It wasn´t often that Jisoo had the chance of filming with only one of her members so the decision that they were going to film 2 Kids Room made her very excited!
Chan was already sitting on the couch slurping on a drink when the girl entered!
“Ohh Celiiine!”
“Am I in trouble?”
Jisoo laughed when she heard the way Chan called her birth name.
“Why would you think that?”
“Cause you only call me Celine when you scold me! None of the others call me that!"
The leader snorted in amusement.
“You call me Christopher whenever you are bored so I think we are even! Now sit down, they prepared drinks for us!”
On the small coffee table was another beverage with a straw in it. The clear cup showing the dark red and yellow liquid inside. Jisoo took a took a sip, visibly enjoying the taste.
“What even is that?”
“It´s called KiBa. The yellow is banana and the red is cherry juice and it tastes amazing! Mama always made it for me when I was a child…”
The girl looked solemnly at her cup and started swirreling the straw around, effectively mixing the two colors together.
“Didn´t she make it for the members back in 2019 when we went to Germany?”
“Yes! That was when we had the I am… Tour! We were in Berlin back then, which is not even close to where I grew up but we still managed to visit them after the concert!”
“You were so happy when we told you that we could go there. I remember you crying so much because of it! You hadn´t been there for some years, even Felix and I would go more often to Sydney then you would go to germany!”
The leader had always felt bad back then and a small part of him still was if he was being honest. He knew how hard things could get and as child, alone I a country you don´t have a support system in, he felt like he should have made sure that Jisoo went home more!
“That´s right! Flying home was something I tried not to do because the tickets were so expensive and it was something we couldn´t afford to do as trainees. And after we debut there just was never enough time to actually visit them because of conflicting schedules, so it meant a lot to me!”
About Chan x Jisoo
CB: Father and Daughter!
F: Right! He has adopted her unofficially.
SM: The members are his brothers but Jisoo is definitely his child.
CB: A few weeks ago we were in the studio and bambi was with me and Chan. She was napping on the couch and it was kind of cold that day so she was shivering and Hyung went to throw her blanket over her. Jisoo called him appa in her half asleep state and Chan-hyung didn´t even react! I think it´s their little thing when they are alone.
F: Cuuute!
Jisoo had pulled her knees to her chest, looking at the older boy next to her.
“We haven´t really had the time to hang out in a while! You´re always so busy when I come to the studio…”
“I knoooow, I´m soooorry! Work has been crazy lately with preparing the new comeback!” The boy whined cutely, trying to appeal to her soft side. Jisoo couldn´t hide the laugh bubbling up.
“Don´t I know that. Minho-oppa has been acting like a drill sergeant at practice with Hyune, Lix and me!"
“Right, practice as DanceRacha sometimes seems a lot less fun than group practice! But I wanted to take you to this café I found recently, they have these really colorful cakes and it looked so awesome!”
About Chan x Jisoo
LK: They go easy on each other! It makes me crazy when Soo-ah ignores when hyung made a mistake!
H:Hyung does the same for her when we´re in the studio!
*Both looking at the other*
LK: You find it cute, don´t you?
H: And you don´t?
LK: I do…
I. N: *facepalm*
"You weren't a fan of the split dorms, right?"
Chan was stirring the straw of his cup thoughtfully. For a moment it was silent as Jisoo looked at the wall behind the leader, finding it very interesting all of a sudden.
"No, I wasn't. For so long all of us have lived together in the old dorm that the thought of splitting up scared me."
The boy hummed. He had noticed right away when management that the girl wasn't happy about that at all.
"Do you still feel like that?"
The dancer shook her head gently.
"I still don't like if i'm being honest. The dorm doesn't feel like home to me when you, Binnie Oppa, Hannie and Hyune go to your place. It feels to empty."
About Chan x Jisoo
F: Soo-ah really had a hard time after the move.
SM: She still does sometimes. It's the times we wake up to a spotless dorm because Jisoo starts stress cleaning.
CB: Jisoo is a very emotional person and 2 out of her 3 comfort people ended up in another dorm, that really gave her a hard time! She even has her own space in hyung's room. Hyunjin was being dramatic for weeks when he found out.
SM: But we do have to clean less because of it!
* collective groans *
"Is it true that you had planed to buy a leash so i won't get lost anymore?"
Jisoo meant it as a joke so the frantic head nod from the older buy left her shocked.
"YES! And it wasn't just a plan, the thing is still somewhere in my room ready to be used!" Chan yelled in all seriousness.
"But I'm an adult!"
"An adult who get's lost 8/10 times!"
*Cue, a sulking Jisoo*
About Chan x Jisoo
LK: If one of the members is causing the most grey hair, it's Jisoo!
I. N: Cause Noona always wanders off!
H: The amount of heart attackes she probably already caused...
LK: Remember the leash you ordered Hyunjin-ah?
H: She can never know I was the one who bought it!
just a few davina headcanon that i've came up with :
richard claire ( davina's father ) has mass investments in one of the premier league f.c ( ars.enal to be exact ). not overly thrilled his daughter is dating someone from the Bunde.sliga. bay.ern specifically. he tolerates it. it's Alice , her mother who has made more of a big deal out of it. she views Jo as not being good enough and Davina as being reckless? in the sense she expects more from her daughter and wants her to follow her footsteps. however, Davina refuses to.
has one ex who plays for Dort.mund. they dated for 2 years but broke up in early 2019. but at the time they dated, he was playing for leipzig.
met Jo in 2018 and crushed on him hard, though both of them were in relationships at the time. it wasn't until October 2023 when both of them started talking. officially dating a month later. all thanks to Alex neher who played wingman for literally both of them.
if she isn't working tours at the Alli.anz, she is focusing on becoming an architect. she's got a fascination for structures and wants to design arenas in the future. she also is doing show jumping training. sort of as a side gig. same with helping the team when short handed.
goes to literally every game when she can. literally. this includes gnt games. she's gotta support her cousin, boyfriend and best friends ( Bambi and Anton ). listen, she loves the game so much and being supportive AF towards her family.
not organized at all btw
K-12
the virgin suicides
jennifer's body
girl interrupted
grease
beetlejuice
the nightmare before christmas
coraline
priscilla
men in black (first two)
who framed roger rabbit
space jam (both)
alvin and the chipmunks
justin league
black widow
the miraculous ladybug movie
godzilla vs kong
miss americana
reputation stadium tour
the wizard of oz
five nights at freddy's
gentlemen prefer blondes
jaws
the polar express
home alone
the witches (2020 one)
matilda (both)
titanic
spirited away
my neighbor totoro
ponyo
whisper of the heart
from up on poppy hill
howls moving castle
castle in the sky
the secret world of arriyety
the wind rises (i dont like it tbh)
princess mononoke
the cat returns
kiki's delivery service
you are so not invited to my bat mitzvah
murder mystery
marry me
the wrong missy (big mistake, dont rec)
the tooth fairy (dwayne johnson)
jumanji (all)
little women (1994 and 2019)
in the heights (btw i have all lyrics memorized)
hamilton
snow white
pinocchio (i hate this movie)
fantasia (both)
dumbo
bambi
101 dalmations
the aristocats
the adventures of ichabod and mr toad
cinderella
the little mermaid
aladdin (both)
tangled
frozen (both)
moana
brave
pocahontas
the princess and the frog
oliver and company
turning red
robin hood
peter pan
lady and the tramp
sleeping beauty
the jungle book
the lion king
a bug's life
alice in wonderland (og, live action, havent seen the sequel)
anastasia
air bud
adventures in babysitting
mary poppins
the sound of music
the princess diaries (both)
10 things i hate about you
pirates of the caribbean (all)
daddy daycare
freaky friday (lindsay lohan one and the newer one)
the parent trap (lindsay lohan one)
confessions of a shopaholic
confessions of a teenage drama queen
elemental
winnie the pooh
lilo and stitch
pete's dragon
the good dinosaur
the fox and the hound (both)
lady and the tramp
night at the museum (all)
haunted mansion (2023 one)
benji (i think this is disney?)
honey, i shrunk the kids (the 1st and second one)
beauty and the beast
the muppets christmas carol
hocus pocus (both)
the three mouseketeers (I LOVED THIS MOVIE)
the santa clause (all)
hunchback of notre dame
a goofy movie (both)
toy story (all)
james and the giant peach
hercules
mrs doubtfire
mulan
tarzan
the tigger movie
the emperor's new groove (both)
monsters inc (both)
hook
finding nemo (both)
mickey's house of villains (THIS ATEEE)
kung fu panda
brother bear (both)
the incredibles (both)
pooh's heffalump movie
chicken little
narnia (all)
the greatest showman
ice age (all)
cars (all)
neverending story
encanto
enchanted (both)
wall-e
beverly hills chihuahua (first two)
high school musical (all)
descendants (all)
gnomeo and juliet
sherlock gnomes
tinker bell (ALL THESE MOVIES)
bolt
bedtime stories
up
wreck it ralph (both)
super buddies
maleficent (both)
big hero 6
inside out
zootopia
coco
mary poppins returns
vivo
annie (the black girl one, sorry idk the year)
happy feet
edward scissorhands
onward
godmothered
soul
raya and the last dragon
cruella
luca
la la land
jungle cruise
diary of a wimpy kid (all)
cheaper by the dozen
blue miracle
yours, mine, and ours
strange world
rio (both)
ferdinand
teen beach movie
zookeeper
zombies (all)
meet the robinsons
cloudy with a chance of meatballs
spies in disguise
the wild
jack
balto
big
cloud 9
goosebumps (both)
r.l stine's cabinet of souls
hairspray (john travolta one)
prom pact
harry potter (all)
barbie
trolls (all)
spiderman (all miles morales ones)
the super mario bros movie
guardians of the galaxy (first two)
tall girl (both)
enola holmes (both)
the kissing booth (sadly seen all)
dora the explorer and the city of gold (this was lowk fire)
yes day
mitchells vs machines
purple hearts
the flintstones
evan almighty
legally blonde
clueless
mean girls
to all the boys ive loved before (all)
suicide squad
the suicide squad
captain underpants
corpse bride
minions
despicable me (all)
the help
hidden figures
monster high ALL MOVIES
spaceballs
charlie and the chocolate factory (johnny depp one)
nanny mcphee (both)
the devil wears prada
Humphreys was raised in Bridgeton, NJ, and San Antonio, TX. It was said that the family were of part Mexican Native descent. An apparent trans child who played with dolls, and wore girls’ clothes, Humphreys wanted to do people’s hair. As Rachel she graduated in hair-dressing at a cosmetology school in Bayonne, NJ, (north of Staten Island, across the river from Manhattan).
She was a regular at Max's Kansas City, the hip and glam rock nightclub on Park Avenue South. She also frequented the 82 Club on E 4th St which was in transition from a transvestite performance club to a glam rock and then punk club. The New York Dolls did their first show there on April 17, 1974, when they performed in drag, except for Johnny Thunders who refused. They were followed by Wayne County (not yet using the name Jayne) and short-lived glitter bands like Teenage Lust and Harlots of 42nd Street.
It was there at this time that Rachel met Lou Reed, the musician. Lou described Rachel in an interview with Bambi magazine:
"It was in a late night club in Greenwich Village. I’d been up for days as usual and everything was at that super-real, glowing stage. I walked in there and there was this amazing person, this incredible head, kind of vibrating out of it all. Rachel was wearing this amazing make-up and dress and was obviously in a different world to anyone else in the place. Eventually I spoke and she came home with me. I rapped for hours and hours, while Rachel just sat there looking at me saying nothing. At the time I was living with a girl, a crazy blonde lady and I kind of wanted us all three to live together but somehow it was too heavy for her. Rachel just stayed on and the girl moved out. Rachel was completely disinterested in who I was and what I did. Nothing could impress her. He’d hardly heard my music and didn’t like it all that much when he did. Rachel knows how to do it for me. No one else ever did before. Rachel’s something else.”
She moved in with him right away. He was then living in a modest one-bedroom apartment at 405 East 63rd Street. Lou had already written a few songs about trans women, and with the single, “Walk on the Wild Side” (which referred to the Andy Warhol-sponsored trans stars, Candy Darling, Holly Woodlawn and Jackie Curtis) had his biggest hit. Rachel was at this time oscillating. Some days she was Ricky, and others he was Rachel. People who knew Lou and Rachel used either pronoun. One journalist referred to Lou’s ‘boyfriend named Rachel’. Both Lou and Rachel enjoyed the confusion and further muddied the water by wearing each other’s clothes. She was street-wise and spunky in a way that Lou only pretended to be. She was said to always carry a knife, and was good in a fight – which proved useful when a concert at the Pallazzo dello Sport in Rome turned into a riot 15 February 1975.
Lou had been working on his fourth solo album, Sally Can’t Dance – the title track and spin-off single assumed to refer to trans woman, Sally Maggio, who was manager at the 220 Club, another trans bar where Lou went drinking. Sally would in the 1980s open Sally’s Hideaway, and then Sally’s II, again a bar for trans persons and with trans performers. However it was Rachel whose image was on the obverse of the Sally Can’t Dance LP sleeve, drawn as if reflected in Lou’s shades.
She supported him on some of his tours. In New York, they lived for a while in the Gramercy Park Hotel, and then an upscale apartment on East 52nd St at FDR Drive where Henry Kissinger, Greta Garbo and John Lennon had lived. In 1975 they began to frequent the rather grimey but seminal punk club, CBGBs. Lou was recording Coney Island Baby, released January 1976 and several tracks refer to Rachel. At the end of the follow-up tour, Rachel was mugged and assaulted. A doctor was called, who inevitably referred to Rachel as ‘she’, even though Lou was saying ‘he’. As Aidan Levy says:
“Rachel had been contemplating gender reassignment surgery, but the transgender rights movement had not yet solidified, and not fully understanding the nature of the decision, Lou was adamantly opposed to any operations, a growing source of conflict in their relationship”.
Despite this, a friend commented: ““I think that Rachel was the glue holding Lou together, or at least keeping him in the public view in many respects … I know that he doted on her. If there was a light shining, it was the two of them together. It doesn’t mean it was the healthiest relationship in the world.” The cover of Walk on the Wild Side: The Best of Lou Reed, 1977 is of photographs of the two of them.
Rachel acted as road-manager on the next tour, managed the money, and watched over the road-crew. They were in London for their third anniversary and ordered a three-tier cake to celebrate, and Lou gave her two diamond rings. He said:
"Rachel knows how to do it for me, no one else before ever did”.
However by the end of 1977, Lou and Rachel were fighting more and more, and frequently it was about the issue of transgender surgery. She had a date for surgery but backed off as Lou said:
“Well why are you doing that? I love you because of the way you are”.
The title track of Street Hassle, 1978, is about her, and an article in Rolling Stone referred to Rachel as the raison d’etre of the album, although in fact it marked the end of their relationship. Lou moved on, having met Sylvia Morales, who became his third wife in 1980.
Reed completely refused to talk about Rachel after 1978. He desisted and decided to go straight. Both his later marriages were with cis women.
Rachel died in 1990 age 37 at St Clare’s Hospital, which specialized in treating AIDS patients, and she was interred in the gigantic pauper burial site on Hart Island off the Bronx coast (which contains over a million corpses).
Lou died in 2013, aged 71, from liver failure.
LegsMcNeil & Gillian McCain. Please Kill Me: The Uncensored Oral History of Punk. Penguin books, 1997: 154-5, 206.
Howard Sounes. Notes from the Velvet Underground: The Life of Lou Reed. Doubleday, 2015: 182-4, 187, 189, 191, 192, 194, 195, 202, 203, 205, 208, 212, 213, 214, 215-6, 221-2, 226, 229, 235, 248, 269.
Simon Reynolds. Shock and Awe: Glam Rock and Its legacy, from the Seventies to the Twenty-First Century. William Morrow Publishers, 2016: 271-2.
Aidan Levy. Dirty Blvd.: The Life and Music of Lou Reed. Chicago Review Press, 2016: 221-2, 227, 233, 244, 251-3, 264, 285.
Corey Kilgannon. "Dead of AIDS and Forgotten in Potter's Field: In an untold chapter of the AIDS epidemic, scores of unclaimed bodies were buried in a remote spot on Hart Island. How many exactly remains unclear". New York Times, July 3, 2018. Online.
Photo & Review: Jelani Aryeh and Hippo Campus performed a thrilling show in Atlanta
Thursday night Jelani Aryeh opened up another incredible show on Hippo Campus’ tour in Atlanta. His confidence and energetic stage presence along with his band members’ made them look like they could be the main act. They mainly played hits off of Aryeh’s latest album I’ve Got Some Living To Do such as “From These Heights” and “Marigold”. If you didn’t enter the show as a fan, there’s a great chance you left as one. To end his captivating set, the California singer and his band played his fan-favorite song “Stella Brown” which, no surprise, everyone sang along to. If you’re going to a Hippo Campus show this tour, make sure to get there early and catch Jelani Aryeh as he’s an opener you don’t want to miss.
Next up were the frontrunners themselves - Hippo Campus - making their first return to Atlanta since 2019. You could feel the excited energy from both the band and the crowd resonating throughout the venue. The set list held a lot of songs off their third and latest album LP3 such as “Bang Bang”, “Boys”, and “Ride or Die”. Despite the songs being newer, fans knew and screamed every word back to the stage. The Minnesota-native band mentioned several times how happy they were to be playing in Georgia again. To close out an amazing show, the band played “Bambi” and “Buttercup”, two all time fan-favorite songs, which gained a lot of ecstatic reactions from the crowd. If you have the opportunity, definitely catch Hippo Campus on this tour because they are back and better than ever.
Exuding all the effusive pride of a new parent, Claire Cottrill is showing me photos of Joanie, her rescue dog and the muse for her forthcoming album, Sling. “She’s actually really bossy,” the Massachusetts-raised artist better known as Clairo chuckles over Zoom, holding her phone close to the laptop screen so I can see the Instagram post more clearly. “But she’s so funny. We have such a special bond.”
According to a DNA test, the sandy-furred pup is mostly chow chow and great pyrenees, with a little bit of boxer and lab in the mix, which accounts for the fact she has tripled in size in the six-and-a-bit months since her adoption. “She was a little wolf baby; a peanut!” the 22-year-old singer-songwriter exclaims, mooning nostalgically over one particular image depicting the then seven-week-old puppy peeking out of some bushes.
Dog ownership might have become quite the ultimate lockdown cliche, but for Cottrill committing to a pet represented a rare opportunity to lay down some roots. Certainly, pre-pandemic she hadn’t had much chance to pursue a life of quiet domesticity; not since the autumn of 2018 at least, when the lo-fi bedroom pop of Pretty Girl went viral, just weeks after she started college in Syracuse.
Its winningly DIY video racked up more than 1.5m YouTube views pretty much overnight (it now stands at almost 75m), and Cottrill was heralded as a vital new voice, and part of a wave of creatively autonomous, emotionally articulate Gen Z artists, alongside the likes of Billie Eilish and Rex Orange County.
Cottrill’s rapid rise – not to mention her signing with the Fader label and Chance the Rapper’s management team – was not without controversy. A small but vocal subset on Reddit circulated the rumour that Cottrill was an “industry plant”, a conclusion they arrived at following their discovery that her father Geoff was previously chief marketing officer at Converse and co-founder of its affiliated recording studio Rubber Tracks. She has recently addressed the allegations directly, telling Rolling Stone, “I definitely am not blind to the fact that things have been easier for me.”
Largely though, Cottrill has sought to prove her detractors wrong through the quality of her compositions. First came Diary 001, an esoteric, six-track set mining skeletal hip-hop and the wipe-clean grooves of PC Music-inspired pop. That was followed in August 2019 by Immunity, the full-length debut she co-produced with ex-Vampire Weekend man Rostam Batmanglij. More revelatory than Diary 001, it detailed a suicide attempt (Alewife) and her struggles with juvenile rheumatoid arthritis (I Wouldn’t Ask You) with striking candour. Sonically, it paired tender, electronics-tinged introspection with swooning guitar-pop. Sofia, which now boasts 280m streams on Spotify, catapulted Cottrill into another league of fame entirely, leading to collaborations with Charli XCX, Mura Masa and Arlo Parks, plus arena tours in support of Khalid and Tame Impala.
Cottrill was busy with the latter when Covid hit the US. On hearing the news, she headed straight to Atlanta, Georgia, to see out lockdown with family, a period of isolation originally scheduled to last a fortnight but which went on for eight months.
Just how intense was it spending the best part of a year holed up with her parents? “It was awesome,” she insists, now back at the Brooklyn apartment she shares with fellow musicians and former college pals Claud and Josh Mehling. “My older sister came home as well. And I found it interesting that no matter how much you’ve progressed as an adult in your own life, the family roles revert back to exactly how it was as a kid.”
First and foremost, enforced confinement provided the opportunity for Cottrill to deepen her relationship with her mother.
“The conversations I had with my mom about motherhood, and the things she sacrificed for us, are really important to me,” she says. “Also, it’s like you don’t actually know who your mother is before she’s Mom, before she’s Wife, because there isn’t a huge documentation of who she was as an individual. And I realised that I might be in the period of my life now where I’m in my individual phase: before I am Mom, before I am Wife, or whatever I end up being. It was a bit scary to recognise that I could eventually have a family, and then this whole identity that I’ve had on my own for a long time can, in some ways, disappear.”
These existential ideas form the basis of Cottrill’s much-anticipated second album. Recorded in the autumn of 2020 at Allaire Studios – situated on a mountain top in upstate New York – Sling finds Jack Antonoff co-producing. Perhaps more significantly, the record also features backing vocals from Lorde – on Reaper as well as the lead single Blouse – an alliance that led to Cottrill returning the favour on the New Zealander’s latest, Solar Power.
“I met Lorde [when I was] on FaceTime with Jack,” she says of the link-up. “He was like: ‘Hey, I’m with a friend, can we say hi?’, and it was Lorde. And I freaked out, of course, but she’s the nicest person ever.
“We talked a lot about how cool it was in the Laurel Canyon era, where people would secretly do background vocals on each other’s music – like Joni Mitchell with Carole King – rather than as a way to benefit the business side of things. Back then it was just like: ‘I love your voice: will you lend your talent to my song?’ So that’s what I asked her, and I was just lucky enough that she wanted me on hers as well.”
The legacy of Laurel Canyon looms over Sling, which swaps the sparse electronic flourishes of Immunity for lush, acoustic folk, often embellished with swooning vocal harmonies, delicate strings and the warm swell of brass. Reference points for the record included Hejira-era Mitchell, the Carpenters and Harry Nilsson, alongside less obvious touchpoints, such as cult jazz musician Blossom Dearie. Most influential, perhaps, was Innocence & Despair by the Langley Schools Music Project, which features a choir of 1970s school kids covering hits of the day, and has since been hailed as a significant piece of outsider art.
“To me, that record merged my two worlds for Sling,” Cottrill explains. “I wanted that warm 70s feeling, but also I was thinking so much about kids, and especially the clumsy, sweet kid that Joanie embodies.”
There is a darker side to the record too, as Cottrill grapples with the reality of life navigating an industry that she memorably describes – on Bambi – as “a universe designed against my own beliefs”. On Blouse she describes her experiences being sexualised by record execs, while on Management she parodies the industry’s fascination with youth in lines like “She’s only 22”.
“[The attitude is] ‘There’s a lot more that we can squeeze out of her before she’s done.’ Because I think that what this industry does a lot is drain young women of everything until they’re not youthful any more.”
For Cottrill, as much as Sling is an album, it is a document of her endeavours to reassess what it is she wants from life. And adopting Joanie was only the first step: in two weeks’ time she plans to move into the house she recently purchased, in a tiny Massachusetts town in close proximity to both the Berkshire and Catskill mountains.
“It’s so awful that it took something like lockdown happening for me to reevaluate how I wanted to move forward. But it’s now about putting my mental health first, because I deserve to have nice things that I do care about. [Things] outside of music, like a house and a dog.”
As we say goodbye, I get another glimpse of Joanie, who has been snoozing throughout the interview. Sprawled on the floor at the end of Cottrill’s bed, blissfully unaware of her significance in our conversations, it’s a pretty fitting encapsulation of the pace of life that Cottrill has finally embraced.
so i know with everything going on nobody really wants to stick around and i get it i don’t blame you guys but i thought before you guys decide to leave or take a break we should start a post of all of our favorite moments from the ‘Shawn Mendes : The Tour’ era all the bs aside this is the last show, so i’ll go first....
the picture in my post is from my Shawn concert on August 13th, 2019...this was my first time seeing Shawn on tour despite having been a fan since the beginning . the opportunity to see him was a lucky one bc at first i didn’t have tickets and luck enough a girl on twitter was giving hers away and for that i am grateful . the experience seeing him live was like no other feeling i’ve felt , it was truly magical and it felt like an outer body experience it was hands down one of the best nights of my life . i’m gonna miss Shawn screaming “jump” for IICHY, and the “yup” during WWYITM, and seeing videos of the IMB hugs and Connor chasing Shawn with that big ass camera that most likely is bigger than him (shout out connor) and i’m certainly gonna miss Shawn falling because of his lanky ass legs he can’t seem to control (he’s literally bambi) . not only did i get to see Shawn but i also got to see Alessia two people who absolutely make my life off of social media way better just by listening to their music (shout out Alessia the best opener ever) . i know it hasn’t been easy being a Shawn fan lately trust me but i don’t regret spend the time i did watching q&a’s and seeing everyone’s photos and videos from each concert because that brought me so amazing friendships that i’m always gonna cherish . tonight is the last night of this era and it’s very emotional to say goodbye to this era but we have to and that’s okay because i think the next one will bring better things not only for Shawn but for us his fans . so i guess i’m saying thank you to Alessia , and Shawn and everyone who made this era special despite all the drama because all that aside it was one of the best times i’ve had in this fandom. 💙
if you guys could reblog this with your favorite moment weather you went to a concert or not and share your experience that would be greatly appreciated....i’d like to end this era on a high note despite the drama that may or may not happen tonight at the show so please share your fun experiences.......thank you !!! :)
INFO : 一般販売 11/16(土)10:00 〜 12/09(月)23:59
https://eplus.jp/denims/
11 Wed
「夜の浜辺で、リズムギター」
<出演>見汐麻衣自由主義(豊田道倫、山ちゃん、岡敬士、坂口沙子)水野ねじ&BEIJING DUCKS
open 19:00 start 19:30前売 ¥2500(+1D) 当日 ¥2800(+1D)
12 Thu
からくりごっこ企画
『オーシャンメリー』
open18:30 start19:00
前売¥2,000(+1d)
出演
からくりごっこ
ザ・グルーミーズ
+1band(近日発表!
13 Fri
Live Time
下北沢THREE & BASEMENT BAR『ROCK'N'ROLL FAN CLUB~20YEARS & HALF A CENTURY ANNIVERSARY~』
OPEN&START 19:00
ADV ¥3.000 (+1DRINK) DOOR ¥3.500(+1DRINK)
【LIVE SHOW】
CHILDISH TONES feat.宇佐蔵べに
THE EVIL HOO DOO
住所不定無職
KING BROTHRES
THE LET'S GO's
GYOGUN REND'S and more...
【DEE-JAYS】
ろっきー(SEVENTEEN AGAiN)
宇佐蔵べに(avandoned)
KINK (BLUE BOY CLUB)
Club Time
Block Party
open start 23:30
Name Your Price (投げ銭制)
LIVE/
Enya’ Callers
Haus
street good (ex SPIIICA)
ya mai mo
Yodocolts
yukifurukawa
14 Sat
Day Time
「ラッパと娘の収穫祭」
OPEN 12:00 / START 12:30 〜 CLOSE 15:00
Ticket:ADV 2,000yen / DOOR 2,500yen + 1drink
[Live]Bacchanales , BRAVE LION , One Track Mind
[DJ]NAKANO(Drink’Em All), INAOKA(Drink’Em All)
[Food]OCTA(Mexican Food Stand)
※ライブハウス内は禁煙とさせていただきます。タバコは外で喫煙可です。
LIVE TIME / CLUB TIME
BLAST JAMS!!
〜vintage music for teenagers!!〜
THREE & BASEMENT BAR
17:00〜ALL NIGHT
ADV ¥3000 / DOOR ¥3500
SOULCRAP THE THROTTLE JOHNNY PANDORA 999999999 RESERVOIR THE NUGGETS ザ・ハイマーツ submarine dog THE JIVES The Chainups Glimpse Group NAkidZ THE MILLION DOLLAR DOGS
FADEAWAYS MAGNATONES DJ:WOODCHUCK HYDRO STOMEPERS Souta And The Blitz Attack Boys DJ:NICO(Going Strong) GIGANTIX Hi-NOMADY DJ:OKITA Blues Harp Natsuko Trio Motel’s Sofa DJ:Maru(Modern Records) UPDOWNbeats Aston Dubrass CABALLERO POLKERS
On the first day of the new year, let’s look back at some of the best 2018 had to offer!
Know me - The Band Camino
I don’t really know what to say other than: This song hit me hard. Something about that odd percussive sound right at the start sent shivers down my spine before the lyrics had a chance to (but those shivers soon followed). Elements such as subtle reverb and harmonies build up the stack of endless reasons for you to love this track, and i guarantee that the more you listen, the more you will find. Spencer Stewart is the featured vocalist on this track (The Band Camino utilizes two vocalists, the other being Jeffery Jordan), and the sheer control he showcases in this track gives it the impact that truly left my head shaken and heart broken.
$20 - Armors/Olivver The Kid ft. Lostboycrow
Take whatever you know about song structure and throw it out your car window while you hit the road and head to Vegas in the dead of night. Armors (Sam Beresford/Olen Kittleson), Olivver The Kid (Bryan Sammis), and Lostboycrow separately are 3 of my favorite artists and songwriters, but together, are a unit that can not be stopped. “$20” is a masterpiece of a lyrical story, wrapped in an almost frantic instrumental, and tied with a bow of ridiculously fabulous vocals from all of the artists involved. There may be nothing more powerful than these 4 men in a room together.
Bambi - Hippo Campus
Hippo Campus has been on my radar for the past 4 or so years, but I really think that this year was theirs. "Bambi" is a frame full of what makes this band as wonderful as they are: covering things such as anxiety, toxic masculinity, love, and loss in a perfect genre-less package of songs. Their last record "Landmark" was an important part of shaping the indie music market, and "Bambi" is leading the pack in changing everything we knew. That being said, I wouldn’t be too mad if all we knew was Hippo Campus.
Hourglass Sand - Derek Ted
My heart has not-so secretly belonged to folk music ever since I stumbled upon the boys of Sunroom Recordz & Salon, and i found myself hiding away to listen to this EP from one of said boys more than most this year. “Hourglass Sand” carries a Spring breeze throughout the EP in it’s sometimes bubbly instrumentals, flower petals flourish in Ted’s vocal melodies, and lyrics fall lightly but with reason like April rain from the tops of the clouds.
Wait - Arlie
The debut EP from Nashville sweethearts, Arlie, has left a lofi fuzz lingering over the polished production of this year’s indie scene. The seriously good music from this band is eclipsed by the whimsical melodies and ridiculously bubbly personalities of each band member, leaving a dreamy, fun feeling with the exit of each track. I can’t find a single track from Arlie that doesn’t perfectly encapsulate their energy and creativity on this EP. There simply isn’t a bad or uninspired track in their collection.
Stereo - Omar Apollo
Throw one of the most gorgeous voices you’ll ever hear, some horrible dance moves, and a massive sense of humor into a blender, and out will come Omar Apollo. His debut EP covers a plethora of genres while still maintaining his own unique perspective. More ambient undertones form the base of this release, leaving ample room for Apollo’s singing/rapping to fill your psyche and leave those melodies for days after.
People Floating - Renny Conti
It takes a certain type of soul to bring forth nostalgia over events that transpired thousands of miles away from you. Renny Conti possesses just that type of soul. You will find it flowing effortlessly in and out of his debut record, titled “People Floating”. This record feels like the bone-chilling warmth of a cloudy night, enveloping you in memories of lighter days while promising a new start once light breaks through again. Stumbling upon this record is one of the highlights of my year.
Carnival - Briston Maroney
More than any other artist this year, Briston Maroney will likely leave my head and heart spinning well into the new year. Borrowing tones from classic Southern blues, “Carnival” boasts original, homegrown, and near-holy rock tunes that are almost unheard of in modern music. I’ve found it impossible to stop listening to this EP over the past month- unwillingly (but happily) drowning in the hope and heartbreak that this 5-track collection offers.
The Sound of Your Voice - Nightly
The end of 2016 brought Nightly into the light with their debut EP, “Honest”, but the end of 2018 has shown us that Nightly /is/ the light with “The Sound of Your Voice”. Elements ranging from acoustic to electronic in this EP show the versatility and inspiration that drive Nightly’s sound forward with every release. The style of production chosen for most of these tracks beautifully elevates the band- adding depth to their discography and leaving the fans they’ve gained this year wanting more. Nightly successfully split their time between writing and touring this year, and i can’t wait to see what they have to show us in 2019 on both of those ends once again.
Welcome Back - Handsome Ghost
This duo was one of the first artists I was introduced to this year, their live show ushering me into their then-unreleased record and surrounding me with music that I will never be able to forget. The juxtaposition between the orchestral arrangements, electronic percussion, and acoustic guitar give Handsome Ghost an edge on every other indie/folk band out there right now, and force this album to standalone in it’s very own genre. Essential tracks from this record like “Shallow City” and “beauty/bends” have made it into almost every playlist that I’ve made in 2018 (both for myself and others) and at this rate, will continue to do so into the new year.