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rushingheadlong · 3 years

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POP IN THE SUPERMARKET

Conveyer rock - is it all a hype? Colin Irwin looks at pre-packed pop and talks to the men behind new bands Queen (left) and Merlin

Hype. An ugly, unpleasant word frequently recurring in rock circles.

Up in the boardroom of a vast record company the fat cigar brigade are scratching heads. Binn and Batman have come up with another surefire hit and they want somebody fresh to market it. They ponder a few names and finally decide on one with slight but clear sexual connotations - suggestively camp.

Name settled, they work on the people who will be in this new band. They might be able to find a ready-made group to fit the bill but better to mould their own. There's a singer who has been around for a few years.

He's not great but he knows how to throw himself around a stage, has a hairy chest and can hit the high notes. Give him a new name and he'll do. Somebody knows a lead guitarist who can play a bit and looks good. They can advertise for the others.

They'll work out a sensational stage act, rig them up in some flash gear, buy them the best equipment and arrange a string of appearances in some influential venues. Plunge a few thousand quid in launching them with advertising and posters and "They'll be the biggest thing since sliced bread," chief fat cigar tells his underlings.

Session musicians are employed to record the single and being a Binn and Batman special the radio stations label it "chart bound" and play it twenty five times a day. Seeing the glossy photos in the bop mags the kids gather up their pennies and buy it.

VOILA, stars are born - or manufactured. An extreme form of hype.

There's also a cliché commonly used in the business about people who have been around for many years and finally make it. It's called talent-will-out. An idealist phrase but there is still a popular belief that if a band is truly talented enough it will win through in the end.

Yet even the greatest band in the world need a bit of pushing in the first place. When a record becomes a hit it's not always that easy to distinguish between hype and talent-will-out.

If a record company spends astronomical sums of money promoting a band, is it hype? Or is it a legitimate and necessary weapon in the music business? The argument is that the BBC's ever-tightening playlist and the effects on the industry of the three-day week have made it harder than ever for a new group to make it - talent or no. Without a big money machine behind it there isn't a hope.

The situation is illustrated by two energetic new bands, who both look like breaking.

Big money has been spent on Queen and Merlin, who have had new singles released during the last month.

Queen's record, "Seven Seas Of Rhye," is already moving swiftly up the chart, while Merlin's "Let Me Put My Spell On You," is doing well enough to suggest it might follow suit.

There is no suggestion that either band is a manufactured or manipulated product in the sense of the Monkees. They play the music on their own records entirely themselves and they are both hard at work on the road.

Yet the question arises as to whether they would be doing quite so well without the resources of big companies behind them.

In the case of Queen it's Trident Audio Productions and EMI and for Merlin it's Cookaway Productions and CBS.

The one common factor is that money and backing has been provided because the companies have a solid, unshakeable belief in the artists they are promoting. They are indignant about any suggestion of a put-on or that there has been any attempt to con the public.

Listen to Merlin's producer Roger Greenaway for half-an-hour and there is no doubting his faith in their ability. "They are going to break, I know they are. I'm convinced the record will be a hit."

Nobody's saying exactly how much it has cost to launch either band. "Over a period of months between £5,000 and £10,000" has been spent on marketing Queen by EMI while the figure for Merlin is even vaguer. "A bit, but not a vast amount. Not a fortune by any means."

"Seven Seas Of Rhye" is Queen's second single and was recorded as part of the album "Queen 2" which has just been released. Things started to move for them about a year ago when they recorded their first album for Trident, who have a distribution contract with EMI.

An advance was paid to them to help with the immediate costs of putting them on the road.

Review copies of the album - about 400 of them - were sent out to everyone who might conceivably have any influence on the record buying public, from discos to the national press. Copies were personally distributed to radio and TV producers and extensive advertising space was bought in the trade papers.

The launch for Queen was more concentrated than most artist are entitled to expect.

Trident were completely behind them from the start and found them their American producer Jack Nelson. EMI promotions men Ronnie Fowler and John Bagnall decided they had a product with an exceptional chance of success and they went all out to exploit it to the full.

Says Fowler: "Every record we release we work to a pattern of promotion. When I went round with the album it was normal procedure. It becomes un-normal when people start phoning you - that's when you put more effort into it."

Bagnall adds: "It became obvious after a week or so that it wasn't standard promotion that was necessary. We did a more complete promotion job than usual on Queen because we thought they were going to make it.

"They're all good-looking guys and I did a round of teeny papers and all the girls in the office swooned over them. Brian, the lead guitarist, had made his own guitar and a couple of the nationals picked up on that. It was good, gossipy stuff."

Queen's publicity machine was working from all angles because they were also getting external promotion from Tony Brainsby's promotion office.

He had been involved with them from the time they had been trying to get record producers interested. The intensity of it all paid off when they were invited to do a spot on the Old Grey Whistle Test. Radio Luxembourg latched upon the single "Keep Yourself Alive" and played it regularly.

Their first tour, supporting Mott the Hoople, got the full works. Local press was saturated with releases about this new band which was shortly coming to their town, elaborate displays were arranged at the front of the house on the night of the concert, local disc-jockeys were informed, and window displays were made in about 200 local record shops.

"Trident and EMI committed themselves right from the start to this band, to make sure they had a PA which was better than other bands had and to make sure they had the right clothes. Some of their outfits cost £150 each," said Bagnall. "Spending money on a band isn't hype. It wasn't being flash or extravagant for the sake of building an image. It was making sure that everything else was as good as their music."

Not so far removed from the attitude towards Merlin, although it has been on a smaller scale in this case.

The first Merlin tour, still underway, is rigorous. They are playing ballrooms and colleges all over the country on a lengthy round.

An ambitious project for a new, unknown band, but it has already been successful in that it has launched them as a name people now know. A full-page advertisement was bought in the MM. That's the sort of treatment you might get if you're Bowie, or Ferry, or even Mick Ronson. But Merlin?

They have only been in existence in their present form since last May.

They emerged as a result of discussions between Alan Love and Derek Chick about the possibility of forming a band with definite commercial appeal and a glamorous stage act. The idea reached fruition via a band called Madrigal, who had for some time been working the same circuit as Mud before "Crazy" broke for them.

Madrigal disbanded but reformed with the same drummer and bass player, and Love as singer and Chick as manager. A couple more young musicians were found to join them and Chick started the usual hustling to get them going.

In due course they came to the attention of Cookaway, and Roger Greenaway was hastily summoned to take a look at them. He had already seen Madrigal and when he saw the new model he immediately saw a big future for them.

Greenaway says: "I'd been looking for a group of this type for three years - a young under-20s group who can present a good act. There's a lot more showmanship attached to bands now. I wanted an act with a slightly different approach. I was in New York producing the Drifters and I came back especially to hear them."

He quickly took them into a studio to see how they reacted there and among the tracks they recorded was "Let Me Put My Spell On You" which had been written by Greenaway in collaboration with Tony Macaulay. Like Queen, the best equipment and some fancy costumes were bought for them and the launching process was put into operation.

My own experience of the Merlin project was a couple of weeks ago at Reading Top Rank - a bizarre mixture of precocious boppers, ageing teds, and stern-looking heavies.

Posters and pictures of the group were plastered all over the place and by the time they eventually appeared late in the evening you had been informed quite thoroughly that Merlin had made a record called "Let Me Put My Spell On You."

Greenaway says of Love: "He's got star quality and he's a great charmer. The guitar player Jamie Moses has got a terrific potential too. I've worked with Jimmy Page and John Paul Jones but for me this guy at 18 is a better player than Jimmy Page was at the same age. He's the sort of player guys can follow - like Jet Harris - he had an incredible following with the guys."

He likens the Merlin launch to a military operation. The career of the group has been minutely planned since October. Accepting that it is almost impossible to get airplay for a new band on the BBC they decided the best way to break them was through a solid mass of live dates.

The dates were booked, once again the best equipment, including a light show, was bought for them, and distinctive stage costumes especially designed.

"By the time the tour has ended they will be a really tight band. We are getting support in the regions and you can break a record if you can get regional radio stations and disco plays. I believe this record is a hit and the signs are there. This is a ten-year job as far as I'm concerned."

Not that big money backing is any guarantee of success.

One of the biggest projects of this type was the launching of young Darren Burn as Britain's answer to Donny Osmond. To their eternal credit the record-buying public didn't apparently want an answer to Mr Osmond and the campaign failed.

The pop supermarket is not a new trend. The attractively packaged mass-produced record has been a part of the industry for a long time. The early releases of Love Affair, White Plains and Edison Lighthouse for example spring to mind.

The whole thing is justified for the makers by the fact that they still become hits, thus proving there is a demand for made-to-order records. If the public is willing - or gullible enough - to pay 50p for music created in the boardroom. Well it must be OK.

The Merlin single is blatantly, unashamedly aimed at being a big hit - that seems to have been the one criterion in making it. It has all the ingredients and as the whole thing has been done with concentrated professionalism it will probably be a hit.

Back to Roger Greenaway: "I don't want to present this as a Monkees type of image. It's not a manufactured group in any way - these guys have all been in other bands.

"What Merlin are about is success - reaching people. It's so wrong for opposing people to criticise. If Chinn and Chapman go out to reach a particular market at the thing they do best, and they reach them, then they're doing their job. They've filled a gap.

"When this record happens it'll be called hype but we haven't hyped anybody. Not a vast amount of money has been spent on them. It would be silly to have a tour like this without some sort of advertising. All the money that has been spent on them so far has been towards getting them on the road.

"It's expensive but it's minimal if you think of it as a along term thing."

It may be unfair to associate Queen with the pop supermarket. The group themselves were apprehensive about appearing on Top Of The Pops and the prospect of a hit record.

They have always regarded themselves as an album band and were concerned about being connected with the chart groups. The fact remains that they have been on the receiving end of a giant campaign to create a best-selling single and album.

The first album had sold far better than they had anticipated and there was great excitement around Trident and EMI as the second one was being made. Manager Jack Nelson came in virtually every day to play new tracks as they were completed and many discussions followed on which one should be released as a single.

A special meeting was held between Bagnall, Fowler, marketing manager Paul Watts and a few others to discuss the approach to the release of "Queen 2."

"We talked about the possibility of boxing the album, and other various publicity and posters needed to produce an album we were convinced was going to be one of the biggest of the year. We set a high target for it. 'Seven Seas' isn't a housewives' record so with the daily shows like Edmonds, Blackburn and Hamilton, there's no chance of getting it played, we knew that from the start. But the weekend shows - Rosko, Henry, and D.L.T. - they all flipped over it. I took the records round personally because I felt so strongly about it."

The prime plug, however, is Top Of The Pops. If a record gets exposure on that there is a more than even chance that it will become a hit. He played it to the show's Robin Nash and a couple of days later Nash phoned him and asked him where Queen were. Later he rang back and invited Queen to do a session.

The band weren't too sure whether they wanted to do it but eventually agreed although even then they didn't know until the last minute whether it would be used because they were half expecting a David Bowie film to arrive and take it's place. But in the end Queen were shown and "Seven Seas Of Rhye" moved dramatically from there.

"A lot of people have invested an awful lot of time and money in this band but not as a hype," says Bagnall. "The only truth in the music business is that if a band isn't good, no amount of money will get them to make it."

Greenaway may be right that Merlin are one of the most exciting bands to merge since the Beatles. Fowler might be right that Queen are one of the best since the Who. But big business still remains one of the sadder aspects of the music industry today.

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Huge thanks to the anon who brought this to my attention, since I’ve been looking for a copy of this article for ages now!

Credit for the original scans goes to @Chrised90751298 over on twitter, though I stitched it back together into a single image for ease of posting over there. Open the image in a new tab to see the full-size version!

#queen band #queen #queenband #merlin band #long post //#text

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dailytomlinson · 4 years

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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

#rolling stone #ROLLING STONE SAID ROCK BAN SO ITS A ROCK B AND PERIDOT #220720 #10years1d #one direction

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stylesnews · 4 years

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“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

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“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

#rollingstone #july20 #10years1d

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hlupdate · 4 years

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The second takes place a few years later: Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Payne got up to use the bathroom, and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words …” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, “What if the rest of the song was just lyrics from other songs?”

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio, with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, ‘What if [the next line was] “More than a feeling”? Well, that would actually be tight!’”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live-show staple. It’s a midtempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock & roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was redefining the contours of fandom.

It’d been a decade since the heyday of ‘NSync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of the history of boy bands. He first witnessed their power back in the Eighties, when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted did it only once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatlesque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, poppy guitar songs. It would come out of left field and become something owned by the fans.”

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy-band code once more with songs that recalled BSB and ‘NSync, but replaced the dated synths and pianos with guitars.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

#harry styles #louis tomlinson #one direction #1d ten #220720

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hoboonthetracks · 3 years

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DAVID BOWIE: A MODERN LOVE David Bowie created many exotic characters and dressed in ways that back in the 1970s could get you arrested but as Andrew Vaughan explains he was always a Mod at heart. When we were thirteen our "Glam" hangouts were the front rooms of Orrell, near Wigan. For Studio 54 read 39, 42 or 44 Vicarage Road. If we fancied a game of snooker while we listened to music it was our house. If we fancied fooling about it was Geoff Bradshaw’s or Pey Halliwell’s across the road. By now our mums were out at work and you couldn’t swim in the rezzies or play cricket all of the summer holidays. Here, we’d phone girls up in the vain attempt at inviting them around, or phone for taxis for people we didn’t like down the bottom of the street. It was all typical teenage stuff but it was all played out to the soundtrack of David Bowie.It was the ‘Starman moment’ that made Boy George realise he was gay! Or so he’s recounted on numerous occasions.The moment David Bowie put his arm around the frankly very heterosexual-looking Mick Ronson on ‘Top of the Pops’ was the moment something twitched in George O’Dowd’s pants. Two-hundred miles north this teenage lad just thought: “This record’s brilliant!” Sure Bowie looked odd but it was his music that mattered.The fantastic haircut helped but basically it was just a great song.‘Top of the Pops’ mattered back then and what mattered to us working-class kids was that we had a new musical hero. It was a short sharp shock to the system but during the next few years Hunky Dory, Ziggy Stardust and Aladdin Sane were played, played out and then we went back to Space Oddity and Man Who Sold the World and back to that hazy crazy sixties debut album entitled David Bowie via the reissued The World of David Bowie.Most of the songs on David Bowie came from when the man was simply known as Davy Jones. Davy Jones the Mod about town or sometimes Davie Jones the Mod about town. It's aways hard to keep up with the Joneses. He was with the the Konrads, the King Bees, the Manish Boys, the Riot Squad and Buzz. They played blues and soul, beat and pop. Looking for that hit, always moving on until Davy Jones eventually became David Bowie (to avoid confusion with The Monkees' lead singer Davy Jones); releasing his self-titled debut album in 1967. It's an album of its time and reflects plenty of the genres of music that were around at that time. Catchy baroque pop and novelty tunes along with more meatier efforts dealing with everyday issues such as peer pressure in Join The Gang and class issues in Maids of Bond Street . Then there are the out-and-out love songs such as Love You Till Tuesday and When I Dream My Dream all delivered in that Anthony Newley vocal style with touches of music hall and echoes of Kinks’ Englishness. While the album is often looked at as nothing more than a gateway to Bowie's later work - and there are lots of pointers in there as to what was to come - I like it. A lot. It stands up on its own merits and while it is never going to get you on the dancefloor there are some tunes in there while it will make you smile, and it will give you an idea where David Bowie's head and the nation's mindset was at in the summer of 1967. It is available in various formats and if you are not bothered about owning the original vinyl on Deram then there are - according to Discogs - 57 versions available. However, it might be worth picking up the 1995 album London Boy released on Spectrum Music via Decca Records.This is basically the David Bowie album put the tracks The Laughing Gnome (we’ll quickly skip over this), the majestic Karma Man and the exquisite The London Boys.The London Boys is Bowie's first truly brilliant song. It appeared as the B-side to Rubber Band - from the David Bowie album - and slipped under the radar. It is a classic. It's Bowie's downer to David Bowie's uppers. It's a reflection on another side of the scene. The pills, the aspirations and depressions, the lack of money, the loneliness and the yearning for home. "A London boy, oh a London boyYour flashy clothes are your pride and joyA London boy, a London boyYou think you've had a lot of funBut you ain't got nothing, you're on the run" It is possibly the most depressing song you'll ever hear but its dark lyrics are quite, quite beautiful. It may have been seen as Bowie's goodbye to the sixties, maybe at the time it may have felt like his farewell to his career in music but Bowie was not for giving up. Like many he moved into hippy circles, produced the glorious folk rock of Space Oddity, went heavy metal with The Man Who Sold The World, returned to folk (albeit sprinkled with a little glitter) on Hunky Dory before he went Glamtastic and became the megastars that were Ziggy Stardust and Aladdin Sane. Yet through all the craziness he remained a Mod at heart and when he was contractually obliged to produce an album in 1973 he returned to the sixties with an album of covers entitled Pinups.And what an album it is. It's basically Bowie and the boys doing the songs he loved back then. It's raw, it was recorded quickly and the energy bursts through the speakers. Dissed at the time by many Bowie purists the record has aged beautifully. With songs from “Syd's Pink Floyd”, The Who, Them and the Kinks to name a few it is a garage rock album to be played loud and often. Yet amidst Mick Ronson's guitar and Aynsley Dunbar's Moon-Like drums the band slip in a version of The McCoys Sorrow - a song so beautiful that it'll make you weep. It was in the charts for four months and was everybody's favourite song. It was a song for all the girls with their long blonde hair and their eyes of blue and a song for all the boys who wanted all the girls with their long blonde hair and their eyes of blue. It - like the whole album - is just WOW. And that's just the music. Add in the cover and the packaging and it is just so, so iconic. On the back cover there is Bowie photographed by Mick Rock in a Tommy Roberts’ box-jacketed, wide-trousered suit designed by Derek Morton, who later became Sir Paul Smith’s head of menswear. Then on the front it's the Thin White Duke and Twig the Wonderkid - this time photographed by Justin De Villeneure, Twiggy's then boyfriend. How we gazed at that photo. Seventies Twiggy all tanned and gorgeous and all of us down at Chris Ball's hairdressers armed with a copy of the album trying to get the crop. Happy days. The iconic photo was in fact originally intended for the cover of English Vogue magazine after De Villeneure was commissioned by Bea Miller, the London editor , to photograph a cover of Twiggy and David Bowie together. However, De Villeneure ended up giving the picture to Bowie to use on the PinUps cover instead, saying in 1999: "Twiggy and I were in Los Angeles when Aladdin Sane had just been released. We heard Twiggy's name come over the radio in David's song Drive In Saturday. I had just photographed a couple of Vogue covers and I thought it would be a good idea for David to be on a cover with Twiggy. He would be the first man on a Vogue cover. I called him in France. He loved the idea and arranged a photo-session. When he saw the finished picture he asked if he could use it for his album sleeve. I said to him "I've just flown to Paris for Vogue especially to do their cover." Then I asked David "How many albums do you sell? He said "About a million, hopefully." Vogue would sell about 80,000 copies in the UK. I owned the picture, so I let him have it. I was a little arrogant then! Vogue didn't talk with me for years after. They were very angry. I knew that I had made the right decision giving David the photograph when months later I was driving through Los Angeles and I saw a 60-foot billboard of the album cover on Sunset Boulevard." Of course, like all good modernists Bowie moved on. Through various incarnations, numerous new characters and many music styles but at the heart of it he was still Davy Jones from Brixton. He was always in and out of Soho, still referencing the sixties, still listening to the groups that played the Marquee and Eel Pie Island whilst always wearing sharp suits. A Mod 'til his final day doing - as The Who proclaimed and he interpreted on Pinups, "Anything for something new. Anyway, anyhow, anywhere" he chose. #BOWIEFOREVER This article first appeared in the magazine Sharpen Up

#BOWIEFOREVER #david bowie #modernists #mods #pinups #long read

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atths--twice · 4 years

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Next story! I wrote this one at a request from @season4mulder asking for a story based on the video I’m sure we’ve all seen, of a dad dancing in the bathroom with his little girl in her bath towel, singing along to a Maroon 5 song. Not wanting to completely copy that, I made up my own version and I hope you enjoy it. 💜

Daydreams and Realities 2/5

Spanning the time of their partnership, discoveries are made about each other. Sharing of beloved memories, creates new ones that are passed down through the years.

Motel rooms were famously well known for having thin walls, something Scully was always skeptical of, until she spent more time on the road than in her own apartment, and she could attest to the fact.

Through those thin walls she heard so much: television shows, loud laughter, conversations, fights, heartbreak, and sex.

So much sex.

She never hated the sound of pleasure and the cry of release more so than when she lay alone and sexless on scratchy motel sheets, in another no name town, following some lead that struck Mulder’s fancy.

It was not all bad, though. Some nights she heard wonderful sounds of happiness and excitement, and she learned some things about her partner she may never have known.

In the early days, when they had been thrown together and strangers to one another, she kept her distance once they were back at their motel rooms. Usually after an exhausting day, she would shower and get in bed, sleep overtaking her as soon as her head hit the pillow.

But as they became comfortable with each other, she began to learn more about him. He liked iced tea, vanilla ice cream cones, strawberries, and preferred waffles over pancakes. He liked older music, especially Elvis, singing along anytime a song came on the radio.

One morning though, as she walked across the room to grab her shoes, she heard quiet singing coming from Mulder’s. Smiling, she stepped closer to the adjoining door, pressed her ear to the crack and listened, expecting to hear an Elvis song.

What she heard instead caused her to pull her head back in surprise. Smiling wider, she placed her ear back on the crack of the door and hummed along as he sang.

Oh, I could hide 'neath the wings Of the bluebird as she sings The six-o'clock alarm would never ring But it rings and I rise Wipe the sleep out of my eyes My shavin’ razor's cold, and it stings

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

You once thought of me As a white knight on his steed Now you know how happy I can be Oh, and our good time starts and end Without dollar one to spend But how much, baby, do we really need

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

Believing him to be finished, she stepped away from the door, and grabbed her shoes. As she sat on the bed, he belted out louder than before and she giggled, covering her mouth in case he heard her.

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen Cheer up, sleepy Jean

She could hear him moving around as he started the song over and she imagined him dancing as he got ready for the day.

Wondering what made him choose that song, she grinned, planning to tease him about it later. Subtlety, of course.

Waiting for him to knock on her door, she thought of that song and the memories tied to it. It had not been until she was older that she appreciated it, when both she and Missy had giggled over pictures of Davy Jones. They sang that song loudly into hairbrushes as they looked in the mirror, laughing and falling onto their beds.

Hearing Mulder sing it however, there had to be a story behind it.

As they drove away from the motel, she began to hum the tune. Keeping her eyes on the road, and him in her peripheral, she saw him whip his head around to look at her.

“Yeah, I heard you,” she said, turning to look at him with a smirk. “Who would have known you liked The Monkees, Agent Mulder?” She smiled at him and he shook his head.

“I don’t like The Monkees,” he said, his eyes flicking to the road.

“Ha!” She laughed and shook her head. “As I was just treated to a rousing rendition of “Daydream Believer,” you’ll have to forgive me if I find that to be untrue.” He sighed, but she saw the smile pulling at his lips. “I’m waiting.”

He sighed again and glanced at her with a smile before looking back at the road. “My mother liked The Monkees. I remember her playing the records when I was younger. Especially when Samantha was little. The Birds, The Bees, & The Monkees… she used to put it on and dance around with her, singing the words as she did. I heard those songs so often, they are permanently seared in my brain. I guess today, they just needed to come out.” He smiled and she nodded.

“She liked Davy Jones?”

“Jones? No, no… she loved Micky Dolenz. Always said he was handsome and had the best singing voice of the four.” He shrugged and she stared at him with a smile. “Did you like Davy Jones, Scully?” He raised his eyebrows and glanced at her.

“Of course. He was the heartthrob.”

“Pfft. A bit short.”

“Hey!”

“Well, I suppose not for you.” She smacked his arm, both of them laughing.

“The Birds, The Bees, & The Monkees was my favorite album,” she told him and he grinned.

From that moment, any Monkees song they heard made them smile. Sometimes even singing along loudly, depending on their location, or level of tiredness. They shouted and laughed as they discussed who the best member was and he teased her for loving Davy Jones. Even going so far as to speak in an English accent, which she pretended to hate, but secretly loved. It became their thing, along with millions of others.

Ups and downs, years together and some apart, and then some spent literally running for their lives, they moved into a little house of their own. Someplace out of the city, far from prying eyes, the nearest neighbor, nearly a half of a mile away.

Before there was hardly anything filling it and making it a home, they danced to The Monkees record they both loved. Where Mulder found the record and the record player she had no idea, but she suspected her mother had a hand in it somehow.

While “Daydream Believer” was the most popular song from that album, the one he played first was “We Were Made for Each Other.” Pulling her close and singing softly in her ear, they danced slowly around the empty room, her eyes closed as he held her.

I wanted you from the first day I saw you, The first day I looked into your eyes That's when I knew that I would adore you It was no surprise

We were made for each other As the stars were made for the sky We were made for each other. No other love have I.

You took my hand. Was it then you had known it? Was that when you started loving me? Was it the way I smiled that had shown it? Was that the day you could see?

We were made for each other As the stars were made for the sky. We were made for each other No other love have I.

We were made for each other As the stars are made for the sky. We were made for each other No other love have I.

One song later, still slow dancing in silence, their song started and he twirled her out and back in again, both of them laughing.

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

He looked into her eyes with a smile, before he kissed her, and spun them around the room, singing loudly as they did. She laughed, happy to be in a home, someplace solid and sure, with the man she loved.

“I love you,” she whispered.

“Hmm. The feeling is more than mutual, Miss Scully,” he whispered with a kiss.

As the house filled and became cluttered, their lives changed. In times of stress and sadness though, the record player was turned on and he pulled her into his arms, dancing around the room as she cried or told him of her day. Sometimes both. His attention and the feel of his arms around her always helped, even if the sadness still remained.

Years passed, rather uneventfully in their little house, until one day it was eventful and they broke, splintering far past the fix of a simple spin around the room as the scratchy sound of a beloved record filled the air.

They separated, each missing the other greatly, but needing the time apart to repair themselves and then to repair together.

Unbeknownst to them, as they slowly made their way back to one another, a new life was created; another miracle child began to grow inside of her, seventeen years after the first one had come into the world.

They were both elated and scared simultaneously. What would this child represent? Would it be like William, a child hunted and desired to be used by others?

Their fears were allayed when their daughter was born. Perfect, beautiful, and normal. She became the light in their lives, what should have been years ago. In the happy and celebrated was also a sadness, but one they both now discussed, tears shared instead of hidden.

It was nearly impossible to be sad for too long with a baby in the house. One with big blue eyes and a bubbly happy laugh. She charmed herself around Mulder’s finger the second she arrived into the world and that doting attention did not wane as she grew into an inquisitive toddler. They were the best of friends and Scully loved watching them together.

They still had dance parties, the old record player dusted off, despite all the songs they could ever want to hear, available to them at the push of a button.

“Not the same,” Mulder said, as the record began to play and he picked Faith up, dancing with her around the living room as she shrieked and giggled.

She was exposed to The Beatles, The Rolling Stones, The Monkees, The Mamas and The Papas, Cher, Prince, Elvis, musicals, and so much more. She loved all of it, her little body moving to the beat of the music.

When she was grumpy, or her tears could not be stopped, Mulder stuck with the tried and true song from the past, turning on or singing “Daydream Believer,” as he held her tight.

She heard it many times and as a result, it was one of the first songs she knew, calling it “day-de” and swaying as she reached her little arms up to be held.

As her vocabulary increased, she was able to sing along, and they were both tickled as she belted out the words. Not completely correct, but that made it even more adorable.

One late summer afternoon, when the heat was just beginning to become intolerable, Scully escaped to the cool of the air conditioned car, went to get some food for dinner. Their portable air conditioner was nice, but the car was much better, as she could have all the vents to herself.

Walking into the store, she took her time deciding, relaxing in the cool of the building. Finally choosing a precooked chicken, ingredients for a salad, a baguette and some ice cream, she left the store. Blasting the air again, she drove home.

When she arrived, she shook her head with a smile as she took the bags from the car. The hose was lying in the wet grass, attached to the oscillating sprinkler head. No sign of either Mulder or Faith, the excursion outside must have been a quick one.

She walked past Bella, snoozing in the shade on the porch, and into the cool of the house, sighing with relief. Putting away the groceries, she could hear the shower running and then shutting off. As she finished her task, her curiosity got the better of her and she walked upstairs quietly.

As she got to their bedroom door, she heard the familiar song start and then Mulder’s voice singing above it.

Oh, I could hide 'neath the wings Of the bluebird as she sing The six-o'clock alarm would never ring But it rings and I rise Wipe the sleep out of my eyes My shavin’ razor's cold, and it stings

Stepping to the bathroom doorway with a smile, she saw them both wrapped in towels: his dark blue one was around his waist and she was wearing her purple hooded one. He spun them around and they both sang out loudly to the song coming from his phone.

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

You once thought of me As a white knight on his steed Now you know how happy I can be

Taking out her phone, Scully began to record them.

Oh, and our good time starts and end Without dollar one to spend But how much, baby, do we really need

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

They looked at Scully, singing together, Faith grinning from ear to ear.

“Mommy! We singin’!”

“Big finish, my Faithy!”

He spun them around, then back and forth, bouncing her in his arms.

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen

Cheer up sleepy Jean Oh, what can it mean to a Daydream believer and a Homecoming queen Cheer up sleepy Jean

They stopped as the song finished and bent toward Scully, as though taking a bow. She laughed and stopped the video, turning off her phone and slipping it into her pocket. She took Faith and squeezed her as she spun her around.

“What’s going on up here?” she asked as she tickled her, pulling the hood of the towel down and finding her hair wet.

“Well, Daddy had a fantastic idea to play in the sprinkler,” Mulder said, unwrapping his towel and she saw he was in a bathing suit. She looked him up and down, admiring his near naked body, but he did not notice as he was throwing his towel on the tub. “It seemed like a perfect idea: a warm day and nice cool water. We changed, grabbed our towels and well… it was fun until I saw her shivering and I felt terrible. She was so chilly, I thought a warm shower would warm her the fastest and so, here we are.” He shrugged and smiled, rubbing Faith’s back as he stepped closer to them.

“Daddy,” she said, reaching for him. “We had fun in the water.”

“We did,” he smiled, holding her and kissing her cheek. “Next time we decide to do that, we’ll have a little pool or something, and let the water warm up in the sunshine first.”

“Okay, Daddy,” she said so solemnly, they both laughed.

“Let’s get changed and we’ll have a little snack. How does that sound?” he asked and she nodded. Handing her to Scully, he winked and danced out of the room.

Giggling, she and Faith followed and continued on to Faith’s bedroom where Scully changed her out of her little ruffly strawberry bathing suit and into a sundress.

“Did you have fun with Daddy?”

“Yup. Daddy is my bestest friend.”

“Yes, I know he is,” Scully said with a smile, running her fingers through Faith’s hair.

“I love you, Mommy,” Faith said, wrapping her arms around her neck.

“I love you too, my baby,” she said, lifting her off the changing table, grabbing her towel, and leaving the room.

Tossing the towel to Mulder as he emerged from the bedroom, dressed and running his fingers through his hair, she continued down the stairs, setting Faith down at the bottom.

“How about apples, cheese, and pretzels? Does that sound good?”

“Yeah!”

Scully smiled as she went to get the snack ready and Faith played with her toys. Mulder joined her in the kitchen, Faith laughing at the monster voice he used upon entering the room.

“Eat this on the porch?” he asked and she nodded. They put the plate of cheese and bowls of apples and pretzels on a tray, along with a water bottle for Faith.

Opening the door, Bella woke up and stretched before walking over to Faith with a wagging tail, licking her cheek when she was close. Mulder set the tray on the railing and handed Faith a couple pretzels. She took a bite of one and gave the other half to Bella.

“Oh honey, don’t… eh,” Mulder said, with a dismissive wave, knowing his words would fall on deaf ears. She shared her food with Bella no matter the constant admonitions not to do it.

Scully smiled as she watched her, a little girl doing things her way, no matter what they told her. She was going to be a tough one. Catching Mulder’s eye, he shook his head, undoubtedly thinking along the same lines.

“Well, your little sprinkler idea may have been a bust, but at least the grass got some water,” she teased as she walked over to take an apple off the plate. He laughed and put his arm around her.

“Always look on the bright side of life, ” he sang softly and she laughed, remembering nights of watching Monthy Python with him, and laughing hysterically.

As he sang the chorus again, she whistled the accompanying tune. Putting her arm around his waist, she rested her head on his shoulder. Looking at Faith and Bella sitting together on the porch step, she smiled.

The bright side of life, daydreams, yellow submarines, over the rainbow… she would take all the happiness she could get.

#The X Files #XF Fanfic #Post MSIV #Family Life: The Story Beyond the Series #Music #Happiness #Love and Caring #Comfort #Laughter #Family Fluff #Family Feels

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geneclarksboobs · 4 years

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The Great Peter Infodump of March 2020

yo @brackets-and-woolly-hats @mijaco-geo and @mike-nesmith-for-mayor I have recently been informed that yall would really like me to infodump about Peter and I want to thank yall because I think if I held it in any longer I would explode

Also thanks to the coolcherrycream articles and various interviews that I learnt all these from in the 5-ish months I’ve been thinking about the monkees for

But before I start going hnngggg Peter I would like to warn you that despite my tone this is going to contain some heavy stuff. We’re talking brief mentions of blood, and suicide and death so be careful about that

This is gonna get hella long so *cracks knuckles* let’s begin

Childhood

let’s start from the very beginning: a very good place to start

Friday, 13th February one bb was born and he would always say that Friday the 13th was a lucky day for years onwards

He was born with a lot of diversity in his parentage

He’s Irish and German-Jewish on his mother’s side and Norwegian on his dad’s side

Speaking of Jewishness (is that a word???) I rememeber an article saying that he used to randomly say Hebrew words in interviews and I think he taught Mike how to say something too?? I dont know

Peter was a very friendly boy even when he was just a toddler cus he would drag any new friend he had home

Anyway, he was born in Washington DC

Once on Christmas he went missing and his mum and grams panicked and looked all over the house for him

Turns out he was just waiting at lampost in the snow because he wanted to make sure that Santa would bring him a present

Speaking of Grams, when he was 3 (i think im doing this from memory) he was at a post office with his mother when she came in.

He got uber excited and shouted “THAT’S MY GRAMS. HER NAME IS CAIT!”

And so everyone turned to look at her and he squealed

He would also often ride on the top part double deck buses and whenever the bus slowed down, he would wave to nearby people and say “HI MY NAME’S PETER WHAT’S YOUR?” to which those people who wave back and sometimes answer him. I mean, wouldn’t you?

Also he started to play with pianos when he was 3 and also he liked dancing so that’s cute

One of his first memories was of being at the hospital where his brother Nick (who they called Nicky and that’s what I’m going to call him) was born

Soon after Nicky was born they moved to Germany Yeet. He was 4 and the time and Nicky was like 18 months or smth

Germany

Right so I dont know why people dont talk about this part of his childhood because like,,,it’s interesting??

In Germany they had two maids

They had to put sugar in every food so that Peter and Nicky would actually eat the strange German food

He became very fluent in German and would help his mother with translations

He was also fluent in French for some reason

Someone made a statue of his 4 year old head and it became a famous minor art piece that featured in calendars

It probably now sits in his house because I saw in in the background of the short documentary that his son, Ivan Ivanoli made about him which you sould check btw

Anyway, when Peter was 5 he made his first official best friend Ule who was two years older than him

Once when he was playing hide and seek with Nicky he ran at full force at a closed glass door that he thought was open, shattering it, and getting a shard into his arm. Reasonably he screamed

Apparently, he was hurt a major artery and would have bled to death if not for someone being in the house to call a doctor

Once he was out and about wandering around, as you would do if you were Peter when he was stopped by some official looking guy from going back into his own house.

It’s important to note that Peter looked very much like a German boy and would ONLY talk in German outside. God knows why he did this. Reasonably, the dude thought he was lying and he had to call for his mum

Anyway, in Germany school starts when you’re five but his birthday was in the middle of the school year so his parents sent him in early which set him up for some outcasted child syndrome later

And then the moved back to America yeet

AMERICA (LAND OF CAPITALISM)

So he moved back into America but it didn’t stop there. No. They had to move around like a 100 different times and as someone who went to a total of 4 different schools (so far oh no) that sets you up with outcasted child syndrome. What also sets you up with outcasted child syndrome is if you’re an undiagnosed neurodivergent which Peter seemed to think he was when he was in his 50s (either ADHD or autism) so uhh keep that in mind

So he was in school and as mentioned earlier he was a year younger than his peers so that’s fun

He was very very clever. Often he would finish his work first and his (4th grade) teacher would make do some reading or creative writing. She encouraged him to do creative writing because she saw some talent in there

Not only was he acadmically gifted, but he was also musically gifted. Playing not only the piano (which he got lessons for) but also the guitar, the banjo, the bass, and the french horn which he got an award for when he was in highschool playing in a band made out of college students for some reason

Speaking of awards, he was once given an award for maths

This giftedness would later set him up for Gifted Child Burnout he had in college

Also he changed schools like a total of 13 times so that’s fun

He went to a private school but apparentl, according to his parents, he hated it (but he remembered liking it???)

Also, he made a lot of jokes in class

Remember Nicky? Yeah, Nicky would often write songs for him to sing and stuff (Nicky would later write songs for Peter’s solo album and a bunch of other stuff what a great brother we stan)

The family had some kind of barn once where he would do puppet shows his siblings

Anyway, school life was all fine and dandy until 5th grade hit and he changed schools and everyone lost interest in him because he was one year younger

Also his dad was apparently very disconnected with him. Needless to say, Peter felt like his father didn’t like him

Once when he was 9, he told his father that he noticed that when the clouds were around at night, it would be warmer during the day to which his father shouted at him saying that “he has no proof of that” and that he shouldn’t say anything without proof

This of course led him to feel like no one wanted to listen to what he wanted to say

poor baby

I think his father would have been the reason why Peter would later say in an interview that he hated “loud abusiveness” the most

He would also later say that a combination of his dad and feeling like he was weird and different would lead him to his drinking problem

So umm we dont stan his dad ok

Once when he was 13 he picked up a loaded shotgun and put it against his head. But he decided that he didn’t want to do it at the last second.

Overall, life from 5th grade till highschool was terrible for him

He didn’t have any friends in his school

So when he moved to a new school in Conneticut where he was surrounded with people of the same age, he was really happy all the way until college where he flunked out twice

Hippie Time (Honestly this part is just me talking about him and Stephen Stills because Steter Stirk changed me)

And so Peter became a hippie in Greenwich Village

In the Village, he became a sort of entertainer. Not just singing and playing, he was also a comedian.

And then he kept hearing about this dude who looked like him from other people.

This dude turned out to be Stephen who was also hearing the same kind of talk for about the same amount of time

Pete and Stephen VIBED im not kidding they started to play with each other and also Stephen’s room mate who was also there

Also it turns out that they liked to talk about the same things so that’s neat

Peter went to Venuzuela apparently and when he came back the Monkee thing happened yeet

Once when Stephen was waiting to move into his new house Peter was all like “hey dude live with me”

For a while they also lived in the same house when he was Monkee and if that doesn’t fuel any ship fics I dont know what will

Im serious the ship is here and its real I saw fics and fanart

Dont ask about Stirk

They played with the colour tv and would “pick apart each other’s brains” umm

Also Peter’s favourite band was buffalo springfield and we stan a friend who would say your band was their favourite band

And I think this is where my knowledge starts to fade because I haven’t really heard any cool facts from here on afterwards

Last Final Cool Facts

He was a teacher for quite a while and taught about Maths, basketball (despite not liking any sport except swimming) and Easter Philosophy,,,yes easter philosphy the man was into that kinda stuff

Also he was a big reader. Always having a smoll book in his pocket that he would read while on set with the Monkees. But he was particularly a non fic kinda guy

He would write poetry on the back of scripts

In the 2000s he said that his sister thought he might have ADD

Also autism but when asked about it he’d be all P E R H A P S

which is very unhelpful Peter pls give us a straight answer

I mean he cant give us straight answers because he was the gayest monkee (he fricked a dude once but he didn’t like it)

Hey look I ended on a gay note yeet. Thanks for reading this mess

#the monkees #peter tork #blood tw #death ment tw #suicide tw #i think that's all the tws #im finally free of this knowlege #i feel so good #just wait till i come back with a truck of knowledge in 5 months

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nerianasims · 3 years

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Billboard #1s 1966

Under the cut.

Simon And Garfunkel – “The Sound Of Silence” -- January 1, 1966

This song is beautiful and thoughtful and I love it. People apparently talk about its naivete, but it's more a sermon than a political tract. And, above all, it is gorgeous and interesting music.

The Beatles – “We Can Work It Out” -- January 8, 1966

You'd have a better chance of working it out if you weren't blaming the whole fight on the other person, Paul. But that's so often the case. Thinking you're the only one trying, when the other person is trying just as hard, and you're talking past each other. I really like John's interlude, which also makes me think he's the one fighting with Paul. It happened plenty. This isn't a top tier Beatles song, but it's good.

Petula Clark – “My Love” -- February 5, 1966

Her love is greater than any other great thing in all of the entire universe, apparently. Sunshine? Oceans? Stars? Nothing compared to how great she is at love. Petula Clark could always sing, but by the time the chorus comes around the second time, she sounds sort of embarrassed. She doesn't hit the notes with her normal confidence. It is a thoroughly embarrassing song.

Lou Christie – “Lightnin’ Strikes” -- February 19, 1966

Well I'm creeped out. This belongs a few years back, if it had to exist at all. It starts with "You're old enough to know the makings of a man" -- just how young is she? Young enough not to smack him with a brick when he tells her he just can't help but cheat on her since that's what men do, but she needs to stick around waiting for him and not do the same. If she does, he promises he'll marry her... eventually. Plus falsetto. I hate this song.

Nancy Sinatra – “These Boots Were Made For Walkin'” -- February 26, 1966

And this song is a good answer to it. Lyrically, it's the pinnacle of what a country song can do. "You keep thinking that you'll never get burned/ Ha!/ I just found me a brand new box of matches/ And what he knows you ain't had time to learn." The narrator's cheating scumbag whom she's in the process of dumping is so low, she's not even bothering to get angry with him. She's got a new, far hotter guy anyway. Musically, the instruments are themselves a Greek chorus making fun of the guy and heralding the singer's triumph. Love love love it.

Staff Sgt. Barry Sadler – “The Ballad Of The Green Berets” -- March 5, 1966

More machismo, but of the lawful rather than chaotic variety this time. This must have made a lot of people very angry at the time, but it also must have felt triumphant to a lot of others. "Fearless men who jump and die" -- that's not good! It's The Old Lie! A man dies because apparently that's just what Green Berets do, and his last request is that his son be a Green Beret too. For what? The song doesn't even say what they're fighting for! There's a line about dying for those oppressed, the same bullshit we've been fed for so long, but absolutely no details. Because it's a death cult. Oh, and the song is musically terrible too. This is horrific.

The Righteous Brothers – “(You’re My) Soul And Inspiration” -- April 9, 1966

It's another heartbreak song from The Righteous Brothers. She wants to leave, but she's his "soul and inspiration." I would like it better if it weren't a heartbreak song. It doesn't have to be. The chorus would go perfectly well with a song about how happy they are together. Meh.

The Young Rascals – “Good Lovin'” -- April 30, 1966

He says his doctor has prescribed "good lovin'". He's got the fever, you've got the cure. This could easily be creepy. It's not, because it's so fun. It's a seduction song where the seducer is trying to make his target laugh, which is the right tactic if you're light about it. Fun, good song.

The Mamas And The Papas – “Monday, Monday” -- May 7, 1966

John Philips was one of the worst people in pop music, and that's saying something. The Mamas and the Papas were a good group musically, though. This song is about how Mondays typically suck, but the narrator is happy because this Monday morning, his girlfriend is still here. And then Monday evening, she's left. He doesn't sound too upset. I find this song repetitive and boring.

Percy Sledge – “When A Man Loves A Woman” -- May 28, 1966

I don't like this song. Sledge's version is obviously better than Michael Bolton's, but the problem is the lyrics. The song doesn't say so directly, but the implication is that a man should never fall in love with a woman because she'll bring him nothing but pain. Nope.

The Rolling Stones – “Paint It Black” -- June 11, 1966

The song is about depression, specifically the depression coming from the sudden death of one's romantic partner. Which makes it a love song, in a way. It's rock, and it goes hard, and it's more achingly sad than thousands of schmaltzy songs about the same thing. It makes me cry every time. Amazing, heartbreaking song.

The Beatles – “Paperback Writer” -- June 25, 1966

This became a #1? It's mean and petty. Someone who has made it as thoroughly as it is possible to make it should not be scoffing at the little people trying to claw their way up. Musically it even sounds kinda half-assed, for the Beatles. Very much a lesser Beatles song.

Frank Sinatra – “Strangers In The Night” -- July 2, 1966

He and some woman were strangers in the night, but fell in love at first sight and became lovers, and are still together. I love the song. Sinatra was getting older, and that comes through -- his voice doesn't have the modulation and delicacy it did when he was younger. At the same time, that age gives the song a lot of heft and truth. "And ever since that night/ We've been together/ Lovers at first sight/ In love forever/ It turned out so right."

Tommy James And The Shondells – “Hanky Panky” -- July 16, 1966

His girlfriend fucks. And he shouts this fact to us over and over and over and over and... okay, look. I understand being thrilled with your first relationship in which you get sex. A lot of sex. A looooot of sex. But it's generally much more interesting to the people doing it than the people being told about it. Dull.

The Troggs – “Wild Thing” -- July 30, 1966

I don't understand anyone who doesn't start dancing, even just in their chair, when this song comes on. It's a rocking love n'sex jam with an ocarina in it. There is nothing not to love.

The Lovin’ Spoonful – “Summer In The City” -- August 13, 1966

This song comes down to: It's hot in the city during the day, but cooler at night, plus you can pick up chicks at night. The lyrics are a big nothing, but the music is great. Somehow the song got associated with the various protest movements happening at the time. Is that gonna happen with W.A.P.?

Donovan – “Sunshine Superman” -- September 3, 1966

It just occurred to me that R.E.M. may have been inspired to write "Superman" by this song. It's the same basic premise, except that unlike R.E.M., Donovan doesn't realize he's being egotistical to the point of being scary by saying he will use every trick in the book to get this girl. Well okay, "Donovan" and "scary" are tough to put in the same sentence. The song is musically great. Think about the lyrics for a minute, and they're disturbing. I don't really know what to do with this.

The Supremes – “You Can’t Hurry Love” -- September 10, 1966

"Love don't come easy/ It's a game of give and take." Yep. And if you do try to hurry it, you're likely to end up with one of the jerks from the first few Supremes hits. Normally I would say to avoid getting advice from pop songs, but I'll make an exception for "You Can't Hurry Love." This is a welcome evolution, and an excellent song.

The Association – “Cherish” -- September 24, 1966

Glurge. Such glurge, I thought this was a 70s song before now. I actually cannot listen to the whole song. The music hurts me somehow. So I read the lyrics to see what they are, and blurgh. It's about how he can't figure out how to say he wants her and none of the other guys really care for her and that's it I'm done. Atrociously bad.

The Four Tops – “Reach Out I’ll Be There” -- October 15, 1966

A phenomenal song. You need a hand to hold. Yes, you. And The Four Tops will be there for you. Huge numbers of pop songs -- a plurality, at least -- are sung to "you." But this one feels like it really is. Levi Stubbs is going to be there for you. And this song has been there for me throughout my life.

? And The Mysterians – “96 Tears” -- October 29, 1966

So, this guy renamed himself ?. I would expect a song that involved someone named ? to be much odder. Maybe it was at the time, though the organ sounds mostly like Baby Elephant Walk (though not as good.) ? speak-sings that he's gonna get the person who dumped him back, and then he's going to dump them, and they'll cry 96 tears. That is odd, admittedly. Why 96? That doesn't sound like very many. One good cry would probably do it. The organ is the most interesting thing about the song, which is sadly not nearly weird enough for the band's name.

The Monkees – “Last Train To Clarksville” -- November 5, 1966

One of my friends was a huge Monkees fan when we were teenagers. She was born in 1977. The Monkees were on Nick at Nite (I think), so I did see a few episodes. She watched them religiously. She insisted their music was great, and I was like... really? Sadly, I was snobbish about it, and entirely because the show was so doofy. Their music really was pretty damn good. Though this song sounds like the younger brothers of The Beatles trying to copy them. Still, they did a pretty good job of it.

Johnny Rivers – “Poor Side Of Town” -- November 12, 1966

The narrator's girl left him to be with a rich guy. The rich guy discarded her, so now she's back on the poor side of town. The narrator rubs it into her face for a verse and a half, but then he says that to him she's "the greatest thing", and he doesn't blame her for trying. By the end of the song, he says he and the girl will be able to make it together. The lyrics are good. Unfortunately, the music and singing are dull. Someone should take these lyrics and make a much better song out of them.

The Supremes – “You Keep Me Hangin’ On” -- November 19, 1966

For once, Diana Ross gets to be appropriately angry at a jerk. By the end of the song, she's commanding him to get out of her life. I have been where she is in this song, and it ties you up in knots. It deserves more of a full opera than a high-energy dance song. But this song is still great.

The New Vaudeville Band – “Winchester Cathedral” -- December 3, 1966

This is a British music hall song. Whether you like it will depend on whether you like that very singular genre. I do, in small doses. If it had been a #1 hit at any time when I was listening to radio, I'd have hated it. I can only identify "Winchester Cathedral" out of the lyrics, and the rest don't matter anyway. The song is fun and annoying in equal measure, and hearing it once every five years or so sounds about right.

The Beach Boys – “Good Vibrations” -- December 10, 1966

This is my favorite Beach Boys song. Musically, it's astonishing. It's the song that persuaded me of the "Brian Wilson is a genius" stuff I kept hearing. It also has much better lyrics than most Beach Boys songs, as they are like the lyrics of a typical pop song. Except with a lot more "om bop bop" and the word "excitations." It sounds like it's going to have a slow, soft fade-out, and then the main chorus comes roaring back. One of the great pop songs.

The Monkees – “I’m A Believer” -- December 31, 1966

I think this is the best Monkees song. He didn't believe in love, then he "saw her face", now he's a believer. Has he even talked to her? Doubtful. That's okay, it's not meant to be anything but a cheery pop song. The beginning guitar does sound sort of like George Harrison, but the rest of the song is a bit more distant from the Beatles than "Last Train to Clarksville." They sound like a confident, real pop group, though they weren't allowed to play the instruments on it, which most of them were not happy about. They still ended up participating in a memorable song.

BEST OF 1966: This one is hard. I was tempted to make it a tie between about a half dozen songs. I think I have to give it to "Paint it Black" though. Maybe. Then again, "I'll Be There" is a heartlifting titan. And "You Can't Hurry Love" is timeless and something more people need to hear. And "Good Vibrations" is a musical triumph. Then there's "The Sound of Silence." And... discuss amongst yourselves. WORST OF 1966: No question. "Ballad of the Green Berets." Nothing in any year is worse.

#billboard number ones

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warmbeebosoftbeebo · 4 years

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/PAVLOVEWHORE/status/1299066915315425286?s=20 on twitter. thoughts?

i think they marketed to teen fans, yes, but i don’t think it was any more darker than the music industry under capitalism and how fandoms generally function and who they are comprised of. teen girls and young women (early 20s) have driven the music industry since at least the 1950s. elvis anyone? beatlemania? monkees. the stones. even motown and rock that was considered more serious or more “boys only” (led zep, alice cooper, punk generally) was largely driven by teen girls. the glam in the 70s and much of the 80s especially had a lot of boys emulating girls emulating boys... in looks, music, personality even. a lot of androgyny, girls being into boys in make up and flouffy colourful clothes, etc.

often this was wrapped up in teenaged groupies in the 60s and 70s especially, including particularly messed up exploitative abusive arrangements (runaways, throwaways, 12-14 year olds, prostitution, getting the girls too high to consent...) but not necessarily, and their was certainly instances where peer aged (eg late teens with early 20s), fun times were had eg check out pamela des barres books.

obviously, this from the get go has been wrapped up in sexuality generally, particularly girls discovering their sexual desire, arousal, orgasms, masturbation, fantasy, sex dreams, etc through crushing on these musical idols.

with panic, they started in their late teens, and most of the fanbase was around their age (eg a couple years younger to a couple years older). until twtl era, their fandom mostly grew older with them, esp vices and before. bachelor era did have a shift, but that was because they became far more popular than before, even outstripping fever era, and most of who joined the fandom and casual listening were teen girls, because they are the biggest audience for popular music. b being fucking gorgeous helps too. he’s also really boyish usually in his looks and personality, even now, barring the times he has serious stubble or a beard. hard to express what i mean by boyish, but i’ve thought from the get go to now that he was eg young looking, not that masculine aside from when he’s fuckin muscle beach, manchild personality, playful, people pleasing, etc. like he’s still in the realm of boy mostly, not “real man”.

this also explains the shift in how fandom saw him, because now it was younger girls who had grown up in a hyper pornified culture and online environment. it went from teen girls and young women seeing him as puppy, mouse, dork, queermo, good boy, eager to be taught to please wink wonk, i’ve even seen faggot used fondly, etc to “daddy dom”.

i don’t think panic, fbr, b... groomed them. i think men online, internet porn, and malestream culture did. b has even talked some bachelor era and this era about how the daddy stuff weirds him out.

the puppet thing, for example, wasn’t some covert, insidious rebranding of themselves and himself to tweens and teens, but how the music industry turns musicians/singers into puppets for them to control and make money off of, throwing them away when they’re done. it was a marketing thing too, but a kitchey thing that’s an aside and didn’t last much beyond a couple music videos.

i do think there’s been a shift away from the daddy stuff in the last couple years some, but that may be my own perception/the fact i consume my own blog and my own smut about him a lot hahaha. and that definitely is still a current in the fandom eg girls and young women saying they want to be strangled by him. (interesting how the third leading cause of violent death for women is so intensely eroticized/pornified in the last few years and just part of the the culture and even seen as part of vanilla sex, but i’ve talked about that a lot before under the strangulation tag.)

i could probably come up with more to say but will stop now :P i do wonder how familiar this person is with panic fandom and events pre-2013 though.

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buzzdixonwriter · 5 years

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Once Upon A Time In Hollywood [SPOILERICIOUS]

Once Upon A Time In Hollywood is now my favorite Quentin Tarantino movie even though I think a few of his others are better made films.[1]

But, man, does it ever capture the era and the vibe. In that sense it's like La Dolce Vita (and in another, like Singin' In The Rain).

I know this era, and I know Los Angeles of the time -- from the Summer of Love in ’67 through the year of unraveling in 1968 to the end of the era in ’69.

And while Hunter S. Thompson’s brilliant Fear And Loathing In Las Vegas marked the official death notice of the Swingin’ Sixties in 1971 (with a few die-hards like the Symbianese Liberation Army literally dying hard in 1974), the truth is 1969 was when it all came to an end.

Nixon won, thanks to his own now well documented treason behavior and to a few million white bigots voting for George Wallace instead of Hubert Humphrey, and (as Thompson himself noted two years later) “with the right kind of eyes you can almost see the high-water mark -- that place where the wave finally broke and rolled back.”

Now some of you are saying, “But wait -- how can little Buzzy boy -- a mere lad of 13 summers in 1967 and not yet fully 16 when he finally actually visited Los Angeles for the first time in 1970 – how can he know what Los Angeles was like in that era?”

Ah, for that, my friends, we can thank television.

. . .

For those of you too damn impatient to get into the meat of my review of Once Upon A Time In Hollywood, just skip this block and go to the next one.

I’m gonna pull a Tarantino here and seemingly meander in order to set up what comes next.

Even though I lived in the rural South (Appalachia mostly but with a few years in the Piedmont of North Carolina), we had this invention called television, and on this invention were these shows.

I’m not talking about Shindig! or Hullabaloo or even The Smothers Brothers Comedy Hour (though the latter interestingly paralleled in real time the rise and fall of what we now call “The Sixties”).

I’m not even talking about that perennial American Bandstand which started in 1952 and ran a staggering 37 seasons, grinding to a halt only in 1989 at the tail end of the Reagan Era, a pop culture show that lasted long enough for the grandchildren of its initial audience to be watching it when they finally pulled the plug.

No, I’m talking about cheap-ass, under-the-radar syndication efforts like Where The Action Is (itself a spinoff of American Bandstand) and The Lloyd Thaxton Show a Bandstand imitation that relied more on whacky humor, proto-music videos, and local-to-LA pop culture icons.

We’d see these shows (briefly back-to-back during Where The Action Is’ short run) not as cheap entertainment for teens and tweens but rather as a glorious portal into that land of myth and magic: Southern California.

In particular, Los Angeles.

(It’s not as if nobody ever did this before. In all its variations from the mid-1950s through Walt’s death in 1966, Walt Disney’s Wonderful World Of Color seemed to make every 4thshow either about Disney Studios or Disneyland itself, thus by extension priming the national pump for interest in Southern California.)

Where The Action Is and The Lloyd Thaxton Show needed to squeeze the most out of their bare minimum budgets, and the cheapest way to fill screen time was to convince some local SoCal / LA attraction to let you shoot footage of young kids (with disposable incomes, one might add) having a good -- no, great time at said attraction while listening / dancing to top forty tunes lip-synched by an astonishing roster of talent.

Look, this was back when TV was big but before it became H*U*G*E. Successful show biz folks made money but they didn’t make that much money, and popping down for an afternoon to lip-synch your latest release for Lloyd or Dick Clark was a sure way to guarantee a few thousand more sales across the country, a few more paid gigs in the hinterlands, so whyda hell not?

The Monkees tried covering the same territory on prime time, but as popular as that show was (and it stands up well to this day albeit more as an artifact of its time), it felt just too slick, too packaged, too ersatz compared to the scruffiness of Where The Action Is and The Lloyd Thaxton Show.[2]

Add to this almost weekly illustrated news and culture stories of SoCal / LA and the youth movement delivered to even the most remote rural homes via Life, Look, Time, Newsweek, and The Saturday Evening Post, and it was pretty much hard not to be aware of -- and influenced by -- Los Angeles culture in the 1960s.

And if like little Buzzy boy you were interested / intrigued / enthralled by that culture, there was a virtual tsunami of sights and sounds to wallow in, even if you lived 2,467 miles away.

On my first visit to Los Angeles in the summer of 1970, when I had just stepped off the airliner, when I was no further into the city than the gate of the airline terminal, I looked around, took a deep breath, and realized: I’m home.

. . .

So here’s the plot of Once Upon A Time In Hollywood:

Rick Dalton (Leonardo DiCaprio), a fading TV star, frets over his career.

Cliff Booth (Brad Pitt), his stunt double buddy, tries to boost his spirits.

Rick lives next door to Sharon Tate (Margot Robbie), a vivacious young actress married to a world famous director.

Cliff the stunt man bumps into members of a crazy criminal cult.

Weirdness ensues, but everything ends happily (except for three of the cultists).

A conventional movie would have put points 1, 2, & 3 in Act One, made point 4 part of Act Two but then stretched that act out with a big pointless chase and a few small fights, and finished with point 5 as Act Three.

20 pages / 80 pages / 20 pages

Not our lad Quentin.

A screenwriting guru once observed It's A Wonderful Life has a traditional 3 act structure only it's constructed so act 1 occupies 80% of the picture. Likewise Casino opens with virtually a 45 minute documentary on the casino business so they won't have to stop and explain things as they go along with the main story.

Once Upon A Time In Hollywood is like that: Two hours to build up to a literal life-or-death moment in order to show that for all their sins and short comings, Rick and Cliff would not merely survive but be worthy of survival.

(Most "assemble the squad" movies have a similar structure only they disguise it by indulging in hijinks along the way viz The Dirty Dozen spending most of their movie just training.)

Points 1, 2, 3, and 4 above are Tarantino’s Act One, and based on the 161 minute running time, I’m guessing it occupies the first 130 pages of the script.

Point 5 is his Act Three, and I’d say 20 pages sounds about right there.

But what about Act Two?

That’s the beauty of this story.

Act Two is about ten minutes long and is told mostly with narration (provided by Kurt Russell, who may or may not be speaking in character as Randy, the stunt director).

The crisis point in Rick and Cliff’s story is not that they’ve intersected with the Manson family, it’s that Rick decides their friendship must end.

Now, ostensibly this is because Rick’s new Italian wife, Francesca (Lorenza Izzo), wants to cut expenses and move out of his home in Benedict Canyon and into a condo in the San Fernando Valley, a move that we know from Rick’s earlier statements that he would find shameful and a mark of his slide in status , but the unspoken reason may be that the volatile Francesca learned of Cliff’s own troublesome past (see below) and wants nothing to do with him.

So Act One tells us who these two guys are, explains their relationship in part, hints at an elephant neither wants to acknowledge, and carries us to a point where they can no longer continue as once they had.

Act Two consists of the final decisions the two make as part of this friendship, not really wanting to break it off, Cliff clearly hurt by Rick’s abrupt dismissal, yet trying to have one last good time together before parting, ostensibly not forever but…yeah, forever.

Their respective decisions impair their ability to respond to the dangers posed by the trio of killers in Act Three.

. . .

Let’s talk about Rick Dalton for a moment.

Leonardo DiCaprio proves himself to be one of the gutsiest actors of all time, playing a whiny, petulant, rude, brusque, self-involved, over-anxious crybaby of a man…

…and getting us to admire him because despite his myriad character flaws, the sonuvabitch has two things going for him and the first is a fierce dedication to his craft.

A conventional movie would cut the scenes of Rick practicing his Lancer dialog all by himself.

Tarantino realizes the audience needs to experience that in full, because otherwise they won’t appreciate his frustration at blowing his lines during filming the next day.

And when he blows his lines, Rick erupts in a epic full-bore meltdown rage aimed at himself and himself alone.

And this points to the second thing Rick has going for him: Rick knows when and how to accept help, and is thankful for it.

Without the lengthy scene of him practicing at home (and drinking too much in the process), audiences would dismiss Rick blowing his lines as par for the course.

We need to see Rick make a conscientious effort to prepare for his role, see him screwing up by getting hungover, see him blow his lines, then see him correctly shouldering the blame and taking positive steps to overcome his error and deliver an outstanding performance.

The help that Rick accepts in this scene comes from “Maribella Lancer” a.k.a. Trudi Fraiser (Julia Butters), a child method actress who refuses to break character between takes. (This is one of the most delightful scenes in the film and well worth the price of admission alone.)

Despite a rather awkward-bordering-irritating meeting, “Maribella” / Trudi feels empathy for Rick as he inadvertently confesses his own career anxiety by talking about a pulp Western he’s reading.

That he can accept this empathy from a child stands well in Rick’s favor. It shows he actually listens to others and accepts their feedback and input.

And it pays off for both of them when Rick not only comes back from his lunch break meltdown all fired up and determined to give an outstanding performance (which he does), but also when we learn he suggested a bit of business for “Maribella” / Trudi that delights both her and the director (Sam Wannamaker, a real life actor and TV director of the era, played in this film by Nicholas Hammond).

And when “Maribella” / Trudi tells Rick that his acting was some of the best she’s ever seen, he’s genuinely moved to tears.

We may shake our heads at some of the stuff he does, but we like this guy.

. . .

Part of the headshaking is due to his relationship with Cliff, his stunt double / majordomo / best friend.

Rick often seems like an arrogant prick with Cliff, seemingly bossing him around, acting like Cliff is at his constant beck and call.

We’re about two thirds of the way into the film when we learn that without Rick to champion him, Cliff would pretty much be persona non grata in Hollywood.

Cliff is known throughout the town (and Hollywood ain’t that big, folks) as a wife killer.

While some (such as Rick) argue he was absolved of any criminal intent, there’s no doubt he deliberately and personally caused the death of his wife, he didn’t merely have an accident that left her dead.

He’s a wife killer.

Most of the people in town assume he got away with murder.

Francesca, despite being an Italian starlet, may have heard the stories from other Americans working in Italy and that is the real reason she laid her foot down re Rick selling his house and abandoning Cliff as his friend.

Hell, even nearly blind old George Spahn (Bruce Dern) holds him in contempt.

Cliff can’t get hired in town unless Rick asks for him to be employed as his stunt double.

Even then he runs into strong pushback, viz Randy the stunt director who is reluctant simply because he doesn’t like the vibe Cliff gives off, and is especially reluctant because his wife, fellow stunt coordinator Janet (Zoë Bell), nurtures an enormous hate-on for Cliff based on the presumption he did indeed murder his wife and get away with it.

Cliff blows his chance of working his way back into Hollywood’s good graces by getting in a fight on the set of The Green Hornet with Bruce Lee (Mike Moh) that caves in the side of Janet’s car.

But what’s crucial in that scene is Lee explaining his refusal to fight: “My hands are registered as lethal weapons. We get into a fight, I accidentally kill you. I go to jail.”

“Anybody accidentally kills anybody in a fight, they go to jail,” says Cliff. “It’s called manslaughter.”

Sounds like Cliff may know what he’s talking about from personal experience.

When Lee learns Cliff is a wife killer, his reluctance to fight him disappears.

Nobody in Once Upon A Time In Hollywood disputes Cliff killed his wife, they dispute if he got away with murder or not. In view of his comment on manslaughter to Bruce Lee, the coroner’s verdict may not have been murder or accident but justifiable homicide

We don't know what happened on the boat in the flashback scene with him and his wife (Rebecca Gayheart).

If she attacked him with a weapon (the spear gun they carried onboard or a knife or a wrench or whatever) and he defended himself from her attack but unintentionally inflicted a lethal injury on her, then both a charge of manslaughter and verdicts of "not proven" or "justifiable self-defense" are possible.

We don't know, and that ambiguity is what makes Once Upon A Time In Hollywood such a morally and ethically complex film.

(When I next see the film, two things I'm keeping tabs on the contents of Rick's store room and when Cliff's various scars appear.)

. . .

And Sharon Tate, the third leg of this triad?

She is depicted in this movie by Margot Robbie as light and as airy and as harmless as dandelion pollen blown on the breeze. She is a perfect wish fulfillment character, not merely because so many men desire her, but because she appears to live a blissfully stress free, rewarding, and happy life.

This is where real life collides with “reel life” and if you haven’t guessed by now, we’re up to our necks in spoiler territory.

You have been warned.

For audiences half my age, Charles Manson (Damon Herriman) is vaguely known in a Jack the Ripper-ish sort of way (i.e., a really, really bad guy who did some really, really terrible things but just what they don't fully know) while Tate is unjustly forgotten.

The glory of Once Upon A Time In Hollywood is that for however briefly, for however artificially, it lets Sharon Tate come alive again and enjoy the happy ending she deserved.

What is that happy ending?

To be honest, we don’t know.

At the end of the film she meets Rick, recognizes him from his TV shows, and the implication hangs in the air that she’ll introduce him to her husband, Roman Polanski (Rafał Zawierucha) who in real life at this stage of his career had not yet descended to drugging and raping 13 year old girls.

I hope in “reel life” that never happens, just as I would hope that Polanski’s criminal moral failing would never have materialized in the real world had Tate and her unborn child lived.

We just don’t know.

We assume Rick will meet Polanski, and from that meeting his career would shift to A-list motion pictures, and his dreams of success and security would come true.

We just don’t know.

Would Tate herself have gone on to bigger and better roles?

The odds are not in her favor.

As the writer David Gerrold said: “Hollywood uses up young women as if they're disposable. It is one of the worst things about the industry.”

Very few female actors of that era enjoyed a sustained shot at A-films, especially if they were regarded primarily as eye candy.

By the time of her murder in real life, Tate had a good role in a minor but good movie nobody saw (Eye Of The Devil), a good role in a major bad movie everybody saw (Valley Of The Dolls), and provided eye candy in three mediocre movies (including The Wrecking Crew, part of the gawdawful Dean Martin “Matt Helm” series[3]).

Her career might well have stalled out as so many other promising young starlets’ careers stalled out.

We’ll never know.

But even a stalled career would be preferable to what really happened to her.

. . .

A lot of people get second chances at the end: The four[4] at the Tate house, for sure, but also Rick (who finally gets to move into Polanski's circle) and Cliff (who has atoned for killing his wife either by accident or a well staged murder).

But y'know who else gets a second chance?

Charles Manson.

Cliff sees Manson at the Tate house but never learns his name. When he visits Spahn Ranch, he hears constant references to "Charlie" but never meets him since Manson has taken the family's children on an outing to Santa Barbara.

He recognizes Tex (Austin Butler) and Susan Atkins (Mikey Madison) and Patricia Krenwinkel (Madisen Beaty; many people mistake her character in this scene for Squeaky Frome, played by Dakota Fanning in an earlier scene) from his visit to the Spahn Ranch, but for all he knows they've come after him for revenge after he beat up Clem (James Landry Hébert) at the ranch.

Since Cliff was out of the country for 6 months stunt doubling for Rick in Italy, the lapse in time is accounted for: They waited until he returned.

When the hit team doesn't come back and there's no news reports of a mass murder, Manson knows his plan failed and has an opportunity to flee the LA area, either by himself, with a small group of followers, or the entire Family.

If the police do trace Tex and the women back to Spahn Ranch and they do confront Manson on this, Manson can feign innocence. If they bring up Cliff's visit and fistfight, Manson can say he knew the three were angry over the incident but he never knew they plotted revenge.

With the three would-be killers dead and Linda Kasabian (Maya Hawke) presumably fleeing LA to escape the Family there's no link between Manson and the attack on Rick's house.

Manson is in the clear. The police consider the matter closed (movie star kills three drug crazed hippies; why look further?) and Manson gets a breather to ponder his next move.

Maybe he realizes how close a call it was. Maybe he realizes he's got a nice little scam going with the Family. Maybe he focuses on that and becomes a garden variety cult guru who, with viral marketing, becomes a prominent New Age personality.

Stranger things have happened...

. . .

To be honest, I approached Once Upon A Time In Hollywood with some trepidation when I heard the ending would not synch up with reality.

Tarantino most notably did this before with Inglorious Basterds, but most of his movies occur in the Red Apple universe, so named after a popular brand of tobacco that appears in those films (I can’t remember if Red Apple products appear in Jackie Brown and have not seen either Kill Bill movie).

The Red Apple universe almost-but-not-quite synchs up with ours.

The biggest and most obvious deviations from the norm is Inglorious Basterds, where Tarantino wipes out Hitler and the Nazi high command in a fiery climax later echoed in Once Upon A Time In Hollywood, but Reservoir Dogs and Pulp Fiction suggest a world far more immersed in its own pop culture than we are.

The Hateful 8 is another Red Apple universe film (again specifically referenced in Once Upon A Time In Hollywood) that strongly implies Abraham Lincoln survived the assassination attempt against him and negotiated a post-Civil War peace that saw the Confederate states reunited with the rest of the country much sooner than actually happened but in return saw them agree to full emancipation and equality under the law of all formerly enslaved people. There's still a lot of racial tension in era of The Hateful 8 but there is also an explicit acknowledgment of equality under the law.

As such, race relations in Tarantino’s films Reservoir Dogs, Pulp Fiction, and Once Upon A Time In Hollywood do not synch up with the reality of our own era.

. . .

On the one hand, there’s not as much carnage in Once Upon A Time In Hollywood as there is in most Tarantino movies.

On the other, there’s just as much only we don’t recognize it for violence because it’s presented in the form of “play acting”.

It’s not real.

It’s all a movie (or a TV show).

Or so we think.

Even Manson’s own killers debate this point, one of them arguing that all American TV shows “except for I Love Lucy” glorify in murder and violence, so why not visit murder and violence on those promoting it?

Really, what separates the violence of bounty hunter Jake Cahill (a name that’s an amalgam of two John Wayne Westerns: Big Jake and Cahill, US Marshal) from Rick Dalton playing Jake Cahill from Leonardo DiCaprio playing Rick Dalton playing Jake Cahill from the violence of Leonardo DiCaprio playing Rick Dalton at the “reel life” climax?

And what do we make of Brad Pitt playing Cliff Booth who doubles for Rick Dalton (as played by Leonardo DiCaprio) playing Jake Cahill, especially in the end when Cliff’s under the influence of LSD and isn’t sure if what he’s experiencing is real?

You tell me.

. . .

Tarantino’s flamethrower beats Chekov’s gun

By this I mean if you need a flamethrower in act three, you set it up and pay it off in an entirely different context in act one or two, but you also establish however obliquely that it’s not impossible for it to be present though uncommented on in act three.

We see Rick Dalton use a flamethrower in a film; we see a flashback and hear him say he practiced long and hard to master the weapon.

This fits in nicely with Rick’s character, both poking fun at him for not being the tough guy he portrays onscreen yet establish his willingness to learn a dangerous skill if it enhances his performance.

After all, he could always request Cliff, his stunt double, handle the flamethrower in that scene.

Dalton is also established as a person who collects memorabilia about himself, reinforced repeatedly though not always blatantly thru the film (viz Cliff bringing in a huge framed poster of one of Rick’s Italian movies just prior to the climax).

So when Rick pops out with a fully functional flamethrower at the end, our suspension of disbelief goes, “Yeah, he’d still have that”. (When I next see the film, I’m paying close attention to the contents of the storage room prior to Cliff fixing the antenna; if we don’t see the flamethrower stored there, Tarantino missed a bet.)

Part of the genius of this film extends to the trailer.

There is a big honking clue to at least part of the climax when Rick is shown using the flamethrower and the images freeze frames while a title announcing it as Quentin Tarantino’s 9th film is superimposed. That’s brilliant marketing as it preps audiences for what would otherwise be a deus ex machina before they've even seen the movie.

. . .

re the flamethrower and Cliff’s scars: This is a film that will endure multiple repeat viewings just to catch all the details. There's a shot of Cliff driving down the 134 Freeway that if you aren't a Los Angelino you won't recognize he's driving past Forest Lawn, thus prefiguring the ominous background of the film.

When Pitt goes to see the elderly George Spahn at the infamous Spahn Ranch, he passes by two photos of Zorro and the Lone Ranger -- both with masks over their eyes -- as Squeaky tells him "He's blind."

The background is filled with posters and billboards and books and magazines and memorabilia, some real, some ersatz.

That being said, I do not think it will age well.

To the degree it skillfully recreates an era, that will be studied.

But as time puts more and more distance to the actual events, the impact of the film will lessen.

Casablanca loses some impact when we aren’t aware of how vicious the real life Nazis were, but in the context of the story they’re big enough bastards for us to understand why it’s important to stand up to them.

After The Fox is a delightful comedic romp that is hilarious even if you don’t know anything about Italian neo-realism, but if you do know anything about Italian neo-realism It. Gets. Even. FUNNIER!

But you really need to know what happened on August 9, 1969 at 10050 Cielo Drive to fully appreciate what Tarantino hath wrought.

Like 2001: A Space Odyssey, future generations of viewers will appreciate the skill and artistry employed, but they just won’t get why it makes such an impact today on many viewers.

Gordon Dickson wrote a classic sci-fi story back in 1962 called “Three Part Puzzle”. Without spoiling it, it’s safe to say a big hunk of the story’s appeal lays in the efforts of aliens to comprehend why human children are delighted by the old fairy tale of The Three Billy-Goats Gruff.

To the aliens, the story contains a simple, straight forward message: Wait until your strongest team member arrives before engaging an enemy.

What they don’t understand is the morality behind the story.

To the aliens, goats and trolls are all equal, there is no reason to take delight in the victory of one over another.

But to humans…ah, to humans there’s a far deeper, much more important message than a mere tactical stratagem.

This is the risk Once Upon A Time In Hollywood will face in the future, that audiences as yet unborn will come to see it as a big, goofy buddy action movie in which two friends (and the wife of one and the dog of another) take on a trio of killers, dispatching them in spectacular fashion.

The catharsis may be lost, and in losing that, so will be lost the heart and soul of the film.

Enjoy it now while you can.

[1] I rank Reservoir Dogs, Pulp Fiction, Django Unchained, and The Hateful 8 above it in terms of cinematic quality.

[2] In real life, for reasons too involved to go into here, Charles Manson actually got a courtesy audition for The Monkees; he was never seriously considered for a role and if I remember correctly, the show had already been cast by that point but the formal announcement had not been made. Nonetheless, if the quantum physics hypothesis of alternate timelines is correct, somewhere there’s a universe where Charlie Manson is a beloved 1960s pop culture icon and people still talk about the infamous Peter Tork murder cult.

[3] Do yourselves a favor and track down the original Matt Helm novels by Donald Hamilton. They’re far superior to the crappy movies.

[4] There were actually five victims that night but Steven Parent, who had been visiting the property's caretaker William Garretson at the property's guest house, was shot in his car as he prepared to drive away. Garretson, apparently under the influence of drugs and / or alcohol, first claimed to have slept through the horrendous attack and was a prime suspect until forensics cleared him. (Years later he admitted to witnessing part of the attack and doing nothing for reasons he never made clear.) Tarantino left Parent and Garretson's presence out of the film presumably because it would have been too much of a diversion to explain them if they weren't going to be victims.

#Quentin Tarantino #Leonardo DiCaprio #Brad Pitt #Manson #Manson Family #Los Angeles #Hollywood #1960s #Sharon Tate #Roman Polanski #TV Westerns #film making #morals #ethics #history #catharsis #Once Upon A Time In Hollywood #Red Apple

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savory-davory · 5 years

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I got to thinking recently about when I became reconnected with my Monkee fan roots. I initially started watching the show when it was on Nickelodeon's Block Party Summer during the 90s. I was really into it for some time and then I fell away, you know Backstreet Boys during middle school and my Green Day/MCR days in high school. Randomly I would find my box set of cds my parents got me and listen to my old favorites. And also sometimes I would think, now that I am older and have a job I should buy the dvds, which I never did because grad school is expensive. Last year, I want to say some time in January, a channel started playing episodes and I forgot how much I loved it. I became thirsty for more and listened to all my cds and watched all the episodes. I needed more. I never looked into fanficiton before because I've never been into anything as much as the Monkees, but I thought these stories would be like extra episodes. I thought it would be a long shot to find stuff from such an old show, but lo and behold there was so much content. I scoured those pages and read things that interested me story wise and even went back to give other stories a shot. I realized what maybe I'd like to read and took a chance writing my first fanficiton. I was meticulous and it took a long time to hammer everything out to my specifications. I posted and didn't expect much of a response, most of the stories were inactive. To my surprise, the first night I got a couple comments. I was hooked. Now that I sit here in the middle of story number 16, I'm remembering this weird crazy journey that started about a year ago and I couldn't be happier I found the Monkees again. Thank you everyone who helps keep this fandom alive and going. I am truly grateful for this outlet.

#themonkees #davy jones #micky dolenz #mike nesmith #peter tork #the monkees

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sherlockmonkeesstartrek · 5 years

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Now, there is another band that I would like to rant about. Some of you may’ve seen me do other rants about the Hollies, but thankfully, this one isn’t be being a grumpy bias fan and complaining about Graham Nash or interviewers saying stupid things about their music or anything like that. This is another one of my ramblings about my discovery and memories of The Hollies.

This one, however, starts a bit differently to the others. While I am almost 100% sure I heard Bus Stop, He Ain’t Heavy and I’m Alive in the back of my Dad’s car, it wasn’t until last year that I took much notice of the Hollies. I remember liking I’m Alive, because it was on a 60s disc that we played again and again while on holiday one time, but I don’t think I really knew who sung it and it would often get skipped if we really wanted to listen to one of the other tracks.

It wasn’t even my dad who really influenced my subsequent obsession with the Hollies. It was my sister. While I was still obsessively fangirling over the Beatles, she was getting quite bored. I wouldn’t say she was bored of the Beatles, instead she was bored of me, which is understandable. I can go quite overboard.

Anyway, I was one day trying to find something to watch on TV, and saw a channel that had ‘The Sound Of The Sixties’ lined up. It was a show of archival footage from the BBC of bands and musicians that otherwise might’ve been lost or discarded had they not ended up on TV. I’d seen practically every episode, and knew that one of them had the Beatles on it. Since there was a couple of episodes lined up, I put them on and watched the first one. I then had to go and have a shower, but I instructed my sister to call me if the Beatles came on. Well, she did, and we both sang along to ‘She Loves You.’ What I didn’t realise, however, was that she had heard a couple of songs on there that she quite liked, and would spend the next week or so trying to find them again.

Naturally, she asked my Dad. He seemed to know every band from that time period. And sure enough, when she sung the first few lines of ‘Sorry Suzanne,’ he told her that it was by the Hollies, and that she might like some other tracks that they had done. Cue the obligatory best-of purchase and a few weeks of listening to it and low and behold my sister was smitten. She loved the song ‘Listen To Me,’ which I also secretly had taken a liking to, but since I was still in the midst of my obsession with the Beatles, I used to pretend I didn’t like any of it.

I was a bad liar. With the Hollies stuck in my head, I began researching them. I found out little facts I would go home and tell my sister about. I thought it would be nice taking an interest in something she liked. However, in doing so, I found I quite liked Allan Clarke, the lead singer. And so, down I went into the rabbit hole.

I loved the songs ‘Listen to Me,’ ‘Bus Stop,’ and ‘I Can’t Let Go.’ Then I warmed to ‘Long Cool Woman’ and ‘The Air that I Breathe,’ and everything in between which was on the Hollies ‘Air that I breathe’ best-of my dad had bought. I even bought myself a greatest hits on vinyl which I was very fond of.

The Hollies is another summer band to me. It reminds me of my last year in school, when it was just about warming up. Kids were sitting outside in their free periods and break times, people seemed to be in good spirits, I got sunburnt. It was all good fun. But when I was left alone in my free periods, when my friends had lessons, I had a habit of going into the computer room, putting headphones in my ears and blasting the Hollies. With the world blocked out, I would write story after story about this band. Soon enough, I had finished three notebooks in two weeks. Apparently I had a lot to say about the Hollies.

Then came a half term. I think I had two weeks off school. I had a job at the time in an office, and though I was apparently quite a good worker, once you hear what I managed to complete in that first week, I’d forgive you if you thought I didn’t do any work at all. Somehow, I’d come up with this story- which remains one of my favourite works I’ve ever completed- about a girl who is in a relationship with Allan Clarke, but wakes up to find herself in bed with Graham Nash instead, and in one week, I’d written the whole thing down in a notebook from start to finish. This was around the time I read Graham Nash’s autobiography, Wild Tales, and though I was never a huge fan of his, I actually started to like him more afterwards, hence the story being about not judging a person before you really know them. In the second week, I’d typed the whole thing up and edited it, and it became a 20,000 word novella called ‘If You Could Only See Me.’ I am so very proud of it.

I also recall while I was completely obsessed with the Hollies, we discovered a record shop not too far from us, that sold singles for only £1 and albums way cheaper than a shop like HMV. I remember the first time I went there, I came out with two bags full of records, and had spent almost £50. One of the most exciting moments in there was the day I walked in hoping- but doubtful that I would- find Hollies Sing Dylan. The album isn’t famous for it’s good reception. Even the band members said they didn’t quite do Bob Dylan’s songs justice, but it was an important album (here we go with the Hollies rant XD) It was the first that featured Terry Sylvester, the replacement for Graham Nash, because Nash had gone off to America. It was one of the reasons he gave for leaving (though I don’t believe that was really valid.) It was also one of the first of it’s kind- an album compiled solely of another musician’s songs. A tribute album. I’d heard a few songs off it, ones I recognized had been sung by other bands, like ‘Mighty Quinn,’ ‘Just Like A Woman,’ and ‘the Times they are a-changing,’ so I wanted to hear some more. But I thought, since it was quite an obscure album, and quite unpopular, and the Hollies are criminally underrated anyway, I didn’t expect them to have it. I hardly expected them to have a section for the Hollies.

Of course, I was proved very wrong. The first thing I found was Hollies Sing Dylan, and it has to be one of my favourite albums I own. It also lead onto my obsession with Bob Dylan himself, and then the Travelling Wilburys, so you can understand why I’m so fond of it.

Though my history with the Hollies doesn’t quite go as far back as The Beatles or The Monkees, my obsession with them remains strong and their music prominent on my playlist. Theirs is a story that I think is as interesting as either of my other favourite bands, with as much drama and issues as you could imagine. They are another band of underdogs, underrated, having slipped under the radar for the most part. But one thing that I adore about Tumbr, is that, no matter the obsession, they have a blog for that, and I’m quite happy to think I might be one of the few prominent blogs that posts about them.

#the hollies #personal #another one #don't judge me

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