#possibly the KROQ Almost Acoustic Christmas? | Explore Tumblr Posts and Blogs

prettyoddfever · 3 years

Text

P!ATD – December 2006 after the NRWC tour

The band seemed exhausted by the time the Nothing Rhymes With Circus tour ended on December 9th in San Diego, but their appearances kept coming...

12/10 – KROQ ALMOST ACOUSTIC CHRISTMAS: The very next day P!ATD appeared on the second night of the KROQ Almost Acoustic Christmas in Universal City (here’s my tag). This was my least favorite performance the band ever did. I thought the modern-style stage didn’t work with the concept of the NRWC costumes & performers, the cameras were being creepy about zooming in on the dancers, the guys really needed a break, and it was nothing like the NRWC tour so poor Brendon was stuck in the weird spot of whether or not he should interact with the crowd or fully go for his creepy character (which didn’t even make sense in that setting). Fans could watch the webstream and a lot of us were like ehhhh this isn’t the best. But P!ATD got to meet Tom DeLonge so that was neat. MTV said that P!ATD also used this time in LA to meet with some potential producers for their new album.

THE SPORTS ILLUSTRATED PHOTOSHOOT: I heard that this maybe happened during the day on December 10th, so I’m putting it here as a possibility... the band did look like they were wearing that photoshoot’s makeup during the KROQ performance (and by that I mean Bden’s eyebrows were really intense lol).

12/11 – JAY LENO: Here are some pictures – they link to the performance of Lying Is The Most Fun. Once again, the camera decided to ignore Jon Walker. But some cool things happened too, like how P!ATD met Jimmy Carter that night. Ed Norton from Fight Club was also there and Brendon was clearly trying to not freak out haha.

12/12 – THE MEXICO SHOW: Mexico City was the final concert in the Fever-era tour schedule. This show was a pretty fascinating hybrid of what P!ATD had done over the past 3 months. It looked SO much like the October international tour (to the extent that I can almost guarantee a few shots of Brendon in Mexico will accidentally end up in my October tag). The band was back to a plain stage & basic outfits, which looked so confusing when they did their NRWC covers of Eleanor Rigby & Killer Queen. Except they also opened with Time to Dance like they did in October. The Mexico show messes with me so much and I love it. Here’s a playlist and an interview.

OTHER RANDOM STUFF FROM DECEMBER

Ryan’s holiday greeting

the band’s holiday greeting

their Rolling Stone photoshoot & interview were done in December 2006, so I’m still listing it here even though the content wasn’t released until January 2007 (and the rest of the photoshoot wasn’t shared until 2008).

Jon said had been with the band for most of 2006 (he first joined a tour they were on in late January). He told MTV that "I might get a tattoo that just says '2006,' cause it was such a big year. Really, just the whole year in general has been amazing to us."

Brendon had to make a YFly profile, but he didn’t do much with it. He mainly just filled out his interests... I don’t think anyone was surprised to see that he loved Halloween, pop tarts, Journey, Queen, capri sun, The Dark Crystal, and Labyrinth. He put Where The Wild Things Are as one of his favorite books too. That social media site's whole angle was the fact that celebrities were actually verified.

Some bands were still hating on P!ATD for not paying their dues. And at this point it was like omg they’ve been touring for 1.5 years now, get over it. Las Vegas Weekly did an interview with Brendon in December and said “Where there's some grudging respect for The Killers on the local scene, veteran Vegas bands don't seem to like Panic! much. How does that make you feel?” Brendon answered:

“Honestly, when I hear that kind of thing, I don't get mad. I kind of feel that if I was in their position I would probably say the same things that they say about our band. If I was in their position, I would be upset. If I was in a band that had been playing live shows in Vegas for five years and built up all this credibility, I would probably say the same things right off the bat, without even listening to our band. But that just springs off of jealousy, I think, and ignorance. So I don't think about it too hard, just kind of write it off. It doesn't really bother me too much.”

this auction happened for Virgin Mobile’s charity Virgin Unite (but idk why the band signed the butt of a reindeer for that lol).

There were SO many fake screen names being passed around for the guys. A couple fake Brendons took things too far and kind of hurt his image... like they were saying ridiculous & horrible things and people honestly believed it was him. I heard that one of the accounts wasn’t too harmful but also didn’t seem to have much creativity – they were just recycling the slightly creepy comments that Ryan had said to girls on livejournal in 2004 lol (like “you look like you want sex bad”). Another girl pretended to be on tour with the band and actually got pretty far with that story. She even ran a fake Brendon account (brenny123bear) so “Brendon” could talk about how much he liked her and things got weird from what I heard.

The fans who were around in 2005 still had Brendon, Ryan, and Spencer’s actual AIM info but most of us didn’t bother to step in & correct anything in the lengthy debates over which screen names were real... I mean, obviously the guys weren’t going to spend their scarce free time chatting with hundreds of middle school girls. Ryan was too busy to do the book club back when P!ATD was only opening for TAI and now the band was getting ready to play Times Square after a massive arena tour. So many people were reporting that the band looked physically & emotionally exhausted. Ryan Ross was not busy writing secret poems for 12-year-olds.

Speaking of things Ryan Ross did not write... lol there were a lot of fake lyrics for the second album being passed around. I thought this was super entertaining because it wasn’t really hurting anyone’s image. Most fake lyrics were dismissed pretty quickly, but I have to share this part of one song that was believed so much that it was posted to a few of Ryan’s fan pages:

Matrimony is Paving the Way for Preplanned Alchemy As the rain falls, my umbrella doesn't always work drip drop drip drop splish splashing in my brain It's a flood honey, a real mach five Oh dear, I fear a dreadful drizzle my dear It's time to fly south with the mice Dripping dripping dripping in my Sunday morning tea One lump or two? How do you do? It's the monopoly guy These mice aren't blind, baby, but I guess they don't see the light But you know, maybe it's just dark or something baby, I don't know It could be the wool pulled over their eyes by father time or a gardening bird

a decent amount of fans swooned over those lyrics and said that Ryan was such an amazing writer. I was almost tempted to start writing the most cringey stuff “from Ryan” just to see if people would automatically love it.

P!ATD and some of their songs were on a lot of “Best of 2006″ lists around the world. IWSNT was the predictable choice for Best Song, but several lists also chose The Only Difference (although it was way further down the ranking... like Rolling Stone had it as #84 on their list of the 100 best songs of the year). Other highlights from some lists: IWSNT was #20 on Billboard’s top singles of the year, #31 on NME’s Top 50 Tracks of the Year, AOL put IWSNT as #19 and The Only Difference as #29 on their Top 100 songs of 2006, the IWSNT video came in at #1 on Fuse’s year end countdown. AFYCSO was #13 on NME’s list of the top 50 albums of 2006 and #32 on Billboard’s year end charts. Kerrang also put AFYCSO as #15 in their list of the top 20 albums of the year (it didn’t come out in the UK until 2006).

NME put Ryan Ross as #17 in their list of the 50 coolest people in rock & roll. The band was also 3rd in Rolling Stone’s “best dressed” category of their reader’s poll. P!ATD was simultaneously the best & worst band in a lot of other polls... here’s one example.

IWSNT was nominated for “Best Single” at the Virgin.net Music Awards (fans could vote).

Brendon was single again, so the tween magazines were finally accurate. There were rumors that he was dating a girl named Holly, one named Jadie, and also Kelly Clarkson.

Ryan told Rock Sound in 2008 that the first time he got drunk was at a hotel in LA in December: “Our manager bought me a shot and it was the first time I’d ever drank – I got drunk from one shot – belligerently drunk! I didn’t get sick, it was just laughing, hanging out and sitting in my room.” Rock sound asked if that led Ryan onto the slippery slope of boozing and Ryan said “yeah! I guess it did and unfortunately our manager is to blame.”

Ryan told MTV that the upcoming video for Build God would have "dry humping, excessive drug use, pretty much anything vulgar.”

these posters showed up by Times Square.

Stylus Magazine put IWSNT as #33 in a list of the top 50 singles of 2006 and said:

“As emo ascends into mainstream culture (in its noun form, it's now a cafeteria tribe like skaters and jocks), it's been fascinating to see which aspects of the genre are embraced by the MySpace generation: pretentiously verbose lyrics are apparently still in, but the lo-fi howls and jigsaw time signatures of late '90s Jade Tree bands have been replaced by garish theatricality and a thick rhythmic crunch. Part of what makes Panic! At the Disco stand out even further among this new crop is that on "I Write Sins Not Tragedies" the makeup-caked band weds the startled cries of male sexual angst to the delicate baroque touches of xylophone and pizzicato strings. It's all pretty ridiculous, to be sure, but the commitment is admirable, and I certainly can't deny the awesome rush I feel every time I belt out that serpentine chorus in the car.”

Brendon supposedly made one last lj entry on December 22nd that was friends-only:

just let me run where i want to run home. bored. i found my old scrapbook. millions of baby pictures... how did i get so ugly? i guess that's just what happens when you get older. or at least it did as i got older. i never thought having friends was this critical to survival. it almost feels worse waking up with no agenda, no comrades, and no comprehension of what "normal" means. it's always been the case: music never let me down. cheesy, i know. but so true. "i live in the numbness now, in the background."

NEW YEAR’S EVE

Here’s more about the NYE performance in Times Square. That was Bartram’s last performance with the band, so he was only around for part of 2006.

Here’s a quick video greeting (Jon’s comment was also in this article but idk how it’s a resolution):

youtube

P!ATD also had a NYE Celebrity Playlist on their MTV page:

THE MAIN POST

2 notes · View notes

perfectirishgifts · 3 years

Text

Q&A: Young The Giant’s Francois Comtois On Leading A Cooking Class And The Bond Between Food And Music

New Post has been published on https://perfectirishgifts.com/qa-young-the-giants-francois-comtois-on-leading-a-cooking-class-and-the-bond-between-food-and-music/

Q&A: Young The Giant’s Francois Comtois On Leading A Cooking Class And The Bond Between Food And Music

INGLEWOOD, CA – DECEMBER 09: (L-R) Francois Comtois, Payam Doostzadeh, Sameer Gadhia, Jacob Tilley … [] and Eric Cannata of Young the Giant attend KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. (Photo by Rich Polk/Getty Images for KROQ/Entercom)

As Young The Giant drummer Francois Comtois explains, food is a big part of a touring musician’s life. Whether it’s finding a favorite restaurant on the road, bonding with another band over a meal or enjoying cooking while at home, food and music share a symbiotic bond for artists.

So as someone who loves food and cooking, Comtois is thrilled to be leading an online cooking class this Friday, December 11, at 7 PM EST/4 PM PST for Impastiamo. Comtois will lead the virtual class in cooking Moqueca De Peixe, a Brazilian seafood stew, followed by an acoustic performance by Young The Giant.

ImpastiamoMoqueca De Peixe (Fish Moqueca) with Young the Giant | Impastiamo

The proceeds from the class, the first in a series called Feed The Music, will benefit Crew Nation, a fund dedicated to helping out of work live music crews. It’s a natural next step for Impastiamo, which, as I wrote about earlier this year, is the brainchild of Silvia Carluccio, a former Live Nation Los Angeles employee originally from Italy, who brought together her loves of food, music and events.

I spoke to Comtois about the bond between music and food, his favorite meal with another band, the artists he’d love to see lead a cooking class and the creativity behind cooking.

Steve Baltin: What are you going to be cooking for this first class?

Francois Comtois: I’m going to be making Moqueca [De Peixe], which is a Brazilian seafood soup. My wife is from Rio and it was one of the first dishes I tried to learn how to make to ingratiate myself with her family. I think it’s close enough to authentic now that I feel comfortable making it in front of a group of people.

Baltin: Good cooking can be very creative in a similar way that music is. Many artists love cooking, sometimes as a sort of a therapeutic release. Is that the case for you?

Comtois: Definitely. I’ve been cooking probably 95 percent of our meals since the lockdown started. I always enjoy cooking when I come home from tour, but I’m using this time as an opportunity to dig a little bit deeper into some of the techniques I’ve been playing around with, and sort of revamp my approach. I do see such a huge connection between food and music as art forms; particularly where you have this group of, whether they’re ingredients or sounds, and you have your basic techniques which allow you to manipulate them, and then beyond that, the world’s your oyster. You can kind of do whatever you want. I’ve found that they’re connected, and I do find a lot of peace in disconnecting myself and taking a moment to cook whenever I can.

Baltin: Is cooking a creative process for you as well? Do you cook off a recipe or go with what you know?

Comtois: I do a little bit of both. I learned a lot of the techniques I know from watching my mom cook, So I would make her recipes, and then after a while, you sort of figure out what works and what doesn’t. You can start to bend those rules or incorporate different flavors or ingredients. So, half the time I find new recipes that excite me, and the other half of the time I’m just trying to build up a repertoire.

Baltin: So take me through what Moqueca is. Is it a traditional family recipe of yours, or do you get to be creative with it as well?

Comtois: It is pretty traditional. There’s an ingredient that you really do need to add to make it taste authentic—red palm oil. Basically it’s just the Brazilian version of that quintessential seafood stew. You have all these different cultures that have coastal presence that have come up with their own iterations of it. So this is the Brazilian version from the region called Paella, I think. It’s tough; I tried to make it a couple of times early on when I was dating my now wife, and she would always say, “This isn’t right. It’s good, but it tastes like maybe a Thai version of the dish because there’s a lot of coconut milk in it.” So, I resigned myself to reading a bunch of recipes for it in Portuguese and trying to figure out what it was that made it authentic. I realized you just have to put a bunch of one ingredient in it and that gave it the traditional Moqueca taste. You can go crazy with seafood, too. This one I’m making with shrimp and white fish, but you could incorporate muscles and squid, basically anything that you have handy.

Baltin: Well, that does sound really good. Now I’m getting hungry for seafood. So readers understand, the proceeds from this cooking show are going to help crew that have been out of work.

Comtois: Yeah, that’s correct. The food service industry was hit disproportionately and so immediately by the shutdown. We’re trying to see if there’s a way that we can do what that industry did in response, but for the live touring industry which has also been hit just as profoundly. There does seem to be a huge connection between cooking and music. There are a lot of artists in the touring world who are very interested in going out to different restaurants and also cooking themselves. It just felt like a natural pairing. Basically, we’re opening up artists to find a dish that means something to them, do one of these cooking classes that Silvia [Carluccio] started through Impastiamo, and then add a little performance, acoustic streaming component to it. We think it’s an interesting way of raising funds and a profile of what is happening in the live touring industry right now.

Baltin: Do the other guys in the band cook a lot as well?

Comtois: I think I probably cook the most. But I would say it’s a huge part of our lives on the road though, to find a good restaurant and we’re always on the lookout for that. There’s definitely a huge connection with food and the band.

Baltin: Are there other bands that you’ve shared a bond over food with that should have their own class, that would be good to participate in this program?

Comtois: We just started to reach out to different artists and we got some interest back from COIN. They’re on our management, we toured with them last year, and they’ve got a couple of recipes of theirs, so we’re talking about possibly working with them. I was just on a call with Brian [Aubert] from Silversun Pickups. His wife owns this amazing catering company, so he has a connection to food. Silvia has been in touch with Roy Choi about possibly playing with a couple of different artists. It’s still definitely early days, and we’re hoping that December 11th shows that this is a viable solution, and beyond that, we want to get the word out. We do think it’s kind of an interesting way to address this issue.

Baltin: How far back do you and Silvia go? I love what she’s done with the cooking classes, coming from music.

Comtois: It’s just so inspiring to see what it started as and what it’s become. I’ve had a chance to do a couple of the classes and they they’re really, really great for a host of reasons. I met Silvia ten years ago, maybe more. We were doing our residency at Detroit Bar in Costa Mesa, which is not Detroit Bar anymore, but was a really fun venue in Orange County. She came to one of our shows and kept in touch with the band. She worked at the Wiltern for years. She’s been a friend of ours and part of our friend group for a really long time. When this all started to happen, I basically told her, “Hey, whatever I can do with the Impastiamo side of things, even if it’s just posts and stuff on our socials, I’m so happy to help because it’s such a cool idea.” Then it evolved from there. We were thinking, because she does have that connection with food, how can we pair these two things together and do something that’s interesting, that’s different, but also doing some good.

Baltin: Do you feel like you’d be able to lead multiple classes or is this your one specialty dish?

Comtois: I would love to do multiple classes. The only restriction is you don’t want to include this ten-hour braise. Usually a lot of recipes call for that sort of preparation, which I guess you could have the participants do some of early on, but I do have some other recipes that I would be interested in bringing up. The other cool thing is we would love to be able to pair chefs in different cities with artists from the same city. There are a few different restaurants and chefs here that I really admire. I did a class with Natalia Pereira from Woodspoon, which is an amazing Brazilian restaurant in Downtown LA. We’re hoping, maybe there will be some sort of partnership in the future there where we’re just kind of watching and helping cut onions and stuff. Basically, they take the food side of things and we can focus on the music. I’m definitely hoping that this can become more consistent and can continue to raise those funds for the touring world.

Baltin: Silvia and I talked about the fact that this started out of necessity coming from the pandemic. But the reality is that this is something that could continue on afterwards. Would you mix a cooking class and shows?

Comtois: Yeah, it has been discussed loosely in the past. Obviously, COVID has been just such a disaster and it’s impossible to overstate how tragic everything surrounding it has been, but I am trying to maintain some sort of perspective and see if there is any sort of silver lining here. I think that a lot of people have been forced to become more creative and open their minds to what is possible, and I think this is a really good example of that. So moving forward, I would love to be able to incorporate more of this. Young The Giant just did a live stream of the first album for its ten-year anniversary and that was successful. It’s things that we wouldn’t have really tried to do. The saying that necessity is the mother of invention really comes into play here. I think that, moving forward, we’re going to be more open to different ways to engage with fans. Sharing your food tradition and sharing food with people are some of the ways, in my opinion, where you can connect almost immediately. And I think that it’s a really cool way to share a part of yourself with your fan base, if they’re into it. So, yeah, moving forward, we’d love to do more of this type of stuff.

Baltin: What would be your dream combination of food and artists to do a class with?

Comtois: I’m a giant Radiohead fan. Any time this happens, I automatically think of Radiohead. I don’t know, maybe fish and chips with Radiohead. Something along those lines would be pretty fun.

Balin: I actually saw them in a sushi restaurant here in L.A. once, so when I think of them, I think of sushi.

I can see sushi. There’s something about seafood and Radiohead that pairs nicely. Yeah, so sushi, fish and chips, depending on what they’re in the mood for. I would be open to either.

Baltin: It came up in an interview I was doing recently where Billy Corgan had joked about the fact that part of Smashing Pumpkins success came down to having the right chicken piccata recipe on the right day. Is there a dish that you credit the success of Young the Giant to?

Comtois: There are probably a couple. When we first started recording and we dropped out of school, quit our jobs, and decided we wanted to try to pursue music, we basically ate Trader Joe’s orange chicken, like all the time, because it was really cheap, we could make big batches, and it’s like fried rice. Trader Joe’s orange chicken is pretty much what sustained us while we were writing the first album. So, I don’t know if it was a single version of that dish, but we might not even be here if we hadn’t had that to rely on. That and chicken Cesar salad. Beyond that, I think just in general sharing food, there’s always the meal when you’re on tour. It’s kind of weird, there’s a summer camp vibe to touring, and like you’re a little apprehensive, you’re kind of trying to play it cool in your corner, and there’s always that meal where you finally go out with like all of the crew and the touring acts all go out together and bond over food. And to me, that’s always the moment where a tour goes from being maybe a little apprehensive to we’re all really good friends and we’re going to hang out after we get back home and all that stuff. So it is a huge part of our lives as musicians.

Baltin: What’s for you been the favorite meal with the favorite touring band? That one memorable one that really stands out?

Comtois: One of our first tours was with Incubus. We supported them, and they actually took us out to Nobu. I just remember being so blown away. They obviously had been successful for a while. They knew how to operate in that world, and we did not at the time—we were probably eating at a lot of like Subways and places like that. So we go out to this meal and they’re ordering just the whole menu. I was like, “Man, we should stick with this music thing. We’ll be here in a few years’ time.”

Baltin: What do you want people to know who sign up for your class on December 11th?

Comtois: I’m just making food and shooting the s**t essentially, and just trying to make a connection with these people. We’re going to do a very quick performance after, but this is unvarnished. You’re going to be in our kitchen at our band house, and we’re looking forward to sharing that part of ourselves with our fans. Also, it’s a moment where the crew touring world really does need support and needs to be acknowledged for how big of a part they play when you go see a concert. You see the band and you’re enjoying yourself, but I don’t know if a lot of people really recognize this giant team that has to come behind that band to make it happen. It’s important to acknowledge just how important they are. I’m hoping that this grows into something bigger, but for the time being, we’re just gonna see if it works. I feel pretty optimistic about it.