, abandoned, attacked, captured, sold, and exchanged, and many sites were selected at one time or another for fortified positions by contending European nations.

Both the Dutch and the British formed companies to advance their African ventures and to protect their coastal establishments. The Dutch West India Company operated throughout most of the eighteenth century. The British African Company of Merchants, founded in 1750, was the successor to several earlier organizations of this type. These enterprises built and manned new installations as the companies pursued their trading activities and defended their respective jurisdictions with varying degrees of government backing. There were short-lived ventures by the Swedes and the Prussians. The Danes remained until 1850, when they withdrew from the Gold Coast. The British gained possession of all Dutch coastal forts by the last quarter of the nineteenth century, thus making them the dominant European power on the Gold Coast.

During the heyday of early European competition, slavery was an accepted social institution, and the slave trade overshadowed all other commercial activities on the West African coast. To be sure, slavery and slave trading were already firmly entrenched in many African societies before their contact with Europe. In most situations, men as well as women captured in local warfare became slaves. In general, however, slaves in African communities were often treated as junior members of the society with specific rights, and many were ultimately absorbed into their masters' families as full members. Given traditional methods of agricultural production in Africa, slavery in Africa was quite different from that which existed in the commercial plantation environments of the New World.

Another aspect of the impact of the trans-Atlantic slave trade on Africa concerns the role of African chiefs, Muslim traders, and merchant princes in the trade. Although there is no doubt that local rulers in West Africa engaged in slaving and received certain advantages from it, some scholars have challenged the premise that traditional chiefs in the vicinity of the Gold Coast engaged in wars of expansion for the sole purpose of acquiring slaves for the export market. In the case of Asante, for example, rulers of that kingdom are known to have supplied slaves to both Muslim traders in the north and to Europeans on the coast. Even so, the Asante waged war for purposes other than simply to secure slaves. They also fought to pacify territories that in theory were under Asante control, to exact tribute payments from subordinate kingdoms, and to secure access to trade routes--particularly those that connected the interior with the coast.

It is important to mention, however, that the supply of slaves to the Gold Coast was entirely in African hands. Although powerful traditional chiefs, such as the rulers of Asante, Fante, and Ahanta, were known to have engaged in the slave trade, individual African merchants such as John Kabes, John Konny, Thomas Ewusi, and a broker known only as Noi commanded large bands of armed men, many of them slaves, and engaged in various forms of commercial activities with the Europeans on the coast.

The volume of the slave trade in West Africa grew rapidly from its inception around 1500 to its peak in the eighteenth century. Philip Curtin, a leading authority on the African slave trade, estimates that roughly 6.3 million slaves were shipped from West Africa to North America and South America, about 4.5 million of that number between 1701 and 1810. Perhaps 5,000 a year were shipped from the Gold Coast alone. The demographic impact of the slave trade on West Africa was probably substantially greater than the number actually enslaved because a significant number of Africans perished during slaving raids or while in captivity awaiting transshipment. All nations with an interest in West Africa participated in the slave trade. Relations between the Europeans and the local populations were often strained, and distrust led to frequent clashes. Disease caused high losses among the Europeans engaged in the slave trade, but the profits realized from the trade continued to attract them.

The growth of anti-slavery sentiment among Europeans made slow progress against vested African and European interests that were reaping profits from the traffic. Although individual clergymen condemned the slave trade as early as the seventeenth century, major Christian denominations did little to further early efforts at abolition. The Quakers, however, publicly declared themselves against slavery as early as 1727. Later in the century, the Danes stopped trading in slaves; Sweden and the Netherlands soon followed.

The importation of slaves into the United States was outlawed in 1807. In the same year, Britain used its naval power and its diplomatic muscle to outlaw trade in slaves by its citizens and to begin a campaign to stop the international trade in slaves. These efforts, however, were not successful until the 1860s because of the continued demand for plantation labor in the New World.

Because it took decades to end the trade in slaves, some historians doubt that the humanitarian impulse inspired the abolitionist movement. According to historian Walter Rodney, for example, Europe abolished the trans-Atlantic slave trade only because its profitability was undermined by the Industrial Revolution. Rodney argues that mass unemployment caused by the new industrial machinery, the need for new raw materials, and European competition for markets for finished goods are the real factors that brought an end to the trade in human cargo and the beginning of competition for colonial territories in Africa. Other scholars, however, disagree with Rodney, arguing that humanitarian concerns as well as social and economic factors were instrumental in ending the African slave trade.

[ltwilliammowett]

What are the advantages of fore and aft rigs vs square rigs?

Hi,

The fore and aft rig, or schooner rig, required only a small crew, and was generally used in the coastal and fishing trades. Ships with this rig could point higher into the wind and were usually more maneuverable when working in the changing winds along the coast. The rig was not limited to coastal schooners, and big fore-and-afters could be seen plying across the Western Ocean bound for European ports, the West Indies, or South America.

The square rig was normally an offshore rig used by vessels making long ocean passages and taking advantage of the prevailing wind and current patterns of the globe. These ships varied in size from the small handy brigantines and brigs of a couple of hundred tons to the great full rigged ships and barques of over two thousand tons. The square rig was also seen in the coastal trade, where brigs plied their trade up and down the eastern seaboard.

I hope it will help you and have a nice day

[cherrylng]

Muse interview - Matt Bellamy [CROSSBEAT (March 2000)]

“My most fundamental motivation for going into music was to give eternal life to human emotions.”

Muse, a trio of explosive lyricists who mix cross-cultural blood with modern sensibilities, have finally landed in Japan! Matthew Bellamy's spirituality, the heart of a band that respects Radiohead but aims to be ‘somewhere different’. Interview: Sumi Imai

“I think music is best listened to when you're alone. Because it's music that makes you connect with something beyond the material.”

Muse, who hail from Devon in south-west England, were discovered by Maverick in the US as ‘promising newcomers’ and signed independently, followed by individual record deals in five countries around the world, including the UK, Germany, France and Japan, making their debut on an international scale not seen in recent years. Now, Muse is coming to Japan! At just 21 years of age, their first album ‘Showbiz’ strikes the listener's soul raw with instinctively stirring dramatic sounds and melancholy melodies. Matthew's (vocals/guitar/keyboards and lyrics/composition) singing, which is sensitive yet expresses emotions that seem to rise from within, dark, edgy and loud guitars, and melancholic and beautiful melodies have often led to them being described as ‘the three-piece Radiohead of the new millennium’, but of course they are no mere followers. Their music has the shadowy danger and tension of Radiohead, the dynamism, drive and gloss of Mansun (for the second album) and the bare intensity of Nirvana…… They create a unique "Muse world" by weaving in exotic elements (including flamenco-style guitar!). At the age of 14, Matthew joined the band of his secondary school classmate Dominic (drums). Two years later, Chris (bass) joined the band, which became the original Muse and continues to this day. We caught up with Matthew after he had been back home for a while, amidst a packed schedule of European tour dates.

You have always liked Spanish and South American music, as well as classical and choir music. I think that this diversity of musical influences is what sets Muse apart musically from other bands. 「Yes, that's true. Since I was a kid, I grew up listening to all kinds of music, regardless of genre. When I first learnt to play guitar, it was blues and slide guitar, and I started to get into rock when I was 13 or 14. When I graduated from high school, at the age of 17, I spent about four months travelling around Europe on holiday. I wanted to learn a lot of guitar music there that I wasn't used to hearing before. I went to Greece and Italy just to listen to the different kinds of folk music from different places. It was an experience that opened my eyes to the possibilities of what I could do with the guitar. I also used to play classical music like Rachmaninoff and Chopin on the piano. So maybe I'm trying to fuse all kinds of music.」

You started your first band at the age of 12, and it all started around the same time (1991 or 1992?). Was it grunge or something like that? 「Oh, no, no (laughs), it was actually a jazz-ish band.」

Oh, really? 「I was playing the piano in a boogie-woogie or rock ‘n’ roll kind of way. Then I started playing electric guitar and joined Dom's (Dominic) band. His band was so cool at school, everyone wanted to be in it (laughs).」

Wow (laughs). I heard that they played songs by Mega City Four and Senseless Things. 「Yeah, Dom's band used to play that kind of stuff, and we used to cover other British indie bands like Ned's Atomic Dustbin and Wedding Present. I started learning those songs when I joined that band.」

I see. By the way, you said, "The only bands that really mattered in the 90s were Nirvana and Radiohead during 'The Bends' era. What made these two bands stand out was their pure vulnerability in exposing themselves and innovation". You seem to be obsessed with ‘innovation’, but if there was a ‘new sound’ that Muse could present to the current scene, what would it be? 「Well, I'm not very good at describing what I do in words (laughs). But…… When I mentioned Nirvana and Radiohead, I think I was trying to talk about the ‘guitar music’ they produced. In terms of guitar-based music and its development, from Jimi Hendrix, Elvis, the Beatles and the Who to the Sex Pistols…… I think they're important bands to put in that queue. But yeah, it's hard to talk about ourselves because we're just starting out (laughs), we've got a long way to go.」

So what do you want to create in the future? 「I want to be honest about what I feel at the time. This time I've incorporated classical piano music and organic Spanish elements, but I want to combine these atmospheres in modern rock. There are so many different kinds of music in this world. Music has a long, long history. Different countries have different music. I think it's important to keep an open mind and listen to everything, to get in touch with what's happening in the world, past and present, and to develop what you create.」

I see, I understand. By the way, when UK bands expand into the US, the usual pattern is for them to establish themselves in the UK to some extent, then play small shows in the US…… But you guys are doing a big expansion on your own with your record company in the US. Many of your favourite bands - Nirvana, Primus, Rage, Smashing Pumpkins - are from the US, but do you think success in the US is important for you guys? 「Hmm, it's a challenge for us. It's a big country and I think it takes time to become a thing. The fact that the US music scene/rock music has been so creative for the last five years or so is what I'm really interested in. I think the next couple of years are a good time to bring song-oriented music to the US scene. There's been a bit of an emphasis on heavy metal music over there for a while now. But (success in the US) has never been the most important thing for me. I'd rather be successful in my home country, the UK, than the US.」

I see. But when you went to the US, you were greeted with limousines and champagne, which is unbelievable hospitality for a new British band. 「Hahahahaha (laughs), yeah, yeah.」

When it comes to being treated so well since your debut, do you take it easy and think, "I'll just take what they give me"? Or do you always calmly tell yourself, "Don't get carried away by this. Keep your feet on the ground"? 「Yeah, I don't think we take the situation too seriously. So it's more like ‘enjoy it while you have it’. We know it's all just for the moment, it won't last. We know it's just to make a good impression on us. We know we haven't earned it yet. Anyway, we don't even know if that's what we really want to get. It's just a bit of fun. It's not like I believe life should be like that or anything.」

Hmmm… that's rather cool (laughs). By the way, what ambitions did you have when you were 16, when all three Muse members were together? 「At the time…… I was like, "We're going to be the biggest in the world" (laughs), hahaha. But that kind of thing changes as you get older.」

And now? There are bands like Manics [aka Manic Street Preachers], who made their debut with the enthusiasm of "We're going to be number one in the whole world" (laughs), and then there are bands like Elastica, who say "If we can do what we love, sell 10,000 copies of our albums, and can make a living, that's enough". 「Yeah, it's possible for those two extremes to coexist inside of you. For example, to put it in an extreme way, a part of me thinks, ‘I'm happy just to exist’. Music gives me so much joy that I enjoy just being able to spend time with it, to focus on new ideas and creating something. My main motivation for continuing with music is to keep having the opportunity to create new things and to communicate with other people through it. I think that's the most important thing. There is more than one way to maintain that situation. I think I'd be just as happy if I could just make a living or if I was the most famous person in the world.」

But when we get too big, for example, there are some things we can't control. Like the suffering that fame brings, not to mention the example of Kurt Cobain…… 「Yeah……」

Also, I don't know if you've seen this, but from the Radiohead documentary video— 「Yeah, I've seen about half of it.」

From that you can also get a sense of the kind of madness they put themselves through. Do you have any fear or preparedness for that sort of thing? 「It's easy sometimes to take your situation and everything too seriously. It's easy to get depressed and wallow in self-pity, but I think that's boring. For example, I don't think the situation in that video was actually as bad as it appears on the screen. I think they were deliberately shot to look like they were in a bad situation in order to portray the image they had at the time. I know, I've been on tour for a long time now, and it's actually not that bad, I enjoy it. I mean, I try to enjoy it as much as I can. That's what life is all about. I don't feel the need to dwell on the bad aspects of it, because it's the most enjoyable experience of my life, even though I don't like some of it. I don't think that feeling will ever change.」

One of the unique characteristics of Muse's music is that it is full of deep, intense and real emotions - in the overall sound, in your guitar and piano, and of course in the songs. 'There are many ways that people do and create music - as a means of self-expression, as a means of communication, as a therapeutic role, etc. What is the greatest significance of music for you? 「Well, I guess…… The most fundamental motivation for me towards music was to give eternal life to human emotions. I mean, the feeling that after we die, the feeling remains in the world. That's the first thing, or in other words, I believe in the existence of the soul. Sometimes people can be confused by the body. They feel frustrated by the material world. Art and music express our emotions and show us that there is more to life than material things. Music is a way of connecting with people in a different way beyond the material world.」

You mean a spiritual way? 「Yeah, I think that's probably what it is. I think art exists to express what we feel inside and to communicate with people beyond natural phenomena, if there is such a thing as spirituality. Everyone expresses themselves in different ways, but most of the songs on the first album are about my relationship with the outer material world.」

Hmmm. On a different note, there have been a lot of comparisons to Radiohead, but I was impressed by how you coolly analysed and answered, "Well, I don't mind, I've never really been a fan of Radiohead. If you think about the fact that Thom Yorke was influenced by Jeff Buckley and that our album was produced by John Leckie (who produced ‘The Bends’), it's an understandable comparison." I think there are a lot of bands who, when they're as young as you are, would be very dismissive, but you handle it well, probably because of your own respect for them. 「Yeah, it's certainly partly because of the respect for what they've achieved. And I understand the comparisons for the reasons I've just mentioned. But the comparisons don't mean that we're treated as a copycat band.」

Yes, that's right. When you said that, you also said, ‘But if you see us live, you'll see that Muse is more of a rock band’, 「Yeah, it's just that if you see us live, you can better understand what we actually sound like as a band. On the record we're more experimental, we use different instruments, we sound like a five or six-piece [band], but live it's just the three of us, and I think the emotion hits you harder. And we're definitely from a different generation (to Radiohead)…… So I think we're appealing to a different generation.」

Oh, a different generation…… So what do you actually think of 'OK Computer'? Considering the sound and structure of that album, I thought that what you said earlier meant that yours is a more straightforward and powerful rock. 「I think 'OK Computer' is a good album, I just don't listen to it too intensely. It probably didn't have the same influence on me [as 'The Bends']. Maybe it's partly because I listened to 'The Bends' at a certain time of year that it appealed to me more clearly. I think 'OK Computer' is a good album, but it doesn't resonate with me the way 'The Bends' does. I think it's probably a generational thing, an age thing.」

Oh, I see. Well, this is just my personal impression, but I feel that Radiohead's sound is largely a journey of self-exploration towards inner chaos, while Muse's sound is more outward-oriented with ‘the intention to connect with the listener’. The guitars and singing seem to speak to us. For example, in your live performances, are you conscious of the presence of the listener in that sense? 「Yes, for example, I've loved going to gigs since I was a kid, and the most exciting thing was when a singer would perform to me as if they were talking to me. I'm very conscious of people as 'individuals', not as a ‘crowd’, and I try to be conscious of that. I try to imagine that I'm part of the audience, and I try to put myself in their shoes. I think music, especially albums, are best listened to when you are alone. Because music makes you feel you are not alone and connects you to something beyond the material. I don't think Muse's music is appropriate to play when you're all gathered at a friend's house having a drink and having a good time. I don't think it's the right music for that kind of background music. I think it's more the kind of music that you can listen to when you're alone and feel something different…… I mean, I hope so (laughs).」

Translator's Note: The earliest Muse interviews that can be found in Crossbeat and Rockin'On were all released on their March 2000 issues, with INROCK only releasing theirs on April 2000. But out of three, I think Crossbeat has the best early interview by far, thanks to how good of a journalist Sumi Imai is. Their interviews just reveals Matt and his bandmates in a way that most other western music magazines and newspapers don't.

Or it's just because Japanese interviews tend to reveal the conversation of questions and answers as it was recorded back then, so there's no backfilling of sorts at all.

[louisupdates]

The Habit He Can’t Break, 2/4

IQ 123 | Gordon Masson | 9.11.2023

“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the number needed to be limited to 10,000 people.”

Rather than let fans down, Move added a third day, which again ended up selling out. “I remember being on a night plane from Miami, while Matt Vines was flying in from Dallas, and we were both using the aircraft wi-fi to negotiate via text for that third show. It was an interesting way to confirm putting the third date on sale, just three days before the actual show!”

He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best, and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”

Further north, Ocesa will promote three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos, Rodríguez, deepening Tomlinson’s footprint in that crucial North American market.

Meanwhile, in Tomlinson’s homeland, Jack Dowling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.

“SJM has done every show Louis has been involved with, including all the One Direction arena and stadium shows” notes Dowling, adding that on the first tour, the London show was originally penciled in as a Roundhouse, then two Roundhouse shows, before finally being upgraded to Wembley Arena. 

“This time, The O2 arena show in London will be sold out, while all the others have passed the expectations of where we wanted to be on this tour. In fact, when the UK dates were announced, it ranked as the fourth most engaged tour on social media in SJM’s history – his fans are just nuts.”

But Dowling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop, but also from indie rock now.”

Dowling adds, “Louis really looks after his fans. On the last tour, they did a deal with Greggs to give free food to the people waiting in line, as some of them camped out for days in advance.”

Out of My System

Ensuring his fans are looked after properly is the number one priority in Tomlinson’s live career.

Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artist’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “They manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since - they’ve been beneficial to the running of the tour. 

“When he played in South America, some of his fans were camping outside for a month. So we have a responsibility to look after them. Coming to a show should be a safe place, it’s where they find joy, and we have a responsibility to protect that.”

Manager Vines comments, “One issue that we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.

“I don’t know whether some of that was a hangover of the pandemic where fans just weren’t used to being in venues. But we experienced a number of situations where hydration and temperatures in venues became an issue. I know Billie Eilish went through similar issues.”

With Tomlinson determined to meet a duty of care toward his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning, and basically ensures that a number of different things are in place – making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”

And on the crushing phenomena, he reports, “We’ve worked out how many fans it’s safe to have without a secondary barrier. So we instruct promoters to have certain barriers in place to relieve the pressure and avoid crushing.”

He adds, “I get detailed incident reports after each show, which lets myself and my management team know exactly what happened, and so far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic.”

Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies.’ “The welfare officers are vital for the young girls were aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their well-being,” says Sherwood. 

Citing the extremes that the Louies will put themselves through in an effort to secure themselves prime positions at the front of the stage, Sherwood recalls, “The first show on our US tour was in February, and it was freezing, but we found out that girls had been camping out on the pavement for five days. It’s crazy, as we know these young girls are coming from all over the world to see Louis.”

However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business, says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe – we set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”

1/4, 3/4, 4/4

[tim-official]

promo post for The Singles Jukebox, a music review site that I have written for since 2016 (if you followed bc of my post about leaving your comfort zone in music then this is for you)

it is, genuinely, a lovely place - first because you get, like, 6+ people's opinions on each track, and we have a super wide range of backgrounds on our roster. (i am the guy who complains about how everything is produced.) but we also cover pop music from every continent and country; we've do the north american and UK usuals, ofc, but also thai and vietnamese pop, eastern european techno, k-pop and j-pop and canto-pop, south american guitar-rock indie darlings, lots of stuff from sub-saharan africa (reviewing for this site introduced me to south african amapiano - offshoot of house music which is just delicious). i think we've hit basically every country at least once there is a Tumblr where we cross-post everything at @thesinglesjukebox. and a website at https://www.thesinglesjukebox.com/. some of my favorite stuff i've ever written in my life is on this site. you should browse and follow and keep up. It Will Make You A Better Person (this is our motto, i've decided).

[checkoutmybookshelf]

You Have My Attention: The Polin Fic 'Verse First Lines

Fanfic is no less valid in terms of the craft of writing than trad or indie published authors; we all have the same 26 letters to work with, and we all play with the same set of tools and narrative structures and devices. Which, naturally, includes first lines. So I had to catch readers too. How did I do it?

If she didn’t have to get another edition of Whistledown out this week, Penelope would have feigned illness to avoid attending the queen’s ball. Colin’s proclamation to Fife and the other eligible young men of the ton still rang in her ears. Are you mad? I would never dream of courting Penelope Featherington. Not in your wildest fantasies, Fife. To be in the same ballroom as Colin—not to mention Eloise, whose fury practically radiated from her person to such an extent that Violet Bridgerton had yet to introduce her to any eligible young man that night—was nearly unbearable. And yet Penelope was now secretly the sole earner of her household after Cousin Jack’s betrayal. Which was why she was glued to the wall of the queen’s ballroom near the table filled with refreshments, studiously avoiding looking at Colin or Eloise while she listened to the footmen murmur to each other about the sudden European trip on which one of Miss Goring’s younger sisters had embarked. The poor girl was not even out in society. Pen sighed to herself; this was not something she could print.

I Could Have Told You 'Bout The Long Nights (23924 words) by SometimesSheWritesLongIntoTheNight Chapters: 3/3 Fandom: Bridgerton (TV), Bridgerton Series - Julia Quinn Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Colin Bridgerton/Penelope Featherington Characters: Colin Bridgerton, Penelope Featherington, Anthony Bridgerton, Violet Bridgerton, Lady Danbury (Bridgerton), Original Characters, Daphne Bridgerton, Eloise Bridgerton, Benedict Bridgerton, Portia Featherington Additional Tags: Medical Procedures, Medical Inaccuracies, Medical Trauma, Mild Gore, Angst with a Happy Ending, No beta we die like Edmund, Polin, Colin Bridgerton Being an Idiot, Colin Bridgerton/Penelope Featherington-centric, Lady Whistledown - Freeform, mild violence Series: Part 1 of The Polin Fic 'Verse Summary: Colin and Penelope have yet to make up after his careless comments about courting. But when Lady Whistledown's identity places Penelope in a perilous position, Colin must sort out his own feelings for Pen…before it's too late.

Penelope jerked awake to the sound of watchmen’s bells and shouts, which were quickly echoed and amplified by the voices of their neighbors and servants. The bed flexed beneath her, and she shivered as the warmth of Colin’s bulk lifted from the mattress. She waited beneath the covers as she listened to the rustles and grumbles of Colin pulling on breeches and a shirt; if their butler didn’t knock to wake them, she wouldn’t need to— A sudden flurry of polite knocks sounded at their bedroom door.

Of Fire and Featheringtons (54838 words) by SometimesSheWritesLongIntoTheNight Chapters: 10/10 Fandom: Bridgerton Series - Julia Quinn, Bridgerton (TV) Rating: Mature Warnings: Graphic Depictions Of Violence Relationships: Colin Bridgerton/Penelope Featherington, Colin Bridgerton & Penelope Featherington, Polin - Relationship Characters: Colin Bridgerton, Penelope Featherington, Original Characters, Anthony Bridgerton, Benedict Bridgerton, Simon Basset, Kate Sheffield | Kate Sharma, Daphne Bridgerton, Violet Bridgerton, Portia Featherington, Will Mondrich, Gregory Bridgerton, Lady Danbury (Bridgerton), Eloise Bridgerton, Francesca Bridgerton, Hyacinth Bridgerton, Queen Charlotte (Bridgerton) Additional Tags: Fires, Fire-Related Injuries, Colin Bridgerton/Penelope Featherington-centric, BAMF Penelope Featherington, mild violence, Lady Whistledown - Freeform, Protective Colin Bridgerton, Unhinged Colin Bridgerton, a bridgerton mystery, No beta we die like Edmund, Some Mild Blood, Mild Gore, fire deaths, children in peril, child fire deaths Series: Part 2 of The Polin Fic 'Verse Summary: When house fires threaten to bring Mayfair to its knees, Queen Charlotte puts Dame Penelope and Lady Danbury on the case. But twists, turns, questioned loyalties, and family ties will change Penelope and Colin's life once again--if they can survive the summer.

Penelope gasped in delight as Colin lifted her above his head and spun her, sending droplets of the Aegean Sea flying in an ever-widening circle about them. Each droplet sparkled red-orange in the sunset, embodying the ultimate marriage of water and fire. Between the scent of salt, silky texture of air against bare skin interrupted by the patter of warm water droplets, and rush of air through her loose curls, Penelope could have been flying through heaven. And yet as she fell and was crushed to Colin’s chest in a bear hug, both giggling helplessly, she listened to his heart beat in his chest and knew that should paradise call her then and there, she should rather be exactly where she was.

Lady Whistledown Returns (60424 words) by SometimesSheWritesLongIntoTheNight Chapters: 15/15 Fandom: Bridgerton (TV), Bridgerton Series - Julia Quinn Rating: Not Rated Warnings: Graphic Depictions Of Violence Relationships: Colin Bridgerton/Penelope Featherington, Colin Bridgerton & Penelope Featherington Characters: Colin Bridgerton, Penelope Featherington, Anthony Bridgerton, Benedict Bridgerton, Violet Bridgerton, Queen Charlotte, Daphne Bridgerton, Simon Basset, Eloise Bridgerton, Hyacinth Bridgerton, Gregory Bridgerton, Francesca Bridgerton Additional Tags: Blood and Violence, Threats of Violence, Aftermath of Violence, Torture, Aftermath of Torture, Mild Gore, Polin, Bridgerton, Colin Bridgerton/Penelope Featherington-centric, Protective Anthony Bridgerton, Penelope Featherington - Freeform, Penelope Bridgerton - Freeform, Lady Whistledown - Freeform, Lady Whistledown Identity Reveal (Bridgerton), BAMF Penelope Featherington, carriage crash, injuries, some blood, Character Death, No beta we die like Edmund Series: Part 3 of The Polin Fic 'Verse Summary: Penelope and Colin have faced many challenges as a married couple, but few have been as persistent, pernicious, and perilous as the feud between Lady Whistledown and Queen Charlotte. As Charlotte's power begins to visibly wane, she will do whatever it takes to claw it back. When lines are crossed, Colin and Penelope will face their greatest challenge yet. This feud must end, but at what cost?

[brightlight-dazzlingeyes]

where the sidewalk ends | pablo gavi

🎃 synopsis: Sofie meets an ex-hookup during a Halloween party. The full moon is high in the sky, the Summer they shared is now only a memory, and there are weirder things to worry about. warnings: alcohol consumption, smut, spooky themes, social media, fluff (Wc: 3k)

(this is a sequel to ibiza night fever, but can be read as standalone)

|the playlist|

“But all the magic I have known I've had to make myself.” ― Shel Silverstein, Where the Sidewalk Ends

It’s finally October, every melancholic girl's favorite time of the year. After a breakup and a much-needed Hot Girl Summer, what Sofie needed was a Sad Girl Autumn, and she’s been taking advantage of the season.

She started doing yoga and has been reading a lot more; you can confirm that by checking her Insta feed – she’s been filling it with intellectual aesthetic pics.

Strolls through the park, loud sighs, pumpkin spice drinks—anything that makes her look like the protagonist of a pretentious European indie film.

Tonight, though, is a special night. Tonight Sofie is a sexy Barbie Cowgirl, and she’s accompanied by Black Swan, Sleeping Beauty, and Carrie. Or, Chiara, Luisa and Becca, as they are known the rest of the year.

It’s Luisa’s annual Halloween party. It’s been a hit since the first edition and the first time Sofie will be attending it as a single lady.

If the last few months have taught her anything, it is how to be casual, or at least how to appear casual. Sofie was focused on having fun, holding her phone in one hand and a gin tonic drink in another. She scrolled through social media while taking another sip. She wasn't trying to arrive already drunk at the party, only to loosen up a bit.

She and her friends have already posted their outfits; half of them were already at the party. Sofie took a deep breath, put away her phone and walked out of the door.

chiaraaraujo

liked by rebeccaamorim and 307 others

i am so stressed out #natalieportman

oliviaaraujo amen sister ⤷chiaraaraujo 🦢 ⤷sofiemartins 🦢🦢🦢

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rebeccaamorim

liked by pedri and 752 others

its halloweeen happy birthday stephen king

sofiemartins uhh so i just googled stephen king birthday and... uh... ⤷rebeccaamorim nah i got it right, shut up ⤷pedri 😂😂

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sofiemartins

liked by pablogavi and 326 others

🦄💗

luisafernandes girl marry me chiaraaraujo gatinha 🖤

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luisafernandes

liked by chiaraaraujo and 956 others

i'm your favorite disney princess 🩷

francisca.cgomes tão lindaa rebeccaamorim u the love of my life. fr.

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When Sofie walks into the party, she gasps with excitement. The decor was straight out of a Halloween movie. A fog machine was filling the room with mist, cobwebs were hanging all over the place. Jack-o'-lanterns grinned from every nook and cranny, their flickering faces casting playful shadows, giving the whole scene a spooky, dimly lit charm.

It was clear Luisa had gone all in to make this party amazing.

And the guests really brought their A-game in the costume department. Among the crowd, there was a wickedly realistic zombie, a time-traveling Doctor Who, a whimsical unicorn with a shimmering horn and even a comically oversized banana. The variety was as entertaining as it was impressive.

Music was thumping from the speakers, mixing old-school Halloween hits with some current jams, setting the mood for the night.

Sofie's eyes locked onto a familiar face in the sea of costumes – it was Pedri, dressed like a pirate and laughing at something Rebecca said. He looked a bit different since she last saw him, sporting a cool beard that suited him perfectly.

Sofie wasn’t surprised to see the two chatting; Becca and Pedri have been in a complicated long-distance situationship since they met in Ibiza, in the summer. But seeing the football player at the party gave Sofie goosebumps, as she tried to forget her own antics in the Spanish island.

She goes on to greet the couple.

“Cool beard, you really committed to the theme, didn't you?” Sofie jokes about his costume and Pedri laughs. “What are you doing in town, anyway?”

They were in Lisbon, far away from Barcelona, where he should be. Sofie half asks because she worries about her friend ending up heartbroken, but she’s mostly scared that his answer might get herself in trouble.

“We had a game here last night. Figured we could stay for the party.” Pedri winks.

We. There it was, what Sofie was scared of.

“We?” She asks, anyway, even though she knows the answer.

Pedri then tilts his head to the other side of the room, pointing at something. Or someone. When Sofie looks, she’s met with a figure standing by the door, somebody wearing a Ghostface costume. She rolls her eyes and looks back at Becca.

“I’m getting a drink, have fun you two!” Sofie says.

“Don’t get lost!” Becca yells and Sofie gives her a thumbs-up and a nod, but the moment she turns away, the music swallows her up. Luisa's mansion was like a maze. Sofie knew she was in for a tough time trying to do what Becca had asked.

The music was blaring, making it feel like she'd stepped into a nightclub. There were chill-out rooms with people sprawled on fancy couches, a glittering dance floor with a DJ dropping beats, and dimly-lit hallways that seemed to lead to who-knows-where.

Sofie's search for a drink brought her to a bustling room, where she was comforted by another known face, Chiara. She was dressed as Black Swan and deep into a lively, tipsy, philosophical convo with a small group of friends.

Sofie couldn't resist joining the shenanigans. "Hey, Chiara," she chimed in, with a wide grin, “what are you guys talking about?”

Chiara turned her swan-like gaze toward Sofie, her theatrical makeup adding extra drama to her expression. "Oh, you know, the meaning of life, the universe, and why we all wear costumes on Halloween," she replied, her words accompanied by giggles from her friends.

Sofie grabbed a chair and got cozy, all set to dive into the amusing and philosophical banter.

But the conversation didn’t last long; A muffled scream suddenly pierced through the party chatter, instantly grabbing their attention. Sofie and Chiara exchanged a concerned look.

"Did you hear that?" Sofie asked, her eyes darting around the room.

Chiara nodded, her curiosity piqued. "Yeah, that sounded pretty real. We should check it out."

They both rose from their seats, leaving their group of friends momentarily and headed in the direction of the mysterious scream.

Sofie and Chiara followed the sound down a dimly lit corridor. The place was spooky, and their nerves were on edge, so they just froze, waiting to see what would happen next.

They exchanged nervous glances, ears perked up, hoping to catch any hint of what had caused that scream. The whole scene felt like something out of a suspense movie, and they were bracing themselves for a sinister revelation.

“Hey,” 

The girls screamed at the voice behind them, as they jumped in shock. With a hand on her chest, Sofie took a deep breath, looking back to the figure standing now in front of her. Ghostface.

He took off his mask in a hurry. It was Gavi, and he tried to show them there was no need to be scared.

“It’s just me…” Gavi says.

Sofie and Chiara breathed a collective sigh of relief. Sofie was particularly happy to see that it was Pablo, and for a moment, she considered giving him a hug. But that thought made her freeze in her tracks, and her mind drifted back to their time in Ibiza, and the nights they shared. They hadn't talked since then.

“Is everything okay?” Gavi asks, torn between wanting to laugh at their reaction and genuine concern.

“We just heard something weird,” Chiara begins to explain.

Then, out of nowhere, loud banging noises erupted from the same place they'd heard the scream. The sudden, unexpected noise sent a fresh wave of tension through the group.

Sofie, swallowing hard, spoke up. "So, we came here to check it out..."

Pablo, shaking his head with a sly grin, says, "I don't know, I'm not super into the idea of investigating 'bang' sounds." He shot Sofie a knowing look.

“Do you think that that's somebody having sex?” Sofie asks, almost relieved at the possibility, since she had not considered it.

Chiara doesn't buy the theory, it doesn't sound to her like somebody is having a good time. “But if it's something serious, we should at least make sure everyone's safe." She says.

Pablo relented with a sigh. "Alright, fine. Let's check it out. But stick close, and let's not turn this into a horror movie cliche, okay?" He jokes.

With cautious steps, they followed the sounds down the corridor until they reached a closed bedroom door. The weird rhythmic banging noises were definitely coming from inside, and a mix of curiosity and fear gripped them.

Gathering their courage, they exchanged one last glance before Gavi, the designated leader of the group, slowly turned the doorknob. The door creaked open, revealing the dark room on the other side. 

When they pushed the door open, they were in for a surprise – a room filled with Roomba vacuum cleaners gone rogue. The little bots were spinning around, bumping into furniture, and beeping like they were part of some bizarre dance routine. It was like a small-scale robot rebellion.

Gavi burst into a loud laugh, "Seems like the robots have picked Halloween for their big uprising, huh?"

“That’s why I don't trust robots…” Sofie says, tip-toeing closer to Pablo, trying to avoid the bots.

“What about the scream?” Chiara couldn't help but bring up the initial reason for their investigation.

The group tenses up once again, remembering what brought them here in the first place.

"It was me," came a voice from the corner of the room. Luisa was sitting down, carefully wrapping a band-aid around her toes. "One of these things nearly took my toe out, and I don't even know how to turn them off."

With everything finally making sense, the group gathered their efforts to grab the rogue Roombas. After some trial and error, they successfully managed to turn off the little vacuum cleaners and carefully piled them up in a closet. 

luisafernandes

liked by pedri and 873 others

thanks everybody who showed up. it was the best halloween party ever. my vacuum cleaners literally almost unalived me. i love all of my friends so so much. happy halloween!

rebeccaamorim what was that in the middle? ⤷sofiemartins don't even worry about it pablogavi 👻 chiaraaraujo maybe like. get a broom or something

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Pablo and Sofie stayed behind after hushing the girls back to the party. In the dimly lit bedroom, it was just the two of them. Pablo sat at the edge of the bed, and Sofie stood by the window. They both felt the urge to talk but weren't sure where to start or what to say. The unspoken tension loomed in the room.

Should they bring up Ibiza? Or should they pretend like nothing happened? They exchanged glances every now and then but mostly remained silent as they gathered their thoughts.

"It's pretty crowded out there..." Sofie says, her thoughts interrupted by the party noise.

Gavi cleared his throat, nodding in agreement. "Yeah, I know... This is better. I prefer being alone."

Sofie couldn't help but giggle,"Well, you're not entirely alone. I'm right here, you know."

Pablo met her gaze and said, "When I'm with you, it doesn't feel like there's anybody else in the room." Gavi's face flushed like a tomato, and his eyes nearly popped out of his head when he realized what he had just let slip. "Do you... um, understand what I'm saying?" he mumbled, his words stumbling out as he anxiously awaited Sofie's response.

“I feel the same way.” Sofie says, her words escaping before she could even fully process what she was saying.

A palpable tension hung in the air as they locked eyes. It felt like an unspoken challenge to see who would look away first. It was like a silent game of vulnerability chicken, and neither of them was ready to blink.

In an instant, Gavi was right in front of her, his hand gently resting on her hips. His eyes pleaded for permission. Sofie, taken aback by his bold move, simply nodded, her eyes fixed on his lips.

He kissed her hungrily and passionately. Their minds immediately turned into a total mess, as they both desperately tried to savor the moment while also trying to let each other know just how much they'd missed this.

Sofie instinctively placed one hand on his chest, while running her fingers through his soft hair with the other. Pablo deepened the kiss, taking his time exploring her mouth and playfully licking her bottom lip.

He carefully guided her to the bed, lowering himself onto her. Their lips finally parted, leaving them breathless and flushed.

They stared into each other’s eyes intently. They couldn’t wait anymore. The desire between them was so strong, neither of them could speak. They both just wanted each other, no more holding back. 

Sofie grabbed him tightly by the neck, pulling him closer. After gasping for air, Gavi brought his lips to her again, his hands moving down her sides and gripping her waist firmly.

She took off her shirt and Pablo gently pulled off her lacy pink bra.

“I missed them so much.” Gavi jokes, looking at her breasts. Sofie gives a playful slap on his arm.

“I missed you too.” She whispers in his ears. She can feel the goosebumps all over his body as she says that.

“Are we really doing this?” He asks, tenderly kissing her neck. He can’t seem to keep his mouth away from her body for too long. He knows they don’t have much time together, he’s going back to Barcelona in the morning.

“I want you so, so much.” Sofie answers in between whimpers, she’s already too lost in pleasure to consider the consequences of what she’s doing.

“But we have to be quiet.” Pablo looks at her with a mischievous glint in his eyes. “If somebody hears us moaning, they might get worried for our safety.” He whispers. Sofie has to bite her lip to hold back a giggle.

“I can be quiet.” She promises.

Pablo enters her slowly, taking his time to enjoy every second of their reunion. They get lost in each other and it feels like their first time all over again.

She wraps her legs around him and digs her nails into his back, demanding more of him. His body starts rocking, slowly thrusting harder and faster until he loses control completely.

Their bodies move together easely. Sofie has to put a hand on her mouth to stop herself from crying his name out loud.

The sigh of her desperation is enough to drive him off the edge. He reaches down and starts massaging her clit, just like he knows she likes it. Pablo speeds up his pace, when he senses they’re both close to orgasm.

He collapses in her arms and Sofie holds him close as they reach their peak together.

They have their eyes closed and for a while the only thing on their mind is each other's heartbeat.

But then, Sofie feels her anxiety creeping in, and it is enough to break the magic surrounding them. "We should probably head back to the party," she whispers. To their ears, her words seemed louder than the music outside.

"Right," Pablo mumbles, eyes still closed, lingering in the moment for a little longer.

They quietly slipped out of the bedroom, making their way back to the party without exchanging another word. 

Even without speaking, as they get out of the bedroom, they share a sly, knowing look, hinting at the possibility of meeting again, without the need for words.

Sofie, without Gavi noticing, sneakily slipped a piece of paper with her phone number into his pocket.

[kosss369]

hey um new pinned post because Bcaude

my bio sums it up tho help

erm i’m kos and if you misgender me i don’t care, idm slight nsfw or xtreme gore and i do have it on my blog so yeah

i do art ,might make music in the future, and play a ton of video games like HSR, roblox, some steam games and visual novels

i’m eastern european but live in the USA

some of the fandoms i’m in are HSR, RW(kinda), alien stage, creepypasta (I HAVE THE SAME BDAY AS TOBY?3!;6:&5), cells at work!, saiki k, JJK, and more(i forgot”lmaooo)

i DO take commissions but they are completely free (just ask in my inbox lmao) the only price you pay is it might be late because of my procrastination and INSANE laziness

any friend of my beautiful wifey and husband(//jjjjjj) @/stupidscav, @/enotston is a friend of mine

music: i LOVE metal, rock, emo rock, sigilkore, breakcore, and indie i sometimes listen to RNB

i don’t use tumblr often, im mostly online on discord

accounts:

@songlyricskos - music blog, i post music i like here(probably won’t ever post on here ever again)(fav song is …a dish best served coldly, out of the fire by TON)

@kosss3369 -art blog, only my art, and i won’t be reblogging on that acc at all

@koswrites - writing blog

anyway here’s some of my art

and below is some of my ermmm well slight NSFW/(extreme)GORE or disturbing art

[jokeroutsubs]

[ENG translation] Jamming sessions, the 'Jure Maček Curve', and new music - A Joker Out interview

An interview with Bojan Cvjetićanin and Kris Guštin, published on the Gedankengroove website on 12.04.2024. Original article written by Elie Mück, photos by Elie Mück. English translation by olenalinasarah and @nyx-aira, proofread by IG GBoleyn123.

Note: As the interview was originally conducted in English, author Elie Mück collaborated with us to give us the original wording wherever it was necessary for the right meaning to come across. Thank you, Elie!

"What would I do in this black night without you?" That's what Joker Out ask themselves in their (as-yet) unreleased song Šta bih ja. I was able to visit the five men from Slovenia in Cologne at the end of March and talk with Bojan and Kris about the song and the 'See You Soon' tour, which was almost over at that time.

The indie rock band was able to reach a wide audience across Europe with their participation in the Eurovision Song Contest 2023. Their song Carpe Diem is their most successful release to date with over 20 million streams on Spotify. After several concerts across Europe and an arena show in their home country, Bojan, Kris, Nace, Jan, and Jure travelled to London at the beginning of the year. The two-month stay in London, which didn't only consist of playing Jenga and cooking (as their Instagram stories made it seem), served as preparation for a studio session in April. Before that, the group went on a European tour at the beginning of March, playing 22 concerts in 14 countries - including five shows in Germany. Kris and Bojan tell me what's behind the changing setlists and how the band comes together in jamming sessions.

Elie: To start with, how are you doing? Did you get to Cologne safely?

Bojan: We're doing well. We arrived this morning and slept until 1pm, so we're well rested. Cologne has treated us very well. The venue is perfect, very cosy, and the staff are great.

Elie: The tour is almost over, what are your impressions so far?

Bojan: To be honest, the tour has been fantastic so far! The time has gone by super fast. We've seen so many more cities than last time. When you start touring, you usually just visit the capital cities and imagine that those are the only places you can play. But this tour consists of mostly the second or third biggest cities in each country and the shows have been great so far. We are thrilled with how many people have come and how their reactions have been. So, we're having a lot of fun.

Elie: It's interesting to see that you're playing very different sized shows on this tour. The hall in Helsinki, for example, has a capacity of about 1,500 people, whereas in Munich only about 400 people fit in. What do you prefer? The bigger gigs or the smaller ones?

Kris: It depends a lot on the audience and our mood. We have to go on stage in a good mood. I don't think the number of people makes a difference. At least not at these sizes. An arena show with 10,000 people is comparatively very impersonal and you focus more on the show and what you're doing. I definitely prefer the smaller gigs, but a concert in front of 500 or 1,500 people feels about the same.

Elie: I've heard from other artists that they prefer the bigger concerts because they have more space on stage, is that similar for you?

Bojan: For me personally, the concerts with an audience of 1,500 people are the ones where I feel most comfortable. The stage is big enough for me to move around freely without a fear of tripping over something and it still feels like I can interact with every person in the room.

Elie: Compared to the tour in autumn, you are now playing a varying set. I looked at your setlists from the last few shows and it seems like you have two or three setlists that you alternate between. Who came up with that and why did you want to vary the set?

Bojan: I think we collectively came up with that. When you play 22 shows in a month, you can get stuck in routine. It can feel like things are just repeating themselves and the mood of the shows is, in a way, predetermined by the songs you play. That's why we decided to break it up and make it a bit more fun. It's very cool because we have three setlists and I have no idea which song is coming next. That's good for me because it's always a bit of a surprise. It makes the whole thing more exciting. The fans like it too. There have been some who came to several concerts and heard different songs each time.

Elie: How did you find out which songs work together?

Bojan: It was a long process.

Kris: We sit down together and try to find out what works best. It can take several days but sometimes it works straight away. Our drummer Jure has his own technique.

Bojan: We call it "The Curve".

Kris: The "Jure Maček Curve" which determines how our concerts should go in terms of mood. We decide, for example, that we should start with something energetic-

Bojan: Shh, we should keep that a secret (laughs).

Kris: So, if you have calculated everything with the "Jure Maček Curve", you have a very good set.

Elie: You also play three unreleased songs. Were these the songs that were most ready to be played live or did you have other songs in mind that you wanted to put on the setlist?

Bojan: We had a few more songs that we wanted to try out on the tour. Our idea was that we would have time during the soundchecks and in between to turn the songs into something playable. However, we have less time than we thought, which is why we decided to leave it at these three songs. I really like that because it turned out that one of the songs will definitely be the next single. The fans went totally crazy. Shortly after we had left the stage at the first concert in Helsinki, the lyrics to Šta bih ja were already online. Afterwards we were told that a TikTok of the performance had over 400,000 views, which is crazy. People are even singing along already. It was nice to see that. We've also found things we want to change about the songs. A few things that work and a few that don't work.

Elie: Have these things changed over the course of the tour?

Bojan: Not yet, we have decided to leave them as they are. But we definitely know what we want to change.

Elie: I heard that after the tour you will go to Hamburg to record your next album. What is your plan for the time in the studio?

Kris: What I think will happen in Hamburg is that we will take the first couple of days to record Šta bih ja. I think that song is the most unchangeable in its structure. We have to be quick if we want to release it as a single before the album in autumn. After that we have the rest of the time to work on the things that were created during our time in London, most of which aren't nearly as studio ready. We also recorded our biggest hit Carpe Diem in the studio in Hamburg. That one wasn't nearly as finished either when we got there, so I don't think we have anything to worry about.

Elie: In London you worked on new music in the form of jamming sessions. Did you ever get to a point where you had something like a "creative burnout"? If so, how did you manage to get back into a creative mindset?

Bojan: Definitely. I wouldn't say burnout, more like frustration. Jamming always needs all five of us and of course five different minds can't always work towards the same story. Sometimes things don’t go the way all of us would like it to go for a longer period of time. When that happens, our biggest help is our producer. He always finds the cause of the problem and works with us to find a solution. I think it's important to have someone as a kind of filter. We are all emotionally connected to our music and of course he is too, but in a different way. Our producer is like the sixth pair of eyes and therefore a very important part of the writing process.

Elie: In your latest single Everybody's Waiting you used a keyboard, which is new for you. Do you have any other things you'd like to try out for the new songs?

Kris: Jan bought a mandolin in Berlin. I'm sure that will come up in the studio.

Bojan: I'm sure we want to use more synthesiser. One song we're playing live at the moment originally had a riff that was played with the synthesiser but is now played with the guitar. This change takes away the whole point of the riff. There are many things we want to try out. I think we will also work with choirs or similar vocals. We want to be as free as possible with our creativity for this album.

Elie: We are definitely looking forward to what will happen. I really like the new songs. To finish, a question that I ask often: Which song or album do you think everyone should have listened to at least once in their life?

Kris: I listen to a lot of old music, so I can't recommend anything new. But I would say (They Long To Be) Close To You by Carpenters.

Bojan: Right now, I would definitely recommend a song that I'm listening to a lot at the moment. My song is older too, I'll go with Il mio canto libero by Lucio Battisti. The whole album is very good, we listened to it a lot while Everybody's Waiting was being made.

—

After our chat, it's not long before the band starts their show. They enchant the whole audience with their incredible energy. Like Bojan said, the fans in the first rows are very confident with the lyrics. As soon as Šta bih ja starts, everyone sings along. "What would I do in this black night without you?" The song begins and ends with this line. A song about longing and missing.

The setlist takes us through every emotion and ends with a call to the current generation:

"We've gathered the courage to rebel and make a change," says Novi Val, the last song of the evening. Bojan invites everyone to become part of the "new wave". He says he wishes Joker Out concerts to be and remain a safe space for everyone.

Everyone, including the band, stands arm in arm and slowly sways to the music. A feeling of community accompanies us as we leave the hall of the Kantine and make our way home. Joker Out show that you don't have to stick to one style of music as a group and how diverse the result can be if you don't allow yourself to be restricted creatively. All five of them seem to have an incredible amount of fun with their work and I can only hope that it stays that way for a very long time.

Check out more photos by photographer and interviewer Elie Mück on Gedankengroove!

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