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signalwatch · 6 months

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The Marvels (2023)

Watched: 11/09/2023

Format: Alamo Drafthouse

Viewing: First

Director: Nia DaCosta

Marvel has been having some issues, of late, with quality and maintaining a fanbase. I'm not sure why having a fanbase for sci-fi/ fantasy stuff means eventually that the absolute worst people on Earth feel like their opinions should dictate what the rest of the planet sees and what constitutes a "good" Marvel, Star Wars or whatever movie. But I suppose it's the same reason that people think they get to tell other people they're the only *real* Americans.

I don't want to define the film Captain Marvel or TV show Ms. Marvel by the audience that manages to mix misogyny and racism into rocket fuel for social media, but I will say - in the event of this year's strike by SAG-AFTRA, it's been tough to get much in the way of promotion out there for The Marvels other than dropping trailers, and that's left a gap in the conversation those folks have filled. It's more likely we'll see the occasional hit-piece by a major industry publication looking for clicks than Disney doing anything worthwhile to actually promote the film on their own. We coulda really used the lead cast hitting Hot Ones and Good Morning America.

Look, I agree: Marvel has put out too much content since Endgame, and that's had a deleterious effect on the overall quality of the material. Even I have been asking "will this be necessary?" as I hear about each new Marvel thing still in the pipeline. And sometimes you're watching, say, Loki Season 2, and you're thinking "I literally do not care what happens here" because something like "oh noes, the timelines will all collapse" is both meaningless, up it's own ass of the story being about itself, and insanely old hat to us aging comic nerds who've seen timelines and multiverses collapse and expand over and over for our *entire lives*. And, yes, Superman will still get printed every month.

Movie superheroes still have to have an antagonist, and they still have to wind up in a big crescendo of a finale, but we've seen this dozens of times in the past fifteen years. You can polish it, put a new coat of paint on it, but eventually it's someone in a slugfest with their evil opposite who has the advantage on paper (but not the heart of a hero).

So what you have left is what you can do with characters.

And that brings us to The Marvels (2023), Marvel Studios' latest offering.

The movie has mediocre reviews and is tracking to open badly. I haven't read the reviews, because (a) I already had tickets and was going, and (b) I kinda wanted to write this before I saw what Chris Spectacles of the Akron Observer thought of the film.* And I didn't want this review to be me addressing the concerns of reviewers.

I saw it in a 2/3rds full theater on opening night, and with not a child in sight. I will say the following up top:

First - there's no post-post-credits sequence to wait for. Go home after the first couple of them. This is not a trick.

Second - Before watching this, yes, you will have to have seen Captain Marvel. You should see Ms. Marvel. You will want to just skip Secret Invasion, which this movie pretends didn't happen, and that's fine, because that show was quite bad and more confused the MCU than helped it along.

SPOILERS

The Marvels (2023) is not going to change the world. This is also not going to "save" Marvel Studios, if, indeed, Marvel Studios needs saving, or the *idea* of saving the studio that means anything at all.

What I'll argue the movie does is provide a fun time at the movies with characters that are a good hang for the movie's speedy, non-stop runtime. If Guardians of the Galaxy taught Marvel that what you need is a mix of action, comedy, space and family issues, this movie is absolutely a product of that line of thinking. The Marvels isn't trying to copy Guardians (despite the fact the villain is a version of Ronan who is a mean lady instead of a mean man), but clearly those items were on a whiteboard somewhere while this movie was getting sorted out.

The movie knows that the villain's plot is going to fail, and knows we, the audience, are just following the beats on that score. And so it does the unthinkable of late for Marvel: it uses the plot as an excuse to tell a three-sided story with three solid characters thrust together an inextricably linked, thereby creating a movie that's character driven. The problems it addresses are personal in nature as much, or more!, than the need to stop Kree Hammer Lady.**

We catch up with the MCU as Kamala Kahn has settled a bit into her role as teen-hero, Ms. Marvel. She's still very much a kid living with her family (Marvel understands when they've struck character gold). Meanwhile Carol is in deep space, living with Goose and part of a network of folks helping keep peace across the galaxy, one supposes. And, working aboard SABRE's orbital base, Monica Rambeau (I think last seen in WandaVision) is putting her powers to some use and being a scientist/ astronaut type.

But it seems since we checked in during the 1990's, the Kree had a civil war that somehow: (a) messed up their sun? (b) evaporated their oceans and (c) ruined their atmosphere, creating a permanent state of planet-wide nightfall. Not-Ronan has taken up the mantle and is trying to restore Hala, the Kree homeworld in a very Kree way - by murdering people. She's obtained the second Quantum Band (Kamala having the first one we'd seen - there are two) and she's using it to open worm holes to...

Look, the plot is the villainous plot from Spaceballs, and our villain is MegaMaid. There's really no way around it. It's not what *I* would have done as a writer, but Spaceballs was also 40 years ago, so... we may have to let this one go. What's important is that MegaMaid is targeting planets in which Carol Danvers has an emotional investment and stealing their water, air and sun, and that's personal and mean. But why? Well, thereby hangs a tale.

But, like I say, it kind of doesn't matter. She could be unleashing cooties on those planets. She exists so our heroes get together and figure out their personal stuff. And that's what the movie is about.

Monica has to figure out what it means that Carol didn't come back for Monica when Maria fell ill, both the why's and the impact. Kamala has a parasocial relationship with Carol that Carol feels she has to live up to, even as it inspires Kamala and Carol doesn't feel at all like that hero. But Kamala's hero-worship is kind of the unspoken opposite of how Monica has reacted to learning she has powers of her own. And Kamala and Monica are complete strangers, navigating knowing each other while also seeing each other's relationship with Carol. It's complicated stuff! You could have made a similar indie movie about a movie star, her old friend and a fan, and gotten much of the same effect.

But this one is in space, action-packed (I mean VERY action packed) and manages to balance the sincere moments with the incredibly silly moments with the pathos of inadvertently causing the self-immolation of Space Nazis. And, in my opinion, it all worked.

I liked the singing planet (but they did need to hold to the concept through the battle), I liked the kitten Flerkens and the absolute chaos of the evacuation scene. I liked Kamala's family dealing with the nonsense of superhero/ SABRE life. I liked the kooky three-way fights and the "we gotta synch up" montage. The fight sequences are very well choreographed and work well despite what absolutely should have been a lot of confusion for the audience - ironically, only the audience is in a position to get what's happening. And I very much liked that our heroes *tried* to reason with the mad despot once it was clear they had the upper-hand and offer a way out of this.

In general, I was already in the bag for Brie Larson's take on Carol, and it's interesting to see a version 30 years older and with a lot of new, self-inflicted baggage. Iman Vellani's Kamala Kahn is an absolute delight and can't wait to see her again. And Teyonah Parris is very pretty great as my first Captain Marvel, and with decades of baggage to sort through with Carol, the blip, super-powers and how to be a superhero, which, frankly, she doesn't want to be.

Complaints:

So - did the singing planet die? I have no idea what happened there. It would be nice to know. It seemed like everyone was going to die, and no one seems to care.

They basically borrowed the ending of All Star Superman, but didn't do it as well or with much emotional resonance, which is a real bummer. Now DC can't use it, and this didn't land as well as it could have for Carol. Felt like it needed a few more beats.

We gotta find more interesting ways to dress aliens. Bright robes are very 1990's ST:TNG and it keeps happening at Marvel

Space is boring in this movie. Marvel space was defined by James Gunn, and it is beautiful. Show that candy colored majesty, not ST:TNG white stars (the new Trek knows this). There's definitely some more creative design they could have done, but maybe less is more if Quantumania was any indicator

Carol sure is good at astro-navigation and everything is apparently cosmically nextdoor in the MCU

I don't understand how the heroes became disentangled

Kamala uses her powers without her bangle, and I didn't know that was a thing

Spoilery Spoilers

It was fun seeing Valkyrie again, and good use of the character in her current role. Also, sure felt like she and Carol knew each other pretty intimately... Close to making that happen as Marvel will get, I guess

I don't know who Park Seo-joon is, but he was swoony. I guess he's a big star? Probably make the kids very happy

The first post credits scene was met with audible joy from the audience, so here's hoping that works.

The second post credits scene received an involuntary verbal response from me and a few others in the theater. I like where they're going with this. X-Men will not work in the MCU, but as close-universe neighbors, seems like a fine idea. Also, thank goodness that isn't the last we'll see of Lashana Lynch

I was led to believe Richard Ryder/ Nova would appear, he does not.

(late edit: this movie has the single greatest needle drop in Marvel history)

I don't think this one landed for me exactly as hard as the origins of either Ms. or Captain Marvel, but if the requirement was "I would like to spend time with these people, and see them together in a fun way" this managed that. It feels unnecessary only in that it only barely strives to move a universe of stories forward and is, instead, self-contained and about these three people and their family/ friends. It is very necessary as a "we should have solo stories that advance the characters but not carry the universe forward in obvious and awkward ways" sort of way.

Would I watch four more of these? Yes.

And thank god they got Nick Fury into a place where it's not a drag to have him around.

Look, I don't know what you people want out of Marvel, but I want something fun I can rewatch without feeling like I'm doing homework. I like a good adventure and fight scenes and jokes and characters to enjoy. I suppose I'll check out some reviews, and I think from my laundry list of nits to pick, it's clear I'm not giving this a 5/5, but when all you hear is "underperforming" and "mediocre reviews" in a world with ten movies about Vin Diesel driving cars fast and the general shit people get enthusiastic for, I won't even pretend to know what people consider a win.

*I swear to god, if I see one more person thinking they've got the edgy take on Marvel by saying "I don't consider Marvel movies to be *cinema*... Dude, we get it. You're very special and very smart and you can get your "I'm a very smart person on the internet" cookie on your way out the @#$%ing door

**no one is beholden to remember made-up alien names for longer than the name pass by in the credits

#marvel cinematic universe #marvel #marvels #captain marvel #ms. marvel #movies #movie review

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qu-film-history-to-1968 · 8 months

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The Magical Experience of Liaka Studios

Dante Calabrese

When discussing and going into depth on a film I remember watching fondly as a child growing up was called "Coraline". What makes this film stand out and memorable was the entire story, aesthetic, visualization etc. The film utilized stop motion animation to create this memorable and iconic film. I remember how special and unique the film felt for me when seeing it for the very first time in theaters and the creativity of it all. The film story revolves around a young girl named Coraline Jones who moved to a new town with her parents and left her old friends and life behind due to her parents book publishing work, once they move into their new shared old house her parents are immediately neglectful of her and never have time to spend with her and focus on their jobs rather than spending time with her. As Coraline struggles with adapting to her new house, surroundings and neighbors she stumbles upon in the very old house a small door locked up and covered over by the very old house wallpaper which she eventually opens up and finds out that it enters into another reality world exactly like hers but rather everyone is the same but better and exactly how Coraline pictures her parents to be especially. The only difference is these people are not the same, and they all have buttons for eyes shown into their eye sockets, and she meets her "Other Parents" which they are called. Eventually the more she visits the other parents and go through the door she becomes more tempted with the idea of staying there instead of returning to her actual life and real family, but she soon finds out it's not as it seems there and it shows the true colors and horror that awaits Coraline with the "other mother" being an actual monster and demon of sorts wanting to take Coraline for herself and sow in buttons to her eyes as well. Unfortunately stop film animation is very scarce in the film industry and not too many studios and films are created with this amazing style and passion, except for the studio who created this film and others called "Laika" and "Aardman".

"I read the book of this movie in the 9th grade. Now I do not say this often, but I found the movie better than the book, I did not like the book when I read it. I want to try mango milkshakes. They looked great in the movie, and mangos are my favorite fruit. Dakota fanning is one of my favorite actresses. The cat was my favorite character. I also loved the fact that Coraline had blue hair." (Rotttentomatoes,December 27th, 2009). Two considerable events and importance that occurred during the year this film released back in 2009 were the death of Michael Jackson and Barack Obama becoming the 44th president of the United States of America. These two I remember happening but more the death of Michael Jackson, I didn't really know much about the music artist and only few of his music growing up and didn't know how he died or why, but for what I know now from back then is a lot more and different with the way I look at this historical day in history. As for the new president of the United States that year it has not really changed from what I knew then and now for the most part. After rewatching the film once more it is very much different yet the same just as I remembered it being 8 years old, it made me realize how much darker and serious the story tone is especially having more context and layers underneath it all without realizing it at the early age back then. The films style and art is more amazing and colorful than I remembered to be as well what especially changed and different was the realization of how much more horror aspects were implemented and shown at during certain film scenes, being much older and having more mental growth and comprehension I'm able to cherish and feel as if the film is a completely new version almost like an uncut release due to the matter of seeing more details and easter eggs I wouldn't have noticed before at a very young age. The film has shown to also have an adult audience in mind while making it true to the book and for being a children's movie even at times making myself question if this film is suitable for young viewers with how psychological and dark the tone is at certain parts of the narrative.

What this says and shows regarding how history and individuals' memories can differ from a reconstruction or adaptation is the fact it will not always be true to the source material, or as accurate as once remembered. As well of other benefactor being the brain and mindset two different versions would have from one another even though being the same exact person, this same exact person isn't the same as the younger version once before, being older now and having so much life experiences and growth changes how you revisit a scenario, memory or even a movie once seen years and years ago being a whole completely different person than you are now.

References

Ebert, R. (n.d.-a). Coraline Movie Review & Film Summary (2009): Roger Ebert. Coraline movie review & film summary (2009) | Roger Ebert. https://www.rogerebert.com/reviews/coraline-2009

Selick, H. (2009, February 6). Coraline. Rotten Tomatoes. https://www.rottentomatoes.com/m/coraline

#submission

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spectaculardistractions · 1 year

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To Ricardo Urgoiti Hollywood, 23 June 1946 Dear Ricardo, I was delighted to get your letter yesterday, although not surprised because my mother had mentioned you were on your way over to this atomic country. I’m intrigued to hear you’re living in Rye and curious to know why you’ve come over. I am also, of course, FURIOUSLY keen to talk to you. We have so many things to discuss! But if you can’t get over here, it will be difficult to fulfil this wish. You know you’re welcome to come and stay here and if you were to come, you would have no living costs, because we can provide a room and a slice of the flavourless bread they make over here. I’ve just got back from a month and a half in Mexico. A successful trip. I’ve taken on a film I’m working on now, with… brace yourself, Negrete, and I’ve also signed up to go to France in November to make a French version of La casa de Bernarda Alba with Synops studios. What are your plans? To go back to Spain? Are you still working in film and radio? I’ve not given up all hope of working with you again, although I don’t know when or where. I have very fond memories of our ‘Filmophonic’ days. Although there is a crisis in film production in Mexico at the moment, I still think you would do very well here. There is a really positive atmosphere and a real desire to produce great work. But as I don’t yet know your plans or why you are here, it may be pointless for me to go on about possibilities for you over there. I’ve discussed you a lot with Carlos Castillo. He is one of your true friends, you can count on him for anything. When he heard you were coming to America, he got very excited about the possibility you might come to Mexico. Idem Ana María Custodio, who is as charming as ever. I had legal documents drawn up in Mexico to allow my brother Alfonso to collect those Filmófono pesetas, should they ever come through. I’d be very grateful to hear your views on this if only briefly. It would be really useful if I could transfer part of that debt over here because, although the work proposals are good, I don’t have a cent in reserve. What are your thoughts on the immediate future for Spain? This question alone we could discuss for hours. I know it’s delicate, especially for you, to comment in a letter. But you could sum up your views in a single sentence without compromising yourself too much, for example: ‘I think you will soon be over there producing films with me’ or, on the contrary, ‘Unless it’s in China, Luis, I don’t see us working together again, not in Spain at least.’ In short, tell me something, even if it’s in Sibylline code. I have no great hopes of returning to Spain any time soon, which is why I’m looking for new avenues in Latin America and France. I’ve changed somewhat in some ways. I’ve removed myself from all political activity, although I’m still true to my old beliefs. I despise the world and this technological society I live in and have a morbid tendency to take refuge in the past. As a last resort, although without much faith in it, I cling to cinema to avoid slipping too deeply into a life of contemplation. Now more than ever I want to do interesting things and take on new adventures like this film with Jorge Negrete, this time in order to succeed at them though, rather than to mock them as I used to from my ivory tower. I hope, Ricardo, that you will write back, if only telegraphically, that is, very briefly, about the various topics in this letter. I am most interested in your plans and whether there is any chance I might interpolate myself among them. My warmest regards, Luis PS I’ll be back in Mexico from the second half of July to October. Then to France. And then back to America again. Although, of course, Buñuel proposes and destiny disposes…

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #ricardo urgoiti

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maplecornia · 3 years

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chapter 10

𝔴𝔬𝔯𝔡 𝔠𝔬𝔲𝔫𝔱: 3.24K

𝔰𝔲𝔪𝔪𝔞𝔯𝔶: You watched them from the sidelines ever since you were a young teenage girl. Now you’re grown up, they’ve returned after 2 long years and everything has changed. What happens when you pull back the mask and find the darkness within? What happens when you see that they’re broken?

𝔞/𝔫: I think the banner is super cute for this one, fitting to the super FLUFFY moments in this chapter ehehehe

tags: @kookaine |@fangirl125reader |@kookiebbyxx |@taradevonne

He takes you to a studio.

Though the hallway is simple, another slather of pure white paint, stone, and plaster, the floor a gorgeous light charcoal tile. The door to the studio is beautiful hardwood, a large window of tinted glass embedded within so that you can see a bit inside.

You stare at it with awestruck eyes.

Namjoon doesn't notice your expression at first, turning the knob to the door, and entering.

As he does, you don't move. You don't know if you can.

The studio isn't much, it's very simple when you think about it.

It's spacious, with dark walls and an almost metallic look to it. There are two comfortable chairs located at the soundboard which has a black undertone to them. The table is dark hardwood, even the floor is plated with dark mosaic tile. The recording area on the other side of the massive one-way glass in front of the soundboard has the same black theme, the walls soundproofed with patches of black material.

Though it may seem simple to some, to you, it could not be more beautiful.

This room holds every dream you ever had, everything you had once wanted to be. On the other side of that glass, you would have sung and made the very same music that helped you feel loved and wanted.

As you stand there, awestruck, RM notices that you're not beside him. He pauses, turning around to you, his computer powering on. He looks at you, a bit confused.

“Yen?” at his voice, you break out of your trance and snap your eyes to him. He chuckles a bit before setting down his coffee. “Are you going to come in? It's rude to stand in open doorways.”

Shaking yourself out of your reverie, you nod, hurrying in and closing the door shut behind you.

“Yes. I’m sorry I was just…” you trail off, searching for the words to explain, but coming up empty, you fall silent.

Namjoon gives you a look as you stop in the middle of the room, getting that dreamy, glazed-over look in your eyes once more. You seem as though you're afraid to touch anything. Maybe it will ruin the dream, somehow wake you up, when you don't want to be bothered.

“Are you okay?” he inquires, peering deeper into your eyes and tilting his head in a questioning gesture. Once more, the expression on your face disappears and you chuckle nervously.

“Yes, it's just, this doesn't quite feel real.”

“What do you mean?”

“It's always been my dream to come to a place like this.” You murmur, taking a steadying breath as you tentatively run your fingers over the top of the desk. The cool glossed-over granite sends a small shiver down your spine before you pull your hand back to your heart.

Namjoon’s eyes scan your face, searching it, as though it is the most interesting thing in the room right now. If you were to notice, the sight of his intense gaze would cause your heart to beat faster.

“What? A studio?” he inquires. You turn to him and nod, your mouth breaking into a wide grin, as you can’t ignore the pounding of adrenaline in your veins at your excitement.

“Yes. I've dreamed of being in one ever since I was a little girl.” Wistfully, your eyes turn to the one-way glass separating the soundproof from the recording studio.

“I would have sung right there, in front of that microphone. My producers and composers would be behind this glass, giving me pointers and helping me to make the best version of my song possible.” You explain, pointing to the lone microphone in the middle of the room. “But, I never got to live it.”

“What do you mean?” he asks intently, his eyes snapping back to you. You smile sadly and turn away from the glass, raising your tea to your lips. “Why couldn't you pursue your dream?”

“I didn't want to debut as a solo artist.” You answer him, chucking a bit bitterly afterward.

“It's a stupid reason, I know, but in America, there aren't necessarily companies constantly holding new auditions for boy and girl groups, like in Seoul. Normally it was you, on your own. If you wanted to debut as a group, you had to have people you knew willing to do that with you. I didn't have people who would want to do that with me. They all had their dreams, and I had mine. I saw those solo artists perform, and all I could see was how lonely they were up there. I wouldn't be able to do that. I don't think I'd be able to survive, to feel as though I were the only one in the world. As though everything I did or didn't do would define who I was. I wouldn't be strong enough to deal with that on my own.”

He looks at you, silent but understanding. As you raise your eyes to him, almost hesitant, you don't expect to see the sweet, kind smile on his face.

“It's not stupid.” He says, turning to the computer and opening up a few files. “Besides, now you're living it...sort of. How does it feel?”

He pulls back one of the chairs and beckons for you to sit down. You take it, easing yourself into the chair and thankfully finding that nothing disappears.

“Unreal.” You whisper, almost giddy at the sight of the soundboard in front of you. If you were in the recording area, things would get out of hand. He chuckles at your answer and sits down as well, pulling up a demo that he has no doubt been working on.

“You're lucky Yoongi isn't here, he would fuss at you for taking his seat.” He teases, but your eyes go wide and you almost stand up. RM grabs you by the wrist almost as soon as you do and sits you back down in your seat.

“Don't worry, I’m just joking.” You smile, laughing nervously, but continue to sit on the edge of the chair.

“Is he here?” you ask, trying to make sure you aren't overstepping any boundaries. Namjoon shakes his head in response, adjusting things on the soundboard.

“He was supposed to be but got called away for another project. He’s still a producer after all, and was only helping me a bit with this demo.” He explains. Relaxing, you sit back, nodding.

He proceeds to play with the soundboard as though it were some secret language only he knew, and you watch him, trying to study how it works. He pushes up a button there, twists a knob here, all the while clicking continuously on his computer.

“Is this what you got from your studio?” you inquire, and he turns toward you. As you glance up at him, your eyes meet before he turns back to the computer, and nods.

“Yep. I've been working on this for quite some time now, but can't seem to get the sound right. It's strange because I already have the lyrics for it, but one part just doesn't seem to flow.” You watch as his cursor highlights one part of his track and he pulls a pair of headphones off from the console. Drawing away from his computer, he turns to you. He offers them to you in a questioning gesture.

“Do you want to hear?” he asks and you nod, reaching for them.

Instead, he places them securely on your head, and your hands go up quickly to readjust it to your liking. As they do, your hands touch his as they pull away, for a small moment. It sends a shock through your body, and you can hardly look him in the eye as your face grows hot.

He, however, can't take his eyes off you. As you glance up at him with that innocent, confused gaze, he has to quickly turn away. His hand raises to his mouth, as though that would hide it from your curious orbs.

“Are you ready?” he asks softly, hoping that would cover up his slight embarrassment.

“Yes.”

Complying, he clicks the play button and after a small sound of silence, the music begins, soft and steady. It has a peaceful beat to it, one that calms you and makes you smile. Closing your eyes, you tap your hands over the headphones, almost as if to press the music deeper into your mind. As it progresses, the music grows faster and you can hear a woman's voice in the background vocalizing.

Opening your eyes, remembering that this should be where RM is having trouble, you can hear the music begin to transition, as though a record were stopping at the end of its song.

You can see where RM is having trouble.

The music that comes next is too fast, too different from the beginning of the track, it holds no consistency. Once it fades out, back to the calm and quiet track, you pull off the headphones, pondering what to tell him.

You know that he wants your opinion, but you don't want to be disrespectful.

“Well? Any suggestions?” he asks, holding your gaze with persistent eyes.

“May I?” you request, gesturing to the computer, and he nods, switching places with you. You have enough experience with software such as this that you know what you're doing.

“You see this area right here? I feel as though that's where the sound starts to sound a bit off. It's not necessarily that the beat is bad, it's perfect. However, in this area, it doesn't flow like the rest of the song.” As you play the area you're talking about, you hardly notice how close Namjoon moves to you, peering at the screen.

Your bodies are mere inches apart, his heat making your back warm. It's comforting, as though there is someone behind you whom you can trust.

“You see?” you say once it stops playing, turning and finding your face inches away from him. As he peers at the screen with narrowed, focused eyes he doesn’t notice you staring.

He's so close that you can see the deep brown of his eyes, the product in his soft hair, and the smoothness of his cheeks. The comforting warmth immediately changes into something else. Swallowing hard, you tear your gaze away. Pressing your hands to your cheeks, you try to cool them down, and silently wonder if he can hear how fast your heart is beating.

Honestly...how could Korea ever call this man ugly?

“What would you suggest we can do to change it?” he asks, glancing down at you just as you raise your eyes to the screen, trying to ignore your pounding heart.

“I think that maybe if you used the same piano accompaniment in the beginning after the transition, then that would satisfy the need for consistency while keeping the original sound of the track.” You suggest, looking at him for approval.

He doesn't answer at first, instead, he reaches across you, carrying out your task. Swallowing hard, you freeze, afraid to make the tiniest movement and accidentally touch him.

He doesn't notice, his turn to be entranced in his work, and you're thankful for it. You try to inconspicuously hide your face from him, missing your baggy clothes. Normally the giant sleeves would be enough to mask your blush, but now you only have the comfort of your small hands against your cheeks. Once he's done, he pulls back, gesturing for you to play it.

“Let's see if this works.” He murmurs, almost hopeful. You nod, pressing the mouse and intentionally avoiding eye contact with him until your heart has calmed down. The beginning of the song starts once again, helping to calm your nerves and you feel at ease once more.

You weren't aware there would be so little personal space when you first walked into the BigHit building.

When it comes to the particular area in the song, you're surprised to find that your idea worked. The small part no longer sounds out of place and it flows with the rest of the song. It still needs some tuning, but you solved his problem.

“Woah…” Kim Namjoon mutters, and you turn to him, finding surprise and a sort of pride in his expression.

“That’s incredible.” His eyes turn from the screen to rest on you laughing softly.

“Did you know that you're incredible? It's such a simple fix, such a simple error. Something we couldn’t pick up, and you…” he runs his hand over his face, staring at the computer screen with an unbelievable expression before turning his eyes to you once more. “I guess what they say about fresh ears is true.”

You blush at the pride, trying to ignore it, act like you did nothing at all, which you didn't. With him looking at you that way, however, it's hard not to feel vital, somehow important to this song.

“So!” you say, sitting straight in your chair and turning to him. “What do we do next?”

“What to do next….” he ponders on the thought before his eyes widen as though remembering something.

He curses under his breath, checking his watch. Immediately, he pulls back from the soundboard, and heads to the door, beckoning for you to follow him. You hurry to your feet, taking his coffee and your tea before scuttling after him.

“Where are we going?” you call out, having to jog to reach his side. He doesn't answer you, just mutters incomprehensible things under his breath.

You keep quiet behind him, understanding that he's stressed out. Sometimes it's just better to keep silent to show that you understand. You do that for him now, just follow him as he leads you back to Mon Studio, retrieving a few things and pocketing them in a backpack.

You wait for him near the entrance by your satchel, where you left it safe before.

As he finishes and begins to search for something, his phone rings and he curses once more. He rolls his eyes in annoyance as he pulls it out from his pocket.

“Yes?” he snaps.

As he presumes to continue packing, he beckons you for help. You comply, setting down the drinks before packing away the papers, pens, and flash drives into his pack.

“Han, I know I’m late, okay? I was in the middle of something.” Turning from you, he snags a mask off from a small hook on his wall. He shoves that into his jacket, before rummaging through his desk drawers, searching for something.

Han?

“Yes, I understand that it's an important meeting, I am trying my best to get there.” As you finish packing, he turns to you, whispering glasses, and you nod, beginning to search for them as well. He continues talking incomprehensibly on the phone, just as you spy the glasses. You snatch them, presenting them miraculously to him. He smiles at your ecstatic expression, taking them and placing them on his hat securely.

“Okay. Yes, I understand. Alright, I’ll see you soon.” With that, he ends the call, sighing as he places his phone back in his pocket and turns to you.

“I'm sorry about all that, I forgot I had to go to a meeting out of Yongsan-dong today and lost track of time.” He explains. You nod, understanding as he begins to position his mask on his face. “I was hoping to teach you the ropes a bit more, but I guess that will have to wait till tomorrow. Speaking of which, do you know what time to get here?”

“Yes. I'm supposed to get here around 7:30 am so that I’m ready.”

“Ready with what?” you smirk at his little question game before answering.

“Your schedule and coffee. You'll text me if you want me to get coffee for the other members. You'll also text me if I’m supposed to meet you in another place besides your studio. For now, I’ll be able to find any place in the building on the map you gave me.” He nods mutely as you recite your duties like a soldier. Once you're finished, he zips up his backpack and hikes it on his shoulder.

“Good. you'll be able to get the schedule from the receptionist at the front desk every morning. You'll also be accompanying me to every meeting, practice, or recording I have unless otherwise specified.” You nod in agreement, watching as he turns around in a circle seeming to search for something.

“Where did I…” reading his mind, you turn to the place where you put the drinks and hand him his coffee.

“Here you go.” You say, and he smiles, laughing at himself for his absentmindedness. He takes it from you, your hands making slight contact, but this time it isn't shocking. It's familiar, almost brotherly, makes you feel secure and comforted.

“Is there anything else I need to do?”

“Yes, actually if you could clean up my studio and the one we were working in, that would be a great help. You remember where it is right?” you nod, and he nods in return, turning to the door.

“After that, you'll be able to go home, I hope tomorrow I’ll be able to teach you more.” As he opens the door and steps outside, you bow to him, respectfully.

“Thank you, Mr. Kim. Once more, I apologize for being so late.” After a moment, you raise your head and find him staring at you with an unreadable expression. His soft brown eyes remind you of a wistful puppy. You tilt your head in confusion at the look, wondering what he could be thinking in that vast brain of his.

“Mr. Kim?”

“You don't need to do that.” He murmurs, as though he's talking half to himself.

“What?” you inquire, trying to make sure you heard him right. He turns fully to you, repeating himself once more, this time a bit louder for you to hear.

“You don't have to be so formal. I know everyone else does it, but you don't have to.”

You blink at him blankly.

“Jaejin never used them either. I guess it's easier to drop the formalities and work with someone who feels as though they’re a friend.” He explains, flashing a small smile your way. “I hope that won't be too hard.”

“Oh! Oh no! Not at all!” you say quickly, shaking your head vigorously.

“It makes it a bit easier on me, actually. Using honorifics can be a bit confusing.” You chuckle a bit and his smile grows wider, softening at the tips.

“Goodbye, Yen.” He says, turning away once more, before pausing and peeking over his shoulder at you as though he forgot something. “By the way, Jaejin was right."

"About what?" you ask, a bit confused, but all he does is smile.

"I'm glad he chose you as his replacement.”

The sweet phrase leaves you standing there frozen, unable to mutter a goodbye.

He chuckles to himself at the expression, placing his sunglasses on his nose before walking out of the room and down the hallway.

It takes you a moment, but once he’s gone, you shake out of your trance, your heart pounding deep in your chest.

“Thank you, Namjoon.” You whisper to yourself, holding your hand to your heart as you drop the honorific.

Crossing that barrier that turns you from a co-worker into his friend.

𝔫𝔬𝔱𝔢: so...ship or skip?

chapter 11 here

check the Infinite Stars masterlist for more chapters

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shadowmaat · 2 years

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Live action, smive action

There's always a lot of heated discussion about turning cartoons/anime into live action. My feeling is that, generally speaking, it's absolute shit and a very bad deal.

Animation lets you accomplish a lot of stuff that would be impossible- or at least very difficult- in "real world" settings. What we're willing to overlook in a cartoon looks a lot weirder and less "realistic" in live action. I'm not saying it can't be done, but it's harder to accomplish in a way that makes audiences believe it and without making it uncomfortable. Jerry flattening Tom's face with a skillet looks funny in a cartoon. An actual mouse flattening an actual cat's face would be horrifying. What works in animation doesn't always carry over without a big change in perception.

Now add in that "live action" versions of animated things tend to be very... Hollywoodized. They flatten out or remove the elements that made the cartoon charming and overcompensate on making stuff look "real." Look at the first version of Sonic that the studio insisted upon and that was so reviled by audiences they were forced to go back and redo all the CGI/animation to make him look more cartoony.

The compulsive need to whitewash everything is also a huge issue. Whitewash, lightwash, anything they can do to make an anime look less """ethnic""" so that it's homogenized for a broader audience. And "homogenized" will always default to white where Hollywood is concerned. They can't imagine that white audiences might actually like to see characters who look authentic to the original version. Although given the rampant racism in America (and other "first world" countries) I could almost understand that thinking. Almost. Except for the bit where, if having POC is such an issue, maybe stop stealing their stories, culture, and history if you aren't going to respect them.

There's also an undercurrent of treating animation as "less good" than live action stuff, which is why some producers feel a need to turn cartoons into "real" movies. Which is a garbage take and insulting to animators across the world and through history who've poured their hearts and souls into making some flipping fantastic movies and shows. Hollywood needs to stop treating cartoons/anime as a lesser form of entertainment when it's on equal footing with everything else. They also need to recognize that A) just because something is geared towards kids doesn't mean it has no value to a wider audience and B) children's media has value all on its own whether it appeals to a broader audience or not.

ANYWAY! I've also been seeing a lot of stuff on my dash lately about a Spirited Away theater production and let me tell you: I would fucking LOVE to see that. Theater still remembers that letting fantastical elements remain fantastical is part of why people love them. They don't try to go for hyper-realism, but instead pay tribute to the magic of the original. I love that. It's a lesson Hollywood should learn, but I doubt they ever will.

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introvertguide · 3 years

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5 Great Movies Without a Forward Linear Time Line

Not all great movies have a clear linear story line. The standard kind of story has a forward moving timeline and things progress forward in time from point A to point B. There might be jumps in time to convey age, growth, or decay or there might be montages that demonstrate learning or development without showing every second of the process. The point is that the viewer is not shown the past in something like a flashback or a second telling of the same event. Some movies try to use these techniques to add to the story when in fact it makes things more convoluted. Some movies use jumping around in time as a major plot point like in Looper or Back to the Future. Some movies are almost completely in flash back like The Green Mile and Citizen Kane. This a list of some fine films (in my humble opinion) that use time in interesting ways and are great because they steer far away from a standard time line.

Rashomon (1950); multiple unreliable narrator flash backs to same event

This film strays out of my specialty of American cinema, but it is a masterpiece that is often ranked in the top 10 films ever made. The movie is directed by the absolute genius Akira Kurosawa, who was way ahead of his time. A horrible crime is committed in feudal Japan and different people involved all relate their memory of the incident. Each witness adds information to the story but changes small aspects to make them sound better. Each account is subjective, self-serving, and contradictory. It is such a great example of the human condition that there is a phenomena in psychology called the Rashomon effect in which people will relate a story in a way that paints themselves in the best light, especially if they believe there are no other reliable witnesses. Again, the film is extraordinary as far as the screenwriting and directing and has set the standard for storytelling through unreliable flash back. I consider it a textbook example since I saw the film four times in college: twice in film classes and twice in psychology classes. This is my favorite Kurosawa film, but all of his movies utilize the visual medium to the fullest and I would recommend checking out any one of his films for a cinematic treat.

Once Upon a Time in America (1984); jumps between 3 time frames in a non-linear fashion

There are two versions of this movie and it proves that a story can be better if time is altered to reveal information in a specific order to the audience. The film was originally going to be a pair of 3 hour movies but was cut down to a single 4 hour film that jumped around the Jewish ghettos of New York in the 20s, the 40s, and the 60s. It is a crime drama that follows mobsters in this area and reveals motivation for actions by jumping freely between the three time settings. This long version of the movie is highly praised by critics and considered to be the best work of Italian director Sergio Leone. A severely cut and chronologically reordered version was created by an American studio that was released in the U.S. This version was panned by critics and was a total flop in theaters since it revealed information out of order during the film run time. Some actions at the beginning of the movie seemed pointless while some revelations towards the end had already been spoiled or hadn’t been referenced. The entire value of the film was lost since any skillful directing and editing was completely removed. The complicated nature of how the story unraveled in an anachronistic fashion is what makes the movie great.

Pulp Fiction (1994); series of events over 2 days told out of order

This movie is so much fun and tells just unbelievably crazy stories that occur to low level thugs over a two day period. Many people when first seeing this film did not realize that the stories are out of order, only that character stories cross over into each other. The complicated timelines make the movie great to watch over and over again because you see new things each time. I have actually seen a cut of the film that plays in chronological order and it is no where near as good. The way the film is cut makes fun little vignettes that all have intensely complicated plot structures while simultaneously supporting an overall plot line. Truly a great film and one of my favorites to rewatch.

Memento (2000); scenes played forward in time but in reverse order

Christopher Nolan is famous for his non-linear films like Batman Begins, The Prestige, Inception, Interstellar, and Tenet. This movie, Memento, stands out as the most non-linear (least linear...non-linearist...whatever) and one of the most interesting concepts ever attempted using the film medium. The story follows a man with a brain injury that makes him unable to make new memories. He writes notes in ink on his body to remind him of his mission to find the man that killed his wife. Each scene is played forward in time, but in reverse order. This means that you see the last scene first and the first scene last with a time jump backwards every time the lead character has a memory reset. It doesn’t seem possible to have a good movie this way, but it works exceptionally well and the viewer really experiences each event with fresh eyes much like the protagonist. One of the few movies I watched and then immediately rewatched to see all the things that I missed.

Eternal Sunshine of the Spotless Mind (2004); recounts a man’s life and relationship in seemingly random order through his subconscious

The story was written by Charlie Kaufman so it is kind of a weird one. A man wants to forget about a girl so he goes in for a procedure in which a machine is used to scan through his subconscious to erase all memories involving his ex. The viewer jumps from the real world to childhood memories to nightmares and eventually all experiences with this girl. As the patient reviews everything, he realizes that he doesn’t want to forget her so he starts fighting the process causing everything to blend together. This film stands out for me because the events on screen are all in the lead character’s head so the time frame does not matter. It makes the movie a little difficult to follow at times, but it is still satisfying at the end. The plot line is just less of a line and more of a web.

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There are a lot of great movies that aren’t straight forward besides these five. What are your favorites?

#rashomon #eternal sunshine of the spotless mind #memento #pulp fiction #once upon a time in america #non linear narrative #akira kurosawa #christopher nolan #charlie kaufman #introvert #movie list #top 5

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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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mayquita · 4 years

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Colin O’Donoghue on Playing Heroes and Villains in ‘Wizards,’ ‘The Right Stuff,’ and ‘Once Upon a Time’

From the creative mind of Guillermo del Toro and executive producers Marc Guggenheim and Chad Hammes, the final chapter in the Tales of Arcadia saga sees its characters go on an epic time-travel adventure in Camelot. Wizards follows Douxie (voiced by Colin O’Donoghue), a 900-year-old wizard-in-training who, along with Jim (voiced by Emile Hirsch), Claire (voiced by Lexi Medrano) and Steve (voiced by Steven Yeun), must ensure that good prevails over evil, in the escalating conflict between the human and magical worlds.

During this 1-on-1 phone interview with Collider, Colin O’Donoghue talked about being a part of the Tales of Arcadia world, why he was so delighted to get to voice an animated character, what he loved about his character’s journey, getting to revisit Camelot, and what the voice recording process was like. He also talked about why the upcoming Disney+ TV series The Right Stuff appealed to him, whether he was personally satisfied with the ending of Once Upon A Time, and the great time he had playing Captain Hook.

Collider: When this whole project originally came your way, did you know that Trollhunters would only be one part of this whole Tales from Arcadia world, and that there would be also be 3Below and Wizards?

COLIN O’DONOGHUE: I did. I understood that would be the case. I came in, in the second season of Trollhunters, and I knew the character would also be in 3Below. I was in the background, and a character that made people go, “Who is this guy? Why is he there?” I think it’s really good that was teased. It’s worked pretty well, and he was a lot of fun to play. Especially in Wizards, it was really great fun.

How did you get involved with this project? Was this something that you had to go through an audition process for?

O’DONOGHUE: What happened was that they reached out to my agents about it. It was a few years ago, so I can’t remember if I had to do a quick voice recording, just so that they could hear it. But I think that they’d seen Once Upon A Time and had heard my voice. I was stoked. I was delighted to get the offer. I couldn’t wait to do it. I was gonna go study animation in college, so I’ve always been fascinated with the whole process and I’ve always wanted to do an animated film.

This character definitely goes on a big journey in Wizards. What was it that you most responded to, with his story? What did you love about the journey that you got to take with him, now that he’s at the center of the story?

O’DONOGHUE: I loved the relationship with Merlin, and with Archie, as well. I thought it was fun to see him try to be this apprentice wizard, who so desperately wants to become a master wizard and prove himself to Merlin, and getting to see how he progresses, or if he’s even able to do it or not. That was something that I was really happy to explore.

What was it like to find and establish Douxie, in the beginning, in just these little bits, and then really get to dive into him and get to know him so much more, over this season? Did you always know who he would be, at the end, or were there things that you really got to learn about him, along the way?

O’DONOGHUE: I knew that he was a wizard, and I knew that he was quite a powerful wizard. It was just so much fun, having these tiny little things with him that made an impact with people. And then, to really get to do everything that I did on Wizards was fantastic because he really is a great character to play, and a lot of fun. And also, the writing on this show is just so great to get to live with for awhile and really explore.

It definitely seems a bit tricky to explore the origins of the entire mythology of the trilogy while also taking these characters on their own new adventure. How did you feel about the way that it all tied together and the way the story ends? What was your reaction to finding out how things would all play out, by the end of it?

O’DONOGHUE: I was amazing. Whether it was on this or on Once Upon A Time, I’m always amazed at how writers, especially in fantasy, keep track of everything, let alone tie it all together. I’m always amazed that they’re able to do that. And in Wizards, they’ve really done an incredible job of blending the three series together into this one final thing. I just think it’s so smart and so clever, the way they do it. I couldn’t do it. That’s why I’m an actor, and someone else is writing the show.

I was very impressed with how we get to see some of the past characters and we get to see the mythology of Camelot. Pulling all of that together was really impressive.

O’DONOGHUE: I was excited to get to go to Camelot again. We did a season of Once Upon A Time in Camelot, so it was fun to see the version of Camelot that they did in Wizards.

What was the recording process like on this? Were you always in a booth alone?

O’DONOGHUE: I was always alone. I live in Ireland, so most of what I did was done in a recording studio in Dublin. Sometimes, if I was in L.A., I’d go in, but it was always on my own. It’s interesting. It takes a little bit of getting used to because nobody is really feeding you lines. You just say each line, and take a stab at what you think the other character would be saying or reacting to. But I really enjoyed it. Once you get used to that, then it’s really a lot of fun. You get to really ham it up. Maybe a lot of people would say that I’m a ham, but you try to be a little bit more subtle, so it’s fun just to be able to go for it, in animation, because they animate it over the top lines.

Do you know what the time span of work was that you did on this?

O’DONOGHUE: No. It’s been a while. I can’t remember when we recorded the first recording for the first episode of this. It must be a year and a half ago, maybe. I’m not entirely sure. I was in Florida shooting The Right Stuff for five months last year, so it might even be two years. I’m not entirely sure.

Were there ever any major changes, along the way? Did anything change, while you were doing the recording of it, or did everything stay pretty close to the scripts?

O’DONOGHUE: I think everything stayed pretty close to the scripts, if I remember rightly. I don’t think there were any major changes. I might be wrong in this, but when the script was locked, it had gone through so many iterations, at that point. Because they’re creating everything, and every blade of grass, once the script is locked, that’s it. There can be an additional line sometimes, or you might have to do an alternative line, but in general, the script is pretty much locked.

When The Right Stuff came your way, what was it that most interested and excited you about that project?

O’DONOGHUE: I knew the book. I’d read the book, and I’d seen the movie. I’d actually had a meeting at Appian Way, a couple of years ago, and randomly, they gave me the book before there was ever a script, just to have a read of it. And it was one that I really wanted to do, but I was doing Once Upon A Time, at the time, so I didn’t know if I’d be free for anything. Getting to play Gordo Cooper, one of the Mercury Seven, was just amazing. Also, that time period in American history, and the style of it, being from Ireland, that’s America to me, with a ’59 Corvette, Coca Cola bottles, and that kind of style of buildings. And the pilot script was just absolutely fantastic. It was incredible. It was an amazing opportunity to get to play somebody who’s a real-life hero.

Is that the kind of project, as an actor, where it’s hard to get out of your own head? Especially when you’ve read the book and seen the movie and you connect to the project before you even go do it, is it hard to then deal with the pressure you put on yourself?

O’DONOGHUE: I didn’t have a huge amount of time to think about it because somebody else had been cast in the role and they fell out of it. I had a day and a half to figure out what I was going to do before I was on a plane to Florida. It was good ‘cause then I didn’t have time to put pressure on myself. I didn’t have time to panic about what my Oklahoma accent was gonna be. It was actually good, in that respect. So, I wasn’t really nervous about it. I knew the cast was amazing, and I knew the quality of the script and that Appian Way was involved. I was just really excited. And because I played Captain Hook for so long on a show and became so recognizable as that character, it was great to go do something completely different, in a completely different genre and style. I had to shave my beard and look completely different. And then, I got to play an astronaut and test pilot. Who doesn’t wanna do that?

After being on Once Upon A Time for so many seasons, and now having had some time and distance from the show, how do you ultimately feel about the ending and the send-off that your character got? Is it something that you feel personally satisfied and happy with?

O’DONOGHUE: Yeah. The end of Season 6 did exactly what I thought they should do to close off the story of all those characters in Storybrooke. And then, it was fun in Season 7 to get to explore a completely different version of Hook and such a different character. At the end of it all, it was important for Regina to get some sort of redemption. That was always the way that the show should finish. I’m also glad that Eddy [Kitsis] and Adam [Horowitz] had the opportunity to actually finish the show the way they wanted to finish it, and the way that they had seen it. The show wasn’t canceled before they had a chance to finish it.

Captain Hook must have been such a fun character to get to put your own stamp on.

O’DONOGHUE: Yeah, my version of Hook was the first time that he wasn’t an older, villainous, mustache-twirling kind of guy. As soon as I put on the black leather trousers, the coat, and the eyeliner, that was it. You become Captain Hook. It was fun to do that, and getting to play so many different variations of the character, over the year. That was the good thing about Once Upon A Time. There were so many different realms and time periods that they were in and out of, so it was great. He was a great character to get to play.

Wizards is available to stream at Netflix.

#colin o'donoghue #colin interviews #colin other works #wizards #the right stuff

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tillidontneedfantasy · 4 years

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A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them.

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️

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qu-film-history-to-1968 · 8 months

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Week 1 Essay Response "Coraline 2009"

Essay Week 1

When discussing and going into depth on a film i remember watching fondly as a child growing up was called "Coraline". What makes this film stand out and memorable was the entire story, aesthetic, visualization etc. The film utilized stop motion animation to create this memorable and iconic film. I remember how special and unique the film felt for me when seeing it for the very first time in theaters and the creativity from it all. The film story revolves around a young girl named Coraline Jones who moved to a new town with her parents and left her old friends and life behind due to her parents book publishing work, once they move into their new shared old house her parents are immediately neglectful of her and never have time to spend with her and focus on their jobs rather than spending time with her. As Coraline struggles with adapting to her new house, surroundings and neighbors she stumbles upon in the very old house a small door locked up and covered over by the very old house wallpaper which she eventually opens up and finds out that it enters into another reality world exactly like hers but rather everyone is the same but better and exactly how Coraline pictures her parents to be especially. The only difference is these people arent the same and they all have buttons for eyes that are sown into there eye sockets, she meets her "Other Parents" which they are called. Eventually the more she visits the other parents and go through the door she becomes more tempted with the idea of staying there instead of returning to her actual life and real family, but she soon finds out its not as it seems there and it shows the true colors and horror that awaits Coraline with the "other mother" being an actual monster and demon of sorts wanting to take Coraline for herself and sow in buttons to her eyes as well. Unfortunately stop film animation is very scarce in the film industry and not too many studios and films are created with this amazing style and passion, except for the studio who created this film and others called "Laika" and "Aardman".

"i read the book of this movie in the 9th grade. now i don't say this often but i found the movie better than the book,i didn't like the book when i read it. i want to try mango milkshakes they looked really good in the movie and mangos are my favorite fruit. dakota fanning is one of my favorite actresses. The cat was my favorite character. i also loved the fact that coraline had blue hair." (Rotttentomatoes,December 27th, 2009). Two considerable events and importance that occured during the year this film released back in 2009 were the death of Michael Jackson and Barack Obama becoming the 44th president of the united states of America. These two i remember happening but more the death of Michael Jackson, i didnt really know much about the music artist and only few of his music growing up and didnt know how he died or why, but for what i know now from back then is alot more and different with the way i look at this historical day in history. As for the new president of the united states that year it hasnt really changed from what i knew then and now for the most part. After rewatching the film once more its very much different but yet the same just as i remebered it being 8 years old, it made me realize how much darker and serious the story tone is especially having more context and layers underneath it all without realizing it at the young age back then. The films style and art is more amazing and colorful than i rembered to be as well what especially changed and different was the realization of how much more horror aspects were implemented and shown at during certain film scenes, being much older and having more mental growth and comprehension im able to cherish and feel as if the film is a completley new version almost like an uncut relase due to the matter of seeing more details and easter eggs i wouldnt have noticed before at a very young age. The film has shown to also have an adult audience in mind while making it true to the book and for being a childrens movie somewhat even at times making myself question if this film is suitable for young viewers with how psychological and dark the tone is at certain parts of the narrative.

What this says and shows regarding how history and individuals' memories can differ from a reconstruction or adaptation is the fact it won't always be true to the source material, or as accurate as once remembered. As well of other benefactor being the brain and mindset two different versions would have from one another even though being the same exact person, this same exact person isnt the same as the younger version once before, being older now and having so much life experiences and growth changes how you revisit a scenario, memory or even a movie once seen years and years ago being a whole completely different person than you are now.

Reference's

Ebert, R. (n.d.). Coraline Movie Review & Film Summary (2009): Roger Ebert. Coraline movie review & film summary (2009) | Roger Ebert. https://www.rogerebert.com/reviews/coraline-2009

Selick, H. (2009, February 6). Coraline. Rotten Tomatoes. https://www.rottentomatoes.com/m/coraline

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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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mma3youf · 3 years

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FA222 ,principles of graphic design:

Instructor: mr.munwar mukhtar

@uob-funoon @mnwrzmn

Project 1 : interviews

What is your given name, and user name on ZBrush Central?

My name is Khalid Abdulla Al-Muharraqi, my ZBrush Central user name is "Khalid72".

Tell us about your company, how did you start?

I set up Muharraqi-Studios to continue my family's history in the creative world and I am trying to continue to build on what my father started. The company was set up about two years ago after I left the commercial world of advertising with my partner Rashad who decided to leave a career in banking. We wanted to get together to make a place that allows us to be more creative. Since then we have been fortunate enough to work on some of the biggest projects in the middle east, and also continue working on our ideas and concepts, like our movie project. The most important thing for me is the work I do and that's what we are all about.

What is the size of your company?

The company is me and my partner, oh and our secretary... Keesha, a German Shepard! I am a hand's on guy and I do all the creative work myself. At first, I thought it was normal to carry that load because of the speed I work in, but later found out that I am actually very fast compared with bigger teams of artists in other studios. Finally I understood what people were telling me when they said I was 'unusual'. That’s why some of the CG magazines in Europe were amazed that a lot of our work is done by a one man team that puts all the 3D components together into a visualization. I work about 13 to 18 hours a day, I love 3D work, so my hobby and my work has joined into one, so … yes, very little time for a normal life.

What type of projects do you work on?

Well, I have been working on Architectural Visualizations since we started a couple of years ago, but I try to satisfy my urge to do what I really like, art!

You're located in Bahrain, somewhere most of us don't know about. Can you tell us how you learned your trade?

I love this question, Yes Bahrain is a small Island in the Persian gulf, we speak Arabic as our main language and English for the second, I will answer the second part in two parts, If you mean The art... I would say that I come from an artistic family, my father is one of the most well known artists in this part of the world, you can say that he is a household name in these parts. If you are asking were did I learn the 3D or CG art, I would say that I learned it by practicing for 8 hours a day after my official day of work, so I guess you can say I have been my own teacher in the industry.

Tell us a bit about your client base, mostly local, or do you have clients in Europe, Asia, America?

We serve clients from the Middle East, Europe and the Americas, I would say that I have been fortunate enough to have worked with some of the top people in the architectural industry, most of our clients are attracted to the type of work that we produce.

ow long have you been an artist?

Since I was six...I think! Well, the first painting I have sold when I was eleven. I was always painting and trying to find new techniques that will help create the concept in my mind.

Tell us about your background, your education, your mentors...

I studied art in Houston Texas for over seven years between interior decoration, photography, Visual communication, and digital enhancement or photo retouching, from there I have continued my working career in the commercial world. My first mentor would have to be my father, learned everything I know from him. He gave me the push start into the art world and made me feel it. There are also the books and artwork he has exposed me too with some of the top art in the world. A lot of names come to mind but I would say Frank Farazeta, Boris, The Creepy magazine and of course all the original Mad magazines and books that were very hot in the early 80's.

When you became an artist, did you first use traditional media?

For sure, I started with Pencil then got into crosshatching with ink, then I started painting with water colors and gouaches. I finally got into air brush art before I tried CG art.

What was your first CG package? What is your first 3D Package?

Nice question... first CG software was PSD, version 2, it was like magic... It felt strange especially that I was a traditional artist at the time. My first 3D package would be Alias Sketch for the Mac since I was a Mac user for a long time and did not have much 3D developers for Mac at the time. It was a new world for me and I think I still have a dusty copy of it today even after the software was canceled back in the early 90's, it just reminds me of my past.

How long have you been using ZBrush?

It has only been about six months, but I was up and running almost a few hours after I purchased it.

What made you try ZBrush?

I was watching some of the tutorial videos on how to paint details on the Gnomon training DVD's, and that's when I was shocked to see that it is art on the computer! I did not believe it at first, but It was one of the happiest moments when I first installed my first copy of ZBrush and started painting geometry for the first time, it reminded me with the days when I was pushing and pulling real clay to make a small creature of my imagination when I was a kid.

What's your favorite ZBrush feature?

The ability to paint geometry like it is physically in my hands.

How has ZBrush enabled you to express yourself in ways other packages couldn't?

Well you cant really compare it with any other software, it's simply too different! It changes how a CG artist works, it changes how he looks at things, has changed the industry to the next future leap, and who would want to go back to the past....? I would simply say that the concept of the software is very smart and impressive, my only wish to add on it is to have a bigger view port :)

Now onto "Floating Islands"Tell us about your creative process, how did this concept emerge?

One evening when I was stuck in the studio waiting for clients approval on a project that I was preparing for the kingdom of Bahrain, I was trying to get free again and relax my mind from all boundaries, I started to sketch a concept that has bean in my mind since I was a kid, the island that was then discovered to be on the back of a whale, these were some of the old middle eastern stories about Sinbad's magical voyages.

Do ideas just come to you out of nowhere, or are there particular artists or work you are inspired by?

I am always inspired by everything that is beautiful, whether it is an artist or a design or just Gods creation, I would also say that I have always had my own style in my work and almost never try to follow a certain style that I have seen.

I love this piece, can you tell me about the process of creating it? Have you explored this style before? Or was this created for something specific?

The process was, a sketch or the map as I would call it, and that would be the basis of my creation, I almost never start without it, once I crack the direction then I would start thinking about the execution and the path to take. About the style, well I don't think of my work as style, I think it is more towards I do what I feel, it is only when I am finished with it that I say "Yes! That's what I was tying to do". I almost never tried to repeat a style that I have seen elsewhere on my work. I feel that It is like a code of respect between artists.

In your image "Floating Islands" where was ZBrush used?

ZBrush helped me sculpt the geometry and take it to the next level in a short time. Modeling, UVs, Painting and scenes setups was between Lightwave and Modo. With ZBrush I was able to put the final touches that would make it come to life. ZBrush helped me start painting the UV map textures and setting up the foundation of the look and feel. I also generated some of the whales textures by the amazing ZMapper ;)

Tell us about your pipeline.

I start with Modo, then go to ZBrush, then finally render with Lightwave. The thing with software today is that they work hand in hand to complete each other, for instance ZBrush is very specialized in what it does, it focuses on the need of the artist and helps the creator to complete his task sufficiently with a smooth flow, artists have never had it this good.

What projects are you working on now?

We have just completed the visualization for the Master Plan for the Kingdom of Bahrain with one of the leading Architectural firms in the world, we have helped restructure and rebuild old and new cities for the country. Now I will be working more onto the movie project that we have been trying to get the time to start, hopefully I will be able to focus more on creating more Characters and environments for the movie.

Any last comments for us?

I would like to say Thank you to Manuel at Pixologic and Pixologic for appreciating the work I do. I would also like to thank all the development team and staff at Pixologic for there dedication to work together to help create some of the best tools ever created for the CG industry, I always expect the ideas to be fresh and most importantly designed for the end user, the artist, allowing the artist to continue being an artist without the restrictions and boundaries of a computer.

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makeupbychio · 4 years

Text

goodnight n go // C.H

pairing : Calum Hood x Reader.

summary : you are a famous pop singer and one normal night in your life Calum literally came to change everything.

words : 8.5k

warnings : fluff, angst and swearing.

a/n : hi babies, so I tried to do this gender neutral because I’m trying to write things for everyone without specifying gender, sexuality, physical appearance, etc. Feedback is more than welcome. Credits to the owner of the photo, and the Instagram posts.

italics means song lyrics.

bold means posts on social media.

inspired by : that one second laugh Ariana Grande does in ‘everytime’ studio version and ‘goodnight n go’ live version. And these videos (links down below in the blurb)

You are a pop star, already part of the pop culture, on tons of playlists made by platforms. So your life is always on the public eye even when you don’t post in your social media the paparazzis and social accounts always doing that for you. It wasn’t like that at the beginning, the world barely knew your name, your shows were for 50 in the room, then 100, then 1000, now a whole arena and with two dates in some cities. You have learned how to deal with the dizzy things of being famous thanks to your fans, family, friends and your own power so at the end of the day you would not change leaving your heart on stage singing and dancing every night at all even when you know that it is crazy, yeah, it is crazy there outside. How people that you don’t know tells you how you changed their lives with your music, how you saved them, tattoos in their bodies inspired by your lyrics and style.

It is been crazier lately. You write your songs inspired by your own experiences or your loved ones experiences. You just finished a tour and after a good break for a whole season you are back writing and planning a new album. You were writing a song based on a reckless love but the song couldn’t make it to the previous album because you never finish it and you didn’t want it as an interlude. But you restart it because life slapped you in the face because 3 months ago you broke up with your partner. You are laying on bed looking at some pictures of you two together walking on the streets taken by paps. The light of the screen lighting your face. And god, how you didn’t realize tons of things?, in every picture you are looking at your ex like a fool completely in love but people could not say the same coming from the other person. You were in love, your ex really loved you at first but the last months of the relationship barely paid attention to you. That is when you remembered one of your fights.

“I waited for you for almost two hours! You could at least answered my messages or you could call me! So I would leave the restaurant and don’t waste my time on you” you said loudly pointing at its face when you came back home and acting like nothing happened. You were furious.

“I know, sorry I’m tired I spend the whole day with my friend I didn’t see him in a while” your ex sighed laying on your bed. “Don’t wanna argue”.

“I don’t care about your friend! You could tell him to hang out another day. It was a special day for us you asshole” you said giving an angry look and leaving the room.

It was supposed to be a special day that day. You were back from your South America leg of the tour and you received the notice of awards nominations so you decided to celebrate by having dinner and then go to the movies together. But your ex didn’t show up, and it wasn’t the first time. You just asked for simple things like going to the beach or just receive love. So even you were angry, you came back to their arms every time.

You thought that then a good fuck or a pretty face would fixed everything, but no. Your naive head at that moment thought that things were going to change, or that your lover was the love of your life.

Now you are looking at the last picture of you two that was seen together walking out a store and even bugs can notice how disillusioned your expression and body language are in that photo. You are hanging by their arms but looking at the floor with your head down. The other person also was trying to hide it with a cap and focused on the road.

‘Oh God’ you sigh at the picture knowing how ridiculous you looked. You lock your phone and throw it to your side of the huge bed now empty the other side. You are sitting with your legs crossed in your bed looking outside your window. It is late in the night so the city lights are your view and it reminds you that night when you called your best friend to tell her about you were thinking to end your relationship. She is always been supportive with you and every time you were going to make your decision you postpone it till finally it happened. You remembered that you cried a lot that night you saw them leaving your apartment and hours later you were still crying listening to sad music with your best friend looking at the roof.

Now you decide to restart the song you left half done. Your dog joined you in bed, you went for a cup of hot chocolate and you start writing it.

The next day early in the morning you are in your way to the studio once you are ready with your makeup trying to hide your tiredness that you wrote till 3 am and put your studio outfit which consists on a big hoodie so big that the sleeves are always covering your hands but comfiness is first.

Your band and crew arrived and you have your coffee. Even when it is a sad song coming from your experience you want to put energy in this one like one of those nights you fought, how your blood was running in your veins and how deeply you knew that your relation was pointless but you were going to fall every time. The energy being aware of that but at the same time an energy by saying I’m done, I get over you but I know that I was a fool for you but not anymore.

You explain that to everyone when all of you are thinking about the melody and beats. Most of the people in the room insist and show you a sad melody and you are starting to get frustrated because they are not listening to you and your idea you are looking for.

You decided to move on on another two songs that you have complete. During breaks to eat something, drink water, go to the next studio and say hi to people that you know and fooling around with your own crew now it is dark outside and you are thinking to call it a wrap for today but the urge to at least figure it out the musicality of the song you wrote last night it is bigger.

But all of you are tired and ran out of ideas and your manager enters the soundproof box to tell you that the room is reserved for another artist from midnight till dawn. So you have 3 hours left to record this song or try again another day.

When you are talking to your favorite producer, who also is your friend, a tall man enters the room with headphones and the music too loud for not noticing the room full of people. When he saw the big group of people he freezes and apologies already leaving when you stop him recognizing him.

“Calum?” you said getting up from your seat in front of all the buttons of the huge synthesizer.

“Y/N?” he asks checking if this is real.

You nod at him and hug him because it is been a while, almost 2 years without seeing him. He is so happy to see you, the last time you were together was in an awards after party and you know him since 4 years ago when you met him and his band on an awards show that you presented his band and their performance and you saw it from the corners of the stage and waited to congratulated them because you are respectful with others musicians work, they asked for a picture and after that you have been friends but your busy life didn’t let you hang out with them but always exchanging likes, comments or messages on the dms on social media.

“Omg how are you?” he asks you while he hugs you with his strong arms the height difference is notorious so he lays his right cheek on top of your head. He knows about your love situation, but to be honest he was not sad about that. Not at all. But he is not going to take advantage of that.

“Fine and you? Omg I miss you so much, what are you doing here alone?” you say to him confused not seeing all the 5sos boys.

“We are recording our new album and the guys should be here” he says checking the hour on his watch and then quickly his phone if there is a message.

“Finally new 5sos music!” you say and laugh.

“Yeah, we don’t have the ability like you to drop music every year.” he teases you.

“Hey!” you punch him softly on his ribs. “First things first, you can do that too if you want to drop music and second, actually right now I’m struggling with a song” you explain to him all of your situation when his phone rings. Ashton is on the other side of the line.

“Cal, we said at midnight!” Ashton said.

“Oh crap, I don’t know why I understood it was at 9 pm...K’...Bye, see ya’” Calum answers to his friend before hanging out the call.

He explains to you the situation even when you listened to what Ashton said. Calum tells you that it was nice to see you but he should be back at midnight but you stop him letting him know if he wants he can stay.

“Are you sure?” he asks knowing that maybe that could bother your crew.

“Of course Cal!” you say. And even when his house it is like 20 minutes away by driving he could come back when it is his band’s turn to use the studio but to be honest again he would really love to hang out a while with you. He always finds you attractive and your voice is one of the most angelical for him.

After he greeted the rest of the group he sits close to you listening your conversation with your producer.

“What if you add little adlibs and drums?” Calum suggests but he regrets if the producer would get angry. “Sorry man, I know it is your work and I am just a guest and-”

“It is okay! Actually that is a good idea dude” your producer say asking Calum to show him what he said.

Calum and you enters the box and he sits to play the drums.

“Ashton is teaching me a little bit now that we are roommates” he jokes about it while taking the drumsticks.

“I saw that joke you did to Ashton! It was hilarious and his response” you point at him.

So you and Calum organized that he would play something in the drums first and then you start singing or reading the lyrics to catch the rhythm. He shows you a freestyle moment with the drums since he’s been doing that in his house to practice. The producer in the other side of the glass tells you from the speaker that there is a beat that maybe could fit. So once back again listening to beats ideas ordering to make that beat faster or slower, louder or pronounced then your band is working with the guitar, bass, keyboard and your drummer continues what Calum started and last but not least you are thinking where to sing it with high notes that it is your biggest characteristic.

All the people in the room are tired, your manager and part of your crew left early because they have meetings for some upcoming festivals to schedule. You let your band know that is the last effort of this week then you’ll be back again the next one rehearsing for an awards performance.

Calum now is in the other side of the glass next to the producer watching and listening all of this process of making this record. He is having fun and he realizes he could hear to your voice all night. It takes a lot of takes, to the final result of a song and Calum knows that perfectly.

You want to achieve the highest note of the song in the last chorus of the song in the last line. You should have record that first because it is getting hard for you to reach with a tired vocal cords after doing the rest of the song and the ad libs. You sigh frustrated at another failure of that last chorus.

“Y/N, should we call it a wrap for today?” your producer asks you softly. To be honest, you don’t want it after all of the work behind to finally get this song built.

“Excuse me” Calum says confident to the producer to take control of the speaker. “Y/N, listen to me, this is the last effort I know that ya’ can do this… You got this” he says looking at you directly in the eye. You nod and take a deep breath to try again and ‘he was right’ you thought to yourself when you freaking nailed it not just one high note, you reached it also the lines of the outro of the song.

Once you open your eyes when you keep singing with not that much power the last line. You laugh hiding your smile with the sleeve of your hoodie because the first thing you see is Calum stunned with his arms crossed on his chest and one hand full of rings lifted to cover his mouth. You start clapping to your band and say through your microphone ‘thank you’ to the rest of the people.

“Girl, you fuckin’ blew my mind” he says so excited mimicking what he said once you left the recording side of the room.

Minutes later everyone is saying goodbye to you and once again you thanked everyone for their job and energy as always and telling your producer to call you to edit the song other day.

Now you are alone with Calum while you start packing your things. “Magic” you say looking at the clock with 15 minutes in your favor.

You use that time catching up on general things, like music, family, next awards, and a little bit of gossiping and of course asking about the rest of the boys.

“So happy for you guys, I can see that you are happy with this new era” you say after listening to Calum talking so passionate about what he and his band are doing. “I want to wait for the guys because I miss them. Do you think Michael is still in love with me?” you joke about it in a friendly way since Michael told you you were his crush, so he always reacts so excited and weird with you.

“No, he can’t react like he used to”. Calum laughs and you understood because you congratulated Michael on his engagement.

Minutes later, the boys and the rest of the crew arrived making noise with a lot of energy as always ready for a recording night but at the end they are always laying on the floor waiting for the team to call it a wrap.

“You gotta be kidding me!” Luke says running to hug you by lifting you because he is so tall and he missed you so much. You laugh and hold him tight. You say hi to the rest of the boys and you look at Calum next to you when you both noticed Michael is trying to act serious and cool around you when later he is going to ask Calum "Did Y/N said something about me?".

After a couple of minutes talking to the boys catching up about life, their crew called them to start the session so you have to say goodbye.

"Thanks again Cal, you saved my life today" you say goodbye to him with a kiss on the cheek and then the same with the rest. "K' guys bye, hope you have a good night".

You are stepping into your car when Calum calls you running behind you. "Y/N! before you leave, I lost all of my contacts when Ashton threw my phone into a pool…" you laugh at how they always been like that. "So if you can give me your number again if one day you want to hang out with me- with us".

You both exchange numbers and say goodbye.

Your producer laughs hearing that take where you stop singing and take a second to laugh at Calum’s face. “You want to put the laugh in the song too?”

https://www.instagram.com/p/B8EMIEPCF5y/

You don’t know if it was a joke or a serious question. You think for a minute at how frustrated you were that night with your team trying to build this song and thankfully Calum was there to help and give his opinion, also that laugh confirms how this song is not sad at all even when people were saying to you that it should be because of your breakup.

“Yeah” you answer and think about that little good time hanging out with Calum. You record a short video of that laugh that is going to be in the song, letting know your fans that you are in the studio pointing with your phone at the computer.

Your stories on Instagram are always like a puzzle to your fans, like what does this means? what is this? when? where? new song? album? tour? collab? video?. Most of the times you add emojis, letters, or numbers that are meaningful to decipher the message and also to tease.

“Hello?... Calum? Can you hear me?” you say through the phone.

“Y/N? Hi! Yes, I can…” he answers leaving the room. “Sorry, I was so into playing my bass, we are writing a new song”.

“Oh sorry, if you are busy I can call you later-” you say softly and gentle.

“No no no. Ehmm, how are you? Tell me” he say surprised that you actually call him. He is giving you all of his attention listening to you.

“I’m fine and you? I’m calling you because we finished the song and I would like to know if you want to appear in the track info, cause’ ya’ know… you helped with the drums and other stuff” you wait for his answer, you are nervous of his response. Why? You have done this all the time with other collabs, ‘maybe because he is so intimidating but at the same time the cutest’ you think to yourself.

In the other side of the call, he is surprised and also he finds this so cute from you because he thinks that he barely contributed. “Ehhm, yes- I mean if you are okay with this I’m okay too”.

@MTV: Biggest return of Y/N!, who just announced a new single and a new collaboration TONIGHT!, a new album, and a performance for the VMAS. *internal screams*.

@MTV: Don’t forget to watch the VMAS this Sunday at 8 pm, amazing performances by Y/N, 5 Seconds Of Summer, Halsey, Rosalía, Bad Bunny, Doja Cat, Cashmere Cat and Missy Elliott winner of the Vanguard Award and more! with surprises of course, as always.

@y/n.updates: Genius.com has revealed the lyrics of the new singles! “everytime” and “quit”, the last one is from the dj Cashmere Cat’s album. We are so excited for our baby's return.

@bbcradio1: A friendship you didn’t know you needed until now… Calum Hood from 5sos appears in the track info of Y/N’s new single. Is Y/N going to appear in the upcoming 5sos album too? let’s pray to the universe.

“Of course last but not least to arrive the red carpet is the royalty in person, Y/N” the interviewer comments watching you posing to all of the cameras. “I am loving this moment. Y/N is here to slay the red carpet and taking pictures with every artist throwing kisses to friends like to 5sos, ugh lucky boys, now saying hi to Normani, we love that”.

“Yeah, I’m smelling big succes coming this year and Y/N totally deserves it” the other interviewer says. “Oh. My. Goddess… Can we take a moment to appreciate this outfit?!”. You arrive and say hi to everyone. After a couple of questions and compliments you are walking with your team to go backstage to change for your performance.

Once the Teen Wolf cast introduced your performance, everything went dark and silence and you appear in a large lavender satin dress, perfect to build up your figure and Cashmere Cat appears on a platform with his dj set and lights pointing at you and him.

“And you say that I'm the devil you know

And I don't disagree, no, I don't see the harm

They say, "You crazy, just leave him, he'll suffocate you"

But I wanna be in your arms

They say, "No, don't pick up the phone, let him think there's nobody home"

But I'm under your spell

'Cause when you call, my heart starts to roll

I always want more

It's my heaven, my hell…”

Then two contemporary dancers are next to you dancing at what the lyrics means to you when you recorded this with Cashmere Cat in the studio after your breakup. At the chorus a fake rain starts in the stage and you have your moment feeling amazing and feeling the beat that your dj friend was playing behind you. You participate too in the choreo while you sing the last part of the song. Singing to both dancers faces like if you are watching from outside when you decided to step out your relation. So each dancer goes to their own way representing the metaphor.

Then a new different beat went off for a little moment and you start singing a snippet of one of your new songs of your upcoming album hoping to make everyone clear how you are after your breakup because you still hear some comments about it.

“I got a bad idea, How 'bout we take a little bit of time away?

I got a bad idea

Forget about it, yeah, forget about him, yeah”.

The next thing you see is everyone standing up and clapping at you. You hug Cashmere Cat. “Thank you, please give it up for my friend Cashmere Cat!”

You stay not that much to the after party because tomorrow you have to get up early for a photoshoot.

You post videos behind the scenes and the photos of the photoshoot. You are in the front page and you did something original playing with makeup, hairstyles and clothes. Everyone is living for this new era.

“Ugh, are you going to do that call or should I do it for you?” Ashton interrupts Calum and his daydreaming watching your latest posts.

“What?” Calum answers confused wrinkling his nose and expressions.

“You heard me”. Ashton says letting know his friend that he is not stupid. “I noticed how you look at Y/N that night performing and then at the after party...And don’t excuse yourself because of the angelic voice because I know I was mesmerized too but you were on another level”.

Calum doesn’t add anything else and stands up to continue writing the new song but not without leaving a comment on one of your posts ‘gorg!’.

“Hello beautiful human, it is Y/N back in the studio!” Zach says through his microphone. Everyone clap and he greets you. Even the promo you have to do for your singles, albums and all that stuff you are so picky with the interviews you want to do because in the past you had a lot of uncomfortable ones with disrespectful questions and interviewers. It is not the case with Zach, you feel at home and he is your friend.

As always you talked about your new music, upcoming things, opinions about something, your personal life and you are so honest talking on Zach’s show because he always asks you about how are you doing because he knows that everyone struggles.

“So the whole tracklist it is on genius.com and I think that it is safe to say that I’m not the only one surprised with the collabs and people who helped you.” Zach says reading a paper checking the new revelation. “I would like to know details how it is to work with such talented artists and producers”.

You told him the details and including how Calum ended in your studio session that night.

“Thank God I recognized him because my bodyguard was ready to punch him” you make Zach laughs.

Calum saw your interview and after that he called you. He didn’t know what kind of confidence took him to invite you to hang out tomorrow.

That day you went with him and Ashton and Luke to the Star Wars theme park. The guys insisted that Calum must have gone alone that day but he was too nervous. Other day you and the guys went to bowling, Michael was losing all the fun because his new life as fiancé planning the wedding.

That’s how you got the chance to know more about them every single time you hang out. Paparazzis always were there and people talking about this cool friendship. But then Calum had the balls to ask you on a date. For your surprise he invited you to a The 1975 concert, then you invited him to a Post Malone concert, you went to the movies, then late nights stops at diners. And as the bond between you two was growing with so much love, affection, confidence, honesty and how safe you feel next to him you didn’t realize that you were holding his hand or arm so natural like it was a thing you two always do. That little thing was enough for people to start rumors. Calum likes you so much but he wanted to take things slow because of you and him after you told him everything about your ex and he did the same. His ex used him just for fame and to be in the public eye so with little details when you noticed he was doubting about his own self or anything else, you let him know that everything is okay.

One and a half month later, you are with him at your place in your home studio after you order vegan pizza for dinner that Calum was right that it is delicious. You were helping each other, mostly him with ideas of sets to perform Want You Back and Youngblood on tv shows. Then you showed him the final version of ‘everytime’ and he loves that you included the laugh in the song which reminds him of something.

“I want to show you something” Calum says searching something on his phone gallery.

“Found it” he says getting his chair closer to yours. It is a video that he secretly recorded of that day in the studio, when you finally hit the high notes of the song. In the video you can hear how he says ‘wow” multiple times and your producer is not surprised but still in awe. Then there is your laugh when you saw Calum’s face and when the song ends you can hear his ‘what the fu-” and the video ended.

https://www.instagram.com/p/B8O76_nC3Q5/

“Why you didn’t show me this before?” you say with giggles at how incredible you have the two sides of that moment.

“First, don’t worry because I’m never going to show this to anyone I know that I should ask you before and-” he is explaining himself.

“Can I kiss you?” you interrupts looking at him noticing a sparkly surprise on his eyes.

He leans so fast to kiss you, you take your moment to taste his lips after all this time you can confirm what you think about his lips. You break the kiss needing air. “You didn’t answer my question”.

He laughs at your teasing while you bit your lip. “You’re right, I didn’t”. He holds your face within his hands and start kissing every part of your face while he says “Yes” in every little kiss.

Things got hot and heavy so you move the make out session to your room. Both of you don’t want that the other person feel pressure to do things but with you Calum forgot his “love is scam” thing. So he carries you and takes his time to make every moment, kiss, thrust and this night to last. He thinks that he is the only one that kinda feels strange at this amount with affection and intimacy but the truth is that you were feeling the same way, because with him you don’t feel a clingy or a needy person as you were in your last relationship. With Calum is different in a good way.

“So you didn’t come home last night” Ashton says to Calum when he arrived for lunch time, because he had breakfast twice today with you.

“Ew! I didn’t want to know that Cal” Ashton says while cutting vegetables for lunch. “Thank God you are together, it took you forever. To be honest, I thought Y/N was going to get bored of waiting”.

Another night at your place when Calum surprised you with a romantic dinner and also apologizing for the other night when at his place Ashton interrupts you two.

In the middle of the night you woke up with an idea stuck in your head, you took your underwear and Calum’s baggy shirt he was wearing and before you stood up you melted at the sight of your dog sleeping closely to Calum, who at first hated him but now they look like besties.

After an hour in your studio with this new idea, you had the lyrics and already recording with a beat which two of your best friends made once in a party just fooling. The studio is soundproof and in another level of your house so the music is not going to wake up Calum, but the coldness he felt next to him makes him wonder the reason that woke you up.

And when he found where you are and what are you doing he reminds to himself that in this exact moment he feels so much love for you.

“That sounds beautiful babe” he said getting closer to you to kiss your cheek.

You are editing all focused this song to send it to your producer to do the final touches. “I didn’t want to wake you up” you lift your head to look at him with a pout and noticing he is shirtless and he looks tired from what you did hours earlier. He asked you details about this song called ‘goodnight n go’, he listened to it and once again all of his feelings manifest in a studio. “I love you” he confessed when the song ends. The feeling is mutual and the idea of this song came up all based in your relation you have with him.

@Y/N: new album. valentine’s day. love y’all xoxo.

You posted with the cover of your new album.

“There is a lot of people downstairs” your manager said arriving the room, you were waiting for your manager for the first toast of the night. It is your album’s launch party and you want to celebrate with your team, your band and their loved ones. Your family, your friends, artists of the industry, and other famous people.

You made a speech about how grateful you are for everyone in the room for their patience, for the love and support for you and this new project. Before you start to get emotional, you said to everyone to have fun tonight and you thanked again.

You rented a whole club for the night. After eating, cut the cake and having a few glasses of champagne you are ready to take pictures in the photo booth with everyone.

Your close loved ones of course know about you and Cal, but the other half of the people in the room just know the rumors and the pictures from paparazzis and fans. When you were taking funny pictures with other musicians, it is iconic that in the photo is going to appear artist from different genres of music that are your friends. Calum really wants a picture with you and just you even when he loved the ones with the boys and your friends.

“I’m ready” Calum said to you when you are pointing at the printed photo because Luke’s gold eyeshadow looks freaking amazing.

“Ready for what?” you looked at him confused.

“Ready to announce the world that we are together” he said biting his lower lip waiting for your reaction. He told you a few weeks before that he was afraid and he didn’t know how to handle at that moment if you said you were together, so you told him that it is okay and understood him.

“Like now?! What you have in mind?” you asked him nervous because you both know what comes next with this kind of announcements.

Calum just took your hand and enter just with you inside the photo booth and when the countdown started he looks at you with a smirk and sparkly eyes. “This is my plan” and he kissed you on the lips at the same time the machine announced the picture was taken.

“We have two more! What do we do?” he asked you, but now that you are here you use right the last two pictures. One kissing him in the cheek and hugging him around his neck that Calum did that thing with his eyes and the biggest smile on his face because he is so happy and also the alcohol. And the last one looks a little bit blurry and funny.

You took the opportunity to take another three but this time, now that everyone is going to know about your relation, the pictures are sexier but not vulgar. Of course your photographer took film pictures during the night so you will have several memories of the night.

You and Calum posted the three first ones on your social media.

@Y/N: my love💖.

@calumhood: happiest man in the universe. february 14th is not bad at all anymore with you by my side💛.

That night before you arrived home with Calum, he told you about a new 5sos music video called Valentine that was going to be on Youtube in 30 minutes, he told you that he wrote almost the entire song and you can’t wait to hear and see him singing this song, especially his verse.

We know we're classic together like Egyptian gold

We love us

The success of your new album was immediately. And that means a lot of interviews, invitations to tv shows, radio stations, youtube channels, etc. Calum went and waited for you backstage to the ones that were in US. But the international ones he couldn’t come with you because their new album is going to release soon and new music videos by 5sos.

“I’m so happy to be back!” you said. Today is BBC radio 1 turn. They told you they were happy to have you in the radio.

After you sang a song from the new album, you have to do a cover. In the past you did ‘Them Changes’ by Thundercat and ‘After The Storm’ by Kali Uchis taking advantage of your voice and the high notes you can reach, it is the same this time.

“Hi, this is Get You by my friends Daniel Caesar and Kali Uchis” you said. The last part is your favorite.

This feels like summer

Boy you make me feel so alive

Just be my lover

Boy you'll lead me to paradise

Youngblood is out and the release party wasn’t bigger like yours but the fun was the same. You appeared on the Cocktail Chats they did when it was Valentine’s turn. Now after two months your relation went public, the euphoria coming from the people decreased.

@Y/N: something huge in two hours with a special guest.

You posted on your stories with a sneak peek.

@ctrlnow: Y/N’s world tour with Kehlani as special guest. Next week tickets on sale. Are you excited? because this is going to be 🔥. It is the first time Y/N is going to perform in all the continents in almost two years.

@5sos: US, Canada and Mexico get ready for this tour. Special guest our buddy Dominic Fike. Tickets on sale in 6 days.

After 4 months of rehearsals and planning visuals, outfits, makeup, sets, tracklist, etc. You are on the road with the first leg of the tour in US for the whole summer in arenas and festivals. You are synchronized with Calum so you have no problem to hang out together and enjoy to the fullest your days off.

Both of you don’t get tired of each other concerts. Watching Calum leaving his heart on stage singing and playing his bass, also looking so freaking handsome every single show. For him is the same watching your amazing show with your dancers and different outfits, he said it before and in the present day that he can listen to you singing the whole day and he envies you how charming you are with your fans and noticing every person in the huge arena.

You have a main stage, then a circular runway and a B stage. Calum is always in the first row in front of the B stage. The first show you were so nervous. The beginning of ‘goodnight n go’ started and the crowd went crazy.

“It seems that you really like this one” you said teasing even more. You started dancing and walking next to where Calum is. Your dancers interact with the audience while you are reaching the high notes.

We'll have drinks and talk about things

And any excuse to stay awake with you

And you'd sleep here, I'd sleep there

But then the heating may be down again

(At my convenience)

We'd be good, we'd be great together

https://www.instagram.com/p/B577uVJnJ6f/

When you looked down, there is your boyfriend looking at you like nobody else did before. You laughed at his reaction because it was priceless and before you keep moving you blow him a kiss. So as the same his reaction was that first time in the studio with ‘everytime’ that made you laugh, now it is with the song that he inspired. He does that in every show he goes, every time you sing ‘goodnight n go’. It is now your amulet that he makes you laugh in the same part with his faces and reactions. But not everything is perfect.

The different time zones, the distance and the stress is clouding Calum’s mind. In two weeks you have barely spoken ten minutes. And new things keep coming to you like singing to fashion shows, summer festivals in other continents, hosting tv shows, etc. His friends told him that he will get used to and things will be okay within you two. But he misses you so much and he is doubting about himself again in this thing called love.

“I think it is the best Y/N” he said through his phone. He called you that night, he is so overwhelmed and tired. “I don’t want to be an obstacle, this is your career’s biggest time” he tries not to cry while he passed his hand through his hair all nervous.

“Calum please tell me you are not joking” he can hear your sobs in the other side of the line. You are in France and he is in Canada.

“Y/N just look at what time you are calling me! It is 4 am here where I am!” he said frustrated, it is not the first fight but it is the first time he yells at you that loud.

“Okay I’m sorry! It is late here too Calum in New Zealand- my point is that we will be okay Calum. After this I’m going to be home like you” you tried to calm him.

“And then what? Run to film a tv show for a whole week? Just seeing you at nights? We should take a break while we figured it out” he said and you are frozen trying to check if what he said is real.

“You are the only one who needs to figured it out, because I’m sure about us and… How could you even wonder and said that you are an obstacle?”. Now it is the opposite because the last thing you said was “Okay, if it is what you want. Go to sleep n’ goodnight”.

You don’t know how people could know. But rumors of your relationship are in every social media and it is just been a day. You want to throw your phone but you have to get ready for your show in Australia, what an ironic thing.

It is not the same hype when the beginning of ‘goodnight n go’ started. When you are singing the bridge that you were used to laugh thanks to Calum’s reactions. Now your voice breaks and hide your face with your hand and the other one holding your microphone so the public keep singing because you can’t. Your dancers changed the choreo to get close to you and let you know that they are there for you but still you start singing again in the next chorus but with a shaky voice. With this people confirms the rumors.

@enews: Our favorite couple is not longer a thing. With this we don’t believe in love. Y/N and Calum Hood are taking a break. Days before the couple had some troubles in tour. Y/N broke in tears and Calum didn’t go to any interview. Link of the video of Y/N last show in the bio.

“I supposed that you already saw this” Luke said giving his phone to Calum to show a video someone posted on Instagram. It is from your last night show.

“Yeah, I saw it” he said without making eye contact with his friend. Calum doesn’t want to talk about it. He is trying to convince himself that what he did is the best. It breaks his heart watching the video that now it is everywhere and his bandmates noticed how irritated he is with everything.

For a whole week Calum barely sleep two hours at nights. He looked off in the shows. He cries during his part in ‘Ghost Of You’, he sings spiritless in ‘Valentine’ and he asked to take off ‘Babylon’ from the tracklist.

5sos have new dates in another continents after December holidays.

“You should talk to Y/N, the Asia leg is going to be over in ten days and after the holidays the South America leg starts” Michael gave his advice to Calum but once again he didn’t give any answer.

You took ‘goodnight n go’ and ‘everytime’ off from the tracklist and changed it for another song because you tried a couple of shows after but you couldn’t do it like it used to be singing that song. Your fans were sad because it is their favorite song but you don’t want to cry every single show.

You have been in touch with Calum but not much. Just good morning and good night messages and that you are safe in the city you two are in that moment.

“Hello Mexico City!” Luke said on stage. “Welcome to the Meet You There tour, thanks for having us tonight, let’s have some fun!”

The whole night Calum were late and off key with his voice and bass that multiple times Ashton tried to follow him with the drums. Calum is thinking and worried about you when he saw earlier that you cancelled your shows in Korea because you got a cold that you have to rest your voice. He just wants to talk to you.

When the show ended, Calum throws his bass hard against the floor without caring a thing. After that he went directly to bed, without taking a shower, or eat something. It is been like this for weeks and everyone knows that what he decided was so stupid, but with hope that he learns the lesson.

“Can you explain us what was that?” Ashton said taking off Calum’s hands his phone. “Dude this is getting out of control, and we gave you your space and everything but now you are going to admit that what you did was wrong and the only thing you want is your relationship back”.

“Go away” Calum said.

“No, Hood. You are barely sleeping, eating, focused, happy. This is how relationships work, and we know that it is crazy as fuck when you are famous”.

“Yeah man, it wasn’t easy for me and my girlfriend” Michael said. “And now we are going to get married...Look, if it is meant to be and if you really love Y/N, you should fix this”.

You are back in LA for holidays and tonight you have the last show of the year because the second date of LA you had to cancel it because an allergy you had so you reschedule the show.

You are in the car on your way to the arena when your manager told you to stop by the studio because the new visual that you asked for is ready. It is a recap of this year, so your fans are going to see a couple of unreleased videos and pictures of behind the scenes of this whole year including everything and every person in your life.

In the studio you saw the new visual and you noticed that they didn’t put Calum on it. You love him and even when you are on a break, you wanted him in the visual too.

“Hmm I can explain it” your crew member said when another video randomly start in the screen of the computer.

“A mini film by Andy Deluca” you read in the title. The video shows the different reactions of Calum in every ‘goodnight n go’ performance. not just the tour, it also shows the reactions from his house listening to the song, or watching you performing the song on a show. It is a funny video but at the same time so cute and emotional because his reactions are different in every take. Calum screamed “YAAAAS!” or “I LOVE YOU BABY!”, surprised faces, funny faces, lip-synching, etc. And when Andy pointed the camera at you and you hid your laugh with your hand or sleeve, depends on the outfit. Calum says directly to the camera “Y/N should stop doing that, I’m going to say it later because Y/N’s laugh and smile are gorgeous… Okay this is my favorite song, enjoy it”. And the video ends.

“Wow, this is freaking cool but how did you-?” you asked your team when Calum appears from nowhere that scares you.

“I send it to your manager” he said. “I asked Andy to do this video because as always since the start of our relation I wanted to keep these memories”. When you didn’t say anything, he continues. “Y/N I know that I fucked up everything and-” he is interrupted by your manager telling your team to leave you two alone. Once alone with Calum in the room he continues again. “I got scared, I had never had a real relationship, this connection and what I feel for you before...I’m sorry”.

After a couple of minutes talking and giving your point of view that he didn’t let you give months earlier, you said “I love you, but please talk to me because the solution is not running every time things get complicated” and you hug him. He tried to kiss you but you said that he has to win your heart again.

“Hello LA! Hope you enjoy this surprise, happy holidays” and the new visuals and videos start playing in the big screen and everyone is laughing, getting emotional, while you drink water backstage you can hear the “awww cute”. And last but not least Calum’s video is playing and you are ready for the next song. Everyone screamed and are happy for you to be with him again. So when in the video Calum says ‘Okay this is my favorite song, enjoy it’, the beginning of ‘goodnight n go’ started.

Tell me why you gotta look at me that way

You know what it does to me

So baby, what you tryna say? Ayy

Lately, all I want is you on top of me

You know where your hands should be

So baby, won't you come show me? Mmm

“For this next song I would like to call Mister Calum Thomas Hood” you said looking at him. He didn’t know about this. You sat him in a chair and say on his ear “A little tease never hurt nobody babe”. Now talking to the audience, “Let’s go!” and the beat of ‘break up with your girlfriend, i’m bored’ went off. Calum is fighting and struggling when you are dancing in front and on top of him.

It’s been 3 years since Calum entered your room. He is so glad that he interrupted your studio session. And here he is now, watching you performing ‘goodnight n go’ like if it was the first time he heard you that night in your home studio, the feeling and the amount of love to you is the same and even bigger he would say, it just changes the place where you are singing this song. Now you don’t hide your laugh with your sleeve, and Calum always says how he feels and trusts in your relationship.

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thekillerssluts · 4 years

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Nostalgic For A Different Future: Arcade Fire's Will Butler On How His New Solo Album Finds Healing In Community

When Arcade Fire released their very first single, it came with a B-side that hit very close to home to brothers Win and Will Butler: a recording of a song called "My Buddy," credited to their grandfather, Alvino Rey. In fact, several generations of musicians line their family tree. While those historic echoes provide joy and solace for younger brother Will, the world tipping into pandemic and protests over racial injustice reinforced life’s darker cycles. On Butler’s second solo album, Generations (due Sept. 25 via Merge), he explores the ways in which we come together in community both because of and in spite of those ripples.

The video for early single "Surrender" represents that duality perfectly. The clip opens with studio footage of Butler’s band recording the jangly anthem, complete with call-and-response vocals and gospel falsetto. But much like 2020, things devolve quickly, with closed captioning-style subtitles mourning the deaths of Black men and women killed by police, calling for sweeping political change, and insisting on prison reform. Though written long ago, the album holds a special ability to tap into something boundless and timeless while simultaneously feeling entrenched in the tragic pain of the present.

Butler spoke with GRAMMY.com about the album’s similarities to Fyodor Dostoevsky, the ways in which songs take on new meaning over time, how Generations fits in with an upcoming Arcade Fire album and the healing power of community.

Did you have any hesitation about releasing the album in the midst of the pandemic?

I'm sad to not tour it. If I could wait four weeks and then tour the record... but that's not going to happen. It's actually kind of a good time to put out music. It feels morally good! People want music, so let's put out music. I've experienced that, where people put things out and it feels generous.

It truly does. You've compared this album to a novel and your debut before this to a collection of short stories. Is there a particular novelist that you feel would be in tune with your work? Do you take inspiration from fiction in that way?

It's not Dostoevsky. [Laughs.] But it is weirdly more inspired by Dostoevsky than it ought to be. It's the tumult of the 19th century, the next stage of the industrial revolution and the gearing up of socialism and anarchism. It feels related to the pre-revolutionary thing happening in Russia. [Laughs.] It's not a one-to-one comparison by any means, but it’s just the deeply human things happening in a context of the whirlwind.

Was there an experience that led you to the feeling that it was the right time to deliver such a politically driven album?

Partly, I went to grad school for public policy. I explicitly went as an artist wanting to know what's happening and why it's happening. I started the fall of 2016, which was a very bizarre time to be at a policy school. But I had a course with a professor named Leah Wright Rigueur, a young-ish professor, a Black woman, a historian. The course was essentially about race and riot in America. And since it was a policy school, the second-to-last week on the syllabus was talking about Hillary Clinton and the last week was talking about Donald Trump. It was a history class, but in an applied technical school, so it's like, "What are we doing with this history?"

We read the post-riot reports of Chicago in 1919 and the post-riot reports of the '60s, the Kerner Commission and after the Watts riots, and we read the DOJ reports after Ferguson and after Baltimore and Freddie Gray. And then Donald Trump got elected at the end of the semester. This course really trained my eyes at this moment of time, just being in that state of thinking about what's going on and why it's happening.

Right, and the album's title feels like it encapsulates not only the history that you were learning at the time but also your personal and familial ancestry.

Yes, very much so. My mom's a musician, and her parents were musicians. My grandmother grew up in a family band driving across the American West with her parents before there were even roads in the desert. Her dad got arrested a bunch of times for vagrancy or for not paying off loans. There's something very beautiful about being in the tradition of generations of musicians. That's a positive thing in this world. It's no coincidence that I'm a musician. There are, however, many more poisonous things that are also not coincidental that are rooted in both personal and political history. All of political history in America has been geared towards making each generation of my family's life better insofar as they're white men. It's been very good to my family, but that is as much of an undeniable generational heritage as music, which is this beautiful and faultless and glorious thing.

Do you see that musical tradition in your family as storytelling?

It's never been explicitly storytelling, though that is part of it. It's more about building community or building a society through entertainment. Entertainment is almost too light a word. My grandfather and grandmother did all these broadcasts during World War II, and some of it's jingoistic, some of it's incredibly moving, some of it's just dance music for people who don't want to think about the war for a minute. It's all these emotions, but still with this aim of trying to get us all in it together–which in a war context is fraught. But there's that element of always trying to make a family, make a community, learning how to bind us all together.

That reminds me of the call and response vocals you've got throughout the record. It has an especially gospel-y feeling on "Close My Eyes," which is such a clever way to paint a song about surrendering to something bigger than yourself, that communal feeling. What was the impetus for that narrative voice?

Part of it is just rooted in Smokey Robinson and the Miracles. [Laughs.] Years ago, someone mailed us the complete Motown singles on CD, just every single starting from day one. Even though there’s some garbage mixed in there, it just feels so human with those gang vocals and great singers that sometimes they just pulled off the street. You get the sense of humanity. Having backing vocals be so integral instead of just having my voice layered feels like having a community and feels very natural. It's hard for me to not just rely on that every third or fourth song. [Laughs.] It just feels like that's how it should be.

Those multi-part harmonies must be especially potent live in a room. Do you write in a way where you’re already picturing these songs live?

We played almost every one of these songs live before we recorded them. My solo band played "Surrender" live on the Policy tour for years. But even before we went into the studio last summer, I booked a weekend of shows. We did the Merge 30th Anniversary festival just to have us feel it live and have that communication. And then we went down to the basement to try to iron it out.

Speaking of "Surrender," that song took on an entire new life in the video. It starts out with videos of your band in the studio, but then quickly and powerfully gets replaced with messages mourning the deaths of George Floyd and Breanna Taylor and emphasizing the need for prison reform. You never know what life a song will have when you’re writing it.

That song is very nostalgic in a certain way. It’s looking towards the past, but not wishing to be in the past. It's wishing that we were in a different present because we had already chosen a different past. So when I was editing the video, I started it as a "making of" video. But the footage is from January of this year—five, six months old. There's this feeling of nostalgia, but also 2019 was not good enough to look back at. [Laughs.] 2019 was also horrible.

It's not like I want to go back to 2019. I want to play music with people. I want to be having fun with my friends. I want to be making a record. But I don't want it to be 2019. I'm nostalgic for a different future. And as I'm editing the video, there have been six weeks of protests of people trying to build something, and it just felt crazy to not acknowledge that. It was what people were focused on, at least the people around me.

Do you feel like you'll be infusing more overt social and political commentary into your music going ahead?

I think so. It's important that it's organic. It's part of the world I live in, part of my family and my friendships. Before the coronavirus hit, I was very much looking forward to touring and had vague plans to do town hall meetings and discussions. It felt like a rich time to do that around America, and around the world. I'm sad to not get to do that, but I think it will happen someday.

You produced the album yourself in your basement, so were you writing with the production choices already in mind or were you writing while in the studio?

I had the band come down and record for a week. And at the end of that first week, we had seven or eight songs that could be real. Some of them were clear. Some of them are simpler, like "Surrender." Others were trying to figure out where they would go. "I Don't Know What I Don’t Know" was more trial and error, trying something crazy. We'd turn everything off for two days and then come back to it and try something else. You try to be surprised by it.

I love revision. Well, I don't love it. I hate it. [Laughs.] I love the process of editing, of making a version of something and then finding something that's either better or worse. It's fun when you work with an editor that you trust, but when you're just doing it yourself, you drive yourself batty after some time. But I still love versioning it until it makes sense.

It feels like you're not too precious. You just want to service the song at the end of the day.

Yeah. I try to not be precious. I feel like the songs mostly came out with a fresh spirit. I didn't massage any of them too much. I'm very conversational in how I think of the world. Nothing is the final statement. You say something and then someone says something else and then you say something. And you have to finish what you're saying in order to hear what the other person says. So if that means putting it out into the world without rounding everything off, to me that feels right.

The record begins and ends on the same burning synth tone, like history ready to go around the loop again. What does that synth tone represent for you?

Not to get too mystical, but there's something about the bass that is so embodied. There's something about a really powerful bass that is fundamental, something that just gets to the core. I wanted that core to feel a little uneasy. It's not like the hit at the end of "A Day in the Life" where it’s this clear conclusion. It's a little bit gnarly. It's a little bit not in the right key for the song. It’s something disturbing at the very core of everything.

What has writing and producing this record taught you about yourself?

I found that while I still prize quickness and thoughtfulness and conversational life, this record took longer and took more effort than Policy. It was way less casual. It was not casual in a very good way. I realized this shouldn't be a casual undertaking—even though it can have lightness and humor and breezy elements. Even then, the whole undertaking can still be serious and grounded. It can even be quick without being casual. In the past, I've fallen into thinking, "Just do something first before you think about it too hard." But this was a reminder that you can do something more thoroughly.

Were you writing these songs while working on the next Arcade Fire album? Speaking about intention, how do you compartmentalize those two sides of your creativity?

Yeah, Arcade Fire is always very cyclical. We record for a year and a half, we tour for a year and a half, and then we're off for a year and a half. I was very conscious to do this in a moment when I wasn't distracted by something else. I wanted to focus on this.

I'm still figuring it all out. Right now I'm making a video for the song "Close My Eyes." I have children, two-year-old twins and an eight-year-old, so the spring was just complete family time—net positive, but total chaos. [Laughs.]

https://www.grammy.com/grammys/news/nostalgic-different-future-arcade-fires-will-butler-how-his-new-solo-album-finds

#Arcade Fire #will butler #interview #generations

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