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sinni-ok-sessi · 4 years

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Thanks @comradegrantaire for tagging me! Rules: list 10 songs I’ve been listening to a lot lately and then tag 10 friends.

(I am so very awkward about tagging people, so would rather not do that, but if you see this and want to do it, consider yourself tagged!)

(There’s gonna be a Lot of Trials of Cato on here cos I’m very much a ‘pick a band, listen obsessively for six months, move on’ kind of person. Also, I have had Some Gin this evening, so that may explain some of these captions.)

1. Lyke Wake Dirge by Pentangle (as @trans-cuchulainn reminded me the other day...). It’s just real haunted and very much ‘if you’re rich and don’t help the less fortunate, Jesus hates you specifically’, and while I’m not religious at all, that’s a sentiment I can get behind.

2. Gloria by The Trials of Cato. Trans coal miners! A bangin’ tune! Admittedly very obviously written by cis people, but nonetheless, a banger!

3. Willie O’ Winsbury by Offa Rex. I’m a simple soul: I see a ‘plot twist: bisexuality’ folk song and I fall in love.

4. Our Boy Jack by The Mechanisms. Look, Bella Ciao has a fantastic tune and can only be improved by the addition of space pirates (not to mention lyrics in a language I actually know how to pronounce, because my Italian is truly painful).

5. Coventry Carol by Loreena McKennitt. It’s Christmas and it’s real fuckin’ haunted, I don’t know what more you want.

6. Good Friends by Jan Harmon. Someone at my folksong group sang this and it’s haunted my brain ever since.

7. Let The Great Big World Keep Turning by... I don’t actually know, but as sung by Paul McGann in The Monocled Mutineer. It’s maudlin af but also deeply ingrained in my brain and I’ve been singing it to myself a lot lately.

8. Tam Lin by Anaïs Mitchell. ‘S just. ‘S a good tune. I’ve loved Fairport Convention’s 7-minute epic Tam Lin for so long, but I think the tune here just makes this one a winner.

9. Theses Are The Things by The Trials of Cato. Another ‘welp, the world’s gone to shit, here’s some angry folk music’ track, because I’m nothing if not predictable.

10. Autoclave by The Mountain Goats, because I saw a tumblr post about ‘I am a: man / woman / great unstable mass of blood and foam’ and got seized with strong feelings about Zolf Smith, reluctant group dad and even more reluctant cleric of Poseidon, for about an hour. Also because ‘And no emotion that’s worth having / could call my heart its home’ is such a good line, aaaah.

(If you’d got me a week ago, it would’ve been mainly picket line songs, so I’ll add that Solidarity Forever has some absolutely banging verses, Bread and Roses has a stunning tune, and that ‘Money speaks to money, / the devil for his own. / Who comes to speak for the skin and the bone?’ is raw af, and also that group singing is one of the most healing and emotionally rewarding things to do in activism and I recommend it.)

#an meme! an veritable meme!#tag yourself #(genuinely; I love hearing about other people's music tastes since mine is so limited)#(I got to duet Bread & Roses with a grad student from another department outside Senate House and it was truly a transcendental moment #for me. my voice is nothing to write home about (and is kinda breaking at the moment anyway) but *dang* group singing is the best!)

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pinarworks · 5 years

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Politics of ‘‘banging on desks’’ in the Turkish Parliament Text: Pınar Üzeltüzenci Noise is a tool; and in different hands, this tool can come in handy in different ways. Making noise in sound, image and text can draw attention as well as break it. It can mean the destruction of order as well as an attempt to reconstruct it. Noise is an indispensable part of Turkish politics too with politicians and people using it to either draw attention and construct order or deconstruct it. Actually Turkey is very noisy in that sense, with on site and online protests from the people; shut downs, talk downs by the politicians and law; the noise made by texts and images and fake news of the media and of course the never silent president Mr. Erdoğan, always finding someone or something to shout at and about. Noise actually has always been a way to silent minorities and marginalized people by the Turkish government whether now or in the past and through noise it also blocks the information flow by occupying every bit of a communication channel and not letting people alone with their thoughts. Noise as ‘’potestas’’ On December 6th 1991, at the oath ceremony of the 19th period of Turkish Parliament, Leyla Zana, young Kurdish woman member of parliament went up the rostrum to take her oath. She was wearing a headband with the colours of Ala Rengîn (refers to the de facto colours of Kurdish identity, yellow, green and red and also the flag of Kurdistan). As immediately as she started reading the oath, having noticed the headband on her head, a terrible noise made up of angry oppositions, shouts and banging on the desks filled in the parliament and intensified as she concluded her oath speaking in her mother tongue Kurdish, saying ‘she was taking this oath in the name of Turkish and Kurdish people’s brother/sisterhood’. After approximately two minutes of more noise, Zana was summoned to the rostrum again and was forced to re-oath, this time sticking to the ‘rules’ and speaking strictly in Turkish. On May 2nd, 1999, a Muslim woman MP, Merve Kavakçı entered the parliament with a headscarf on and through a cacophony of shouting and banging on desks, again mostly by men, she was sent outside the room and later on outside of active politics too. Fast forward 28 years later; on January 14th 2017, one of the members of parliament from the pro-Kurdish party HDP, Garo Paylan, went up to the rostrum to make a speech. As an Armenian MP, Paylan is an outspoken defender of the Armenian identity as well as other minorities’ rights in Turkey. Somewhere in his speech he talked about the Armenian Genocide of 1915 which is systematically denied by Turkey. And just as the word ‘Genocide’ was out from his mouth, a grumble broke out in the room, with steadily increasing decibels first turning into a heavy chorus of angry oppositions, and with the addition of hands banging on to the desks, quickly, avalanched into a violent noise. These cases involving different ideological parties (and many like them in between) are particularly symptomatic in exposing a certain unconscious behaviour of the parliament. This characteristic can be argued is an imminent part of not only the identity of the state but also the concrete parliament building itself that has been constructed upon certain cultural and political ‘ruins’ and operates through generating and appropriating its own special sorts of violent tactics in order to sustain its fundamental reason to exist, through political and social exclusion of certain subjects. As the core operating system of Turkey, TBMM (The Parliament of Turkey) was founded in 1920, on the way to the founding of Turkey as a republican nation state. Constructed around the motto of ‘One nation, one language and one state’, the parliament’s exclusive characteristics were intensified in years with the various alterations in the constitution through coup d’états that has banned certain languages such as Kurdih, made it impossible for minor voices to enter the parliament by bringing the %10 threshold which made certain identities invisible hence certain social and cultural practices invaluable. Thus the Armenian Genocide of 1915 was strongly denied from the start and a systematic whitewashing in cultural and educational realm was imposed accordingly. When Garo Paylan uttered the word ‘Genocide’ inside that building which symbolizes ‘one nation’ for the majority that occupy it that day, he was talking about a ‘different’ history that is a stranger to the majority of Turkish people who have another, rigid concept of history which is taught in schools. A minority’s suggestion of a different past inevitably requires a revision of this present too for the people who bang on the desks. The narrative of the sovereign power that decides and directs how the past should be remembered, or whether it should be remembered at all, gets challenged here. This offering of a subjugated past involves an alternative cartography of events such as genocides, assassinations, racism and sexism. His words suggest a potentially different subjectivity than the one that has been imposed upon him and many others inside that building. So the noise made by opposing MPs’ who don’t want to recognize this alternative past becomes a declaration of war against any kind of alternative history narration other than their own. Ghosts of this subjugated past are once more ignored/denied in an attempt of a symbolic defeat through the thick sonic cloud those banging form; because after all, this holy building is a symbol of this present and this present’s past. The noise made by these beaten desks in the parliament building, operates as an eraser, a blocker designed to work as a partner in crime for the attainment of the ‘imagined, desired, the right kind of’ history and the future of this particular status quo. This noise has a regulatory function which has buried voices of those who have spoken of alternative versions of history. It imposes normativity through demanding the condition of being enough Turkish, secular, male and Sunni to be included in this parliament. This denial of a certain socio/historical suffering through making noise does not only have physical effects, it also injures and marginalizes the subject too beyond physicality. All those names are now stigmatized for their actions that have claimed their history back. The relation between the subjects and the others is already injured in a violent way and has been pronounced unequal. In fact, the denial and the rejection that’s been materialized in the form of banging on these desks seem to be blocking the potential flow of ideas and affects, first between the people in the building then within the general people of the country. It creates what Spinoza calls as Potestas. Potestas means ‘’power’’ in Latin was a very important concept in Roman Law when exercising punishment. Spinoza re-conceptualizes this power as authoritarian in character which corresponds into unjust, unbalanced relations between people, that’s not open to communication. Potestas here is faced as the negative power that blocks relations, power that shuts down through bullying the ‘’other’’, through the usage of the bodies in a hostile fashion, by using your hands through banging on the desks, by using your mouth through shouting and cursing. Noise as resistance The parliament building in this sense is a scene of remnants as Walter Benjamin would have called it. As a symbol of a nation state with an official culture and ‘civilization’, it was built upon a pile of ‘other’ destroyed cultures, minority and marginalized identities with different memories. This certain way of knowledge production presupposes violent defence mechanisms. For the desk-bangers inside the room, any unwanted words summon these ‘junk’ back from where they are supposed to be buried under. So the noise of the desks works as ‘ghostbusters’, trying to send these phantoms away to where they belong, to a no man's land. The subjects that are constituted through refusal and denial have this ghostly quality themselves: The unassimilated Armenian Garo Paylan, Kurdish speaking Leyla Zana, Merve Kavakçı with a headscarf, etc. The ghosts these people have invited by speaking of certain forbidden words demand attention, they create an effect, and they produce a need to do something. In a way this is noise that is productive, that demands change; it shows that there’s a shadow cast upon this supposedly crystal clear, flattened out definition of history. Even the counter loudness in the room cannot rewind, undo the fact that these demands become visible, even for a second in that room, creating chaos and delirium; catching the attention of people beyond that building. Rethinking the past could be productive nonetheless since leaving oneself in the remnants of loss and destruction could actually produce new forms of knowledge that has intentionally been left out of official history. After all we know how time and history is sculpted by the status quo for its own interest through wiping away the remnants as evidence. The hands on desks become the hands of the state, the noise that comes out emerge as the voice of the law. By not letting marginalized people speak, by refusing to listen to them, a certain subject is constructed. But still, being controversial in the heart of the ‘symbolic crime scene’ can count as making noise too, white noise may be for it is lower and works from deep within. Noise which challenges the normative discourse that shapes the parliament and the ideological frame of the country in a broader sense. This noise seeps in smaller channels in today’s digitally available world and lets the word out there, through hashtags (as in blacklivesmatter, metoo, senibaşkanyaptırmayacağız (this was the HDP's slogan in the campaign against the election which would change the presidential system, in the end, Erdoğan won) through art, through writing, through talking and coming together and organising so the possibility of common concepts and notions that would make way for connecting with other bodies becomes possible. Making noise this way can mean creating counter knowledge and building a memory of things; it is also a form of resistance to power. What is important is to keep listening in order not to miss what’s hidden under all that gibberish loudness of the status quo.

originally published on Spex Magazine in German https://spex.de/politik-laerm-tuerkei/

#spex magazine

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excusemehotchocolate · 6 years

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tagged by @captain-junmyeon thank you darling!!!!

rules: answer the questions and tag (10) people you’d like to get to know better.

age?

birthplace?

Boston, MA

Current time?

4:37 pm

drink (last)?

yogi blueberry green tea

easiest person to talk to?

I gotta say my mama and my friends @princesslloyddia and Catrina

favorite song (recently)?

Sunshine Riptide by Fall Out Boy (its catchy as a mofo!)

grossest memory?

Once I was on the bus and the bus driver hit a seagull as soon as it hit the ground the rest of its flock started eating it. Also I watched a seagull choke to death on a hot sausage once... honestly lots of gross shit i witness happens with seagulls

hogwarts house?

Hufflepuff

in love?

Does being in love with Shinee and Park Chanyeol count?

jealous of people?

Sometimes, which is why I don’t look at instagram much anymore, its not healthy

love at first sight or should i walk by again?

Buy me cheese fries and it might just be love.

middle name?

Aliya

number of siblings?

one wish?

That I can find peace and for once truly be happy with my life

person you called last?

My brother

question you are always asked?

How I pronounce my name

reasons to smile?

Shinee

song you sang last?

Surrender- Paloma Faith (i actually think i sound nice when i sing this)

time you woke up?

6 am

underwear color?

white with a purple floral pattern

vacation destination?

I don’t know I just wanna travel outside of the US. I did love South Korea and Japan tho.

worst habit?

Procrastinating.

x-rays?

My ankle when I broke it but i was like 6 when that happened.

favorite food?

i have a lot but white rice i guess? i mean i love it so much my mama got me a rice cooker for christmas

zodiac sign?

Scorpio

ultimate bias?

Jonghyun.

ultimate bias wrecker?

Park Freakin Chanyeol! Listen Baekhyun was my man, the exo love of my life until that fateful day in 2016 the day before the EXO’luxion concert when I was in the NYC Times Square Disney store and Chanyeol and I were both in the Star Wars section at the same time. Being less then 10 feet away from him was just... damn. He’s so fine in person and tall!

favorite kpop song (all time)?

Ooh thats hard I’ll say Symptoms by Shinee

favorite kpop album?

Basically anything Shinee. But I’ll say Odd cause I was in Seoul when the album dropped so it’s special to me. Also Exo’s The War is my shit, that whole album is a banger. Also anything Secret, my queens need to come back.

favorite kpop ship?

Jongtae, jongkey, chanbaek, sebaek

hard or soft stan?

both tbh

Favorite kpop company?

I gotta say SM JUST because I love the music their artist make the most

backstory of how i got into kpop?

So my younger brother had a crush on this girl that liked kpop so to impress her he started listening to it fell in love with it and managed to get me into it as well.

So I shall tag: @sabakunocasali @the-tinfoil-soul @kibumsfreakk @bambambambiii @lvna-m0th, @ilovemydaddyjinki @awildblackkpopperappears @carryonghettowoman @kaylatrancy @towns-person-b

y’all don’t have to do it if you don’t want to.

#this was fun

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kuciradio · 7 years

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SXSW - Tunde Olaniran Interview

By Shay Mehr and Stephan Masnyj

Photos by Shay Mehr

Shay M: So how would you describe yourself as an artist to someone who hasn’t heard of you at all pretty much?

TO: I think that I would say that I’m a performance artist that takes the structure of pop music but fills in the gaps with really like unexpected sounds and unexpected performances unexpected vocal takes, but within a pop structure so that it’s kind of easily digested and easily enjoyed.

Shay M: Okay so you would say that you’re like pop mostly? Because I’ve read that people call you like a musical chameleon or like you genre hop a lot, how do you feel about that?

TO: Yeah I think… I mean I think easily …when I like I’m in an airport and someone’s like “Oh you’re a musician? What kind of music do you do?” I’ll be like oh it’s Kanye West meets MIA like that’s the most basic thing to say, but yeah on the larger scale I think it’s pop, dance, electronic, there’s like folk elements, there’s country elements so it kind of spans pretty wide genres for me.

Shay M: So the first track of yours that caught my ear was ‘Brown Boy’ off of the Yung Archetype EP. A lot about it really stood out to me: the beat obviously first, and then your range as far as you sing a lot and then you rap as well. The message is kind of somewhat serious but like delivered playfully, right? How representative is this of your work as a whole would you say?

TO: I think “Brown Boy’ is actually a really good example of like where I started as a producer and also as a writer. I think that the really abrasive sounds is something that has always appealed to me and so all the drums in Brown Boy and the samples to me can be really loud and abrasive but I think they come together and make a really playful and like different emotional dimensions like in the song. So that’s like a really good snapshot of kind of where my brain is at as a producer. I think new stuff is going to sound a little different but ‘Brown Boy’ is like a really good track to start if someone’s never heard me before. I feel like that’s a really good place to start.

Stephan M: I’m sorry to jump in but I did want to ask if you’re saying that’s like a good jumping point but your music is changing where do you think it’s headed now I supposed as opposed to how ‘Brown Boy’ may sound, you know?

TO: I think that like any artist or any work that you do, the more you do it, the better you become at it. The more tools you use and maybe the more nuanced you become because you’re challenging yourself like whatever the field. So I think that my production is different and like better in some ways, it’s a little bit softer now and I do a lot more singing. So I think that it’s danceable but it might not have as many jagged edges as ‘Brown Boys’ does but still kind of include it in parts of the production in newer stuff so even if it’s a smooth pretty song like there will be a moment where something jarring happens because that’s just..I’m the kind of person that can’t listen to an album all the way like I’ll skip around..that’s how my brain works so yeah.

Stephan M: Yeah so you like the songs to also inhabit that space.

TO: I don’t want you to get bored. I don’t want you get bored listening to it. I think that music sounds so much the same like every song sounds so similar now. We’ve been touring with the sleigh bells and we’ve been in the van and like every song I’m like oh is this is this the same person? This is like the fifth song that sounds exactly the same so I think it’s important to like as artist maybe push yourself and push listeners to think about like oh this is a new way…this is a new way to have a pop song you know? But it’s still fun for me or I’m still enjoying it. Or it’s still like am emotional thing for me so hopefully we can give people like a little diversity in what they’re listening to.

Stephan M: Very cool, yeah that’s awesome.

Shay M: So how much does activism play a role in your art? I’ve read that your day job is at Planned Parenthood and you’re from Flint, Michigan both of which have gone through some pretty large crisises lately.

TO: I think we’re all kind of in a time of really intense transformation in this country. I actually left my job at Planned Parenthood and stepped out as a full time artist which has been a super super interesting and like invigorating and kind of scary moment. Which I think again, a lot of us are in one way or another. I don’t know if I would call myself an activist as much as just an advocate so like I’m the kind of person where if I have a show where I have control of it, I want women on the bill, I want women of color on the bill. I think those are simple things that you can do if you’re feeling overwhelmed as a person like how can I make a difference. It’s like the immediate sphere around you, you do have some influence so like try to exercise that a little bit. I do also think that having music that you can like turn up to but it’s not problematic and like you can organize and movement build but if people don’t have a connection that’s a little bit deeper like where we’ve gone out together and gone to a club, you’ve like had like some sloppy, messy moments you know like you’re never going to really have like a strong movement you know? So I think that the party is always as important as the protest. Do you know what I mean?

Shay M: Yeah. We were at the Women’s March actually in Los Angeles and they had this big van playing all these like bangers, but they were all objectifying women. I and I was just like who DJ-ed? I don’t know why wouldn’t you get a female DJ and like put the intention there? Speaking of intention I’ve read that you have a lot of intention with your work so how much are you hands on with like each aspect from pretty much like your website to like I’ve read you design your back up dancers costumes to your videos. How much are you like hands on and what do you kind of like step away from?

TO: I think that I’m hands on with anything you can see or hear I would say and then it’s like I don’t you know…code the website things like that. It’s best to like let someone who’s really good at their job do their job. But let’s say I have jewelry that I design so I’m really hands on with but then at the very last stage I give it to a carpenter who that’s his job, make it really great. But in terms of clothing, the visuals, I make a lot of the stuff, I have a lot of it made, I think it’s fun. It’s not necessarily that I want to control it, it’s just like I enjoy having, playing with like fabrics and colors and textures, like that’s really fun for me. And it’a way to maybe even if I’m not going to be fashion designer I can like have some fun with clothing and stuff on stage and still focus on the music you know?

Shay M: So you would say that level of kind of attention and intention is also found in your music I would imagine?

TO: Yeah I think so. I think in some ways like you have a balance you kind of can plan something but a lot of times like ‘Brown Boy’ or other songs have been written really on the fly or I’ve like produced the heck out of it and I’ve had like all this production but the writing does happen until like a day..the night before or the day of recording. So I try to leave some room for like inspiration that even I can’t source that just comes through. I want to leave room for that. So sometimes with visuals or even designing the album, if I get inspiration I don’t even question it I just kind of go with it as opposed to like mapping.. some of those things you can’t map out ‘cause it feels a little forced if you do that. So it just depends, yeah.

Shay M: Okay so this is.. I probably should have asked this a while ago. But how do you pronounce your whole name?

TO: Sure uhm it’s Tunde Olaniran. I tell people think cartoon and the a day of the week. Tun-de. That’s really easy and then Ola-niran is my last name.

Shay M: Okay that’s pretty close to what I’ve been saying. So phew, phew!

TO: For the longest time I had like my name phonetically, on my Twitter account I had it like phonetically spelled out because so many people would just hit you up and not know how your name was pronounced.

Shay M: So speaking of identity, your name is interesting so I asked you how you pronounce it but would you share with us its meaning?

TO: Sure so I have a much longer full name. and the full name basically is a traditional Yoruba name, my father’s Yoburba, a culture and dialect in Nigeria. And basically I was the first boy, born after my grandfather passed away and uhm the full name is the spirit of the father’s gone but will return again to bring back the wealth that was promised to the family, that’s like the full name.

Stephan M: Don’t worry her name is also like 16 letters and her last name is like 20 something letters.

Shay M: My name that you know is fake by the way. Or it’s been re-named, it’s my artist name. I don’t want to put words in your mouth but is that why you have seemingly such a large interest in identity because you have sort of a large-like a big pair of shoes to fill with a name like that or what? Why is it that a lot of your albums are titled after identity and things like that?

TO: I feel like I mean I studied Anthropology in school and like I’ve always been interested in cultures and how-how like – I’ve been interested in what’s taboo and what’s like not okay. And how something so seemingly simple like what bathroom you want to use, you know can like incite violence against you or how you wear your hair. Or you know so many things that seem insignificant…or you know what color of cotton threads you wear like those kind of things can end your life or get you kicked out of your family or put your employment or housing in danger and so I’ve always just been really fascinated by how society separates that stuff. Like the rules of what’s okay and what’s not and how arbitrary they are. And I think a lot of that is whether it’s your own identity or the identity that’s put upon you that’s always been interesting. And then I’ve also just been in a lot of scenarios where I felt out of place and so I’ve always been very self-conscious about oh like fitting in you know so whether it was my Nigerian side of my family like I don’t speak Yoruba- I’m not very like a good Nigerian son in that way or follow a lot of the traditions or you know moving to Flint and being like- I’d never been around black people at one point and then going from living in Germany to that always kind of feeling a little out of place. Not horribly so but enough to make you conscious of it a lot so that probably is what influenced it more than anything else.

Shay M: Okay so you have an album titled Yung Archtype and then Transgressor, do these titles identify you or your music or neither? Because I feel like- is Yung Archetype like a tease? Because I feel like you’re pretty anything but an archetype?

TO: I feel like it was like a play on words with Carl Yung and it was like a joke. Because in a way I was going to be a totally different ridiculous name. I wasn’t going to actually release that EP as an EP it was going to be a mixed tape but I ended up signing with a label. So in a way I wanted to talk about different archetypes in society with/through some of the music but again I just went what came to my mind. So I’m like why is this name speaking to me? I’m going to just go with it. Sometimes it reveals itself to you later like why it came to you so that name really just like came to my mind when I had to create a name for that EP. So I like left it at that. With Transgressor that was more of what I mentioned earlier of like identity politics and like how something so simple can be seen as like a huge transgression. A lot of the songs are about those kind of moments or being in those kind of spaces. Does that makes sense?

Shay M: Totally. Can you tell us anything about the album you’re working on or is that pretty hush hush?

TO: That’s not hush hush. I just have been making a lot of music and trying to not put any pressure on what it’s going to be. And have had like three or four rounds of alright we’re going to sit for two weeks and like pound out a bunch of songs. So right now hopefully we’re getting a single ready for the summer and again I’m going to play it by ear and see what feels right. But we have some really strong songs. And I’ve been trying to like- I’ve been writing songs with piano first so it’s like very melodic. Things that can be stripped down but then we have a lot of production. So I feel like- I think we’re going to have our full length ready and its going to be a lot of singing a lot of like-a lot of emotions but I think the productions going to be pretty fun too for people that are into that stuff that I’ve done before.

Shay M: Is this your first SXSW?

TO: As a solo artist uhm yeah. I’ve been here with like other groups kind of like doing featured stuff. So this is my first time being on stage especially me having these project released. I’ve been here and I’ve actually just come as a fan, a music fan. So it’s not like new but its going to be it’s going to feel new with doing the performances while we’re here. And the tour that we’re on is brand new, I’ve ever done a U.S. tour like at all and that’s been like really intense so it’s all kind of new right now.

Shay M: So what is your impression of SXSW then?

TO: I think it’s different. I have to get into the weekend to really see how it is. So I don’t know if I can say quite yet, but I will say that even just here at Empire people seem really just generally upbeat and positive which is a good feeling when you walk into a venue that people aren’t like closed off so that’s good.

Stephan M: I just wanted to add something to that which was interesting is that uhm I mean it’s the first time we’ve been here as well and I mean we’ve been to other music festivals but it’s interesting to me how this festival seems-it’s almost like a paradox right? There’s such an emphasis on like small up and coming DIY bands and the city fosters that culture really well but at the same time walking around here there’s just like the Dell building and the Budlight tent and all of this stuff. There just seems to be this weird dicotamy between like super large corporations that I’m not quite sure if they’re just using these bands to their own benefit or if it’s like sort of this happy medium between commercialization and DIY which I haven’t figured out yet and I’m just curious to know if you have?

TO: All brands have to. Corporations don’t create culture artists do. So they have to tap into artists because they wouldn’t have any culture that they could use to like tweak your nostalgia or tweak your emotions you know? So I feel like there are human being that work for corporations and I feel like some of those people maybe musicians some maybe artists. There is an undercurrent of corporate money under this conference like any other festival you go to. I do think the cool thing about this as opposed to like bigger-or other festivals is that like you said there’s more of a chance like an artist I really love on the internet who’s maybe never going to come to my town. So like it’s cool to come here. And I’ve had people like when I came before be like ‘oh I know you from the internet like as another artist’. Walking down the street you’ll see people like ‘oh crap I know you!” so I think that’s really cool about South by. And those folks like even in the green like I didn’t know knew who I was and that’s awesome that we’re connected now so.

Stephan M: Actually a good example of that is like uh a band a I interviewed a couple days again mentioned that like South by is like this gathering of musical tribes like everyone comes together to this one place to meet. I thought that was an interesting way to put it.

TO: I think it’s more so than most festivals. Because most festivals are like it’s very curated and structured and so. I think it’s kind of limited of like who you’re going to be able to see. I think with South by it kind of feels a little more like a free for all, which can be frustrating as an artist too but I think there’s an opportunity to see some gems that maybe you wouldn’t see at like Pitchfork or Bonnaroo.

Shay M: Okay I have one last question that I’ve decided I’m going to ask everyone because it’s just interesting…is what fulfills you?

TO: Creating. Just getting to create anything is really fulfilling to me.

#Tunde Olaniran #sxsw2017 #sxsw #interview #music #radio #college radio

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jungkookio · 7 years

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Get to know me tag!

Thank you @blumiin and @yoonmin-smile for tagging me!!

it’s pretty long so it’s under the cut!

Rules: Complete the survey below and say who tagged you in the beginning. When you are finished tag people to do this survey. Have fun and enjoy!!!

1: Are you named after someone? No I don’t think so, my dad chose the uncommon spelling though so it’s always pronounced wrong anyway :’) 2: When is the last time you cried? Like two ays ago cause i was watching sad BTS videos lmao 3: Do you like your handwriting? Sometimes 4: What is your favorite lunch meat? I really don’t like lunch meat at all tbh 5: Do you have kids? Nooooooo, I can hardly look after myself let alone children… 6: If you were another person, would you be friends with you? I’d either be best friends with myself or mortal enemies,I can’t decide 7: Do you use sarcasm? All the time, I should chill tbh 8: Do you still have your tonsils? Yes, but I shouldn’t 9: Would you bungee jump? Probably yeah, I’ve been absailing and rock climbing and I really like rollercoasters and things, so I don’t see why not 10: What is your favorite kind of cereal? coco pops are pretty bomb tbh 11: Do you untie your shoes when you take them off? Not unless I have to 12: Do you think you’re a strong person? Physically or mentally? I’m very headstrong, but I’m literally the human equivalent of wet spaghetti 13: What is your favorite ice cream flavor? chocolate fudhe brownie but I can’t really eat icecream 14: What is the first thing you notice about people? Their sense of humour 15: Red or pink? Pink 16: What is the least favorite physical thing you like about yourself? My skin 17: What color pants and shoes are you wearing now? black shoes, black jeans (im assuming it means american pants not english pants) 18: What was the last thing you ate? bangers and mash 19: What are you listening to right now? Hard Carry - GOT7 20: If you were a crayon, what color would you be? probably just grey or smth tbh

21: Favorite smell? Jasmine and washing powder 22: Who was the last person you spoke to on the phone? I don’t call people but I texted my friend to ask what crayon I would be lmao,she hasn’t replied 23: Favorite sport to watch? does haikyuu count? 24: Hair color? brown roots into blonde 25: Eye color? I’ve got central heterochromia so its like blue/grey on the outside and browny/orange on the inside 26: Do you wear contacts? Not at the minute 27: Favorite food to eat? Chinese duck 28: Scary movies or comedy? Scary movies 29: Last movie you watched? Epilogue dvd 30: What color of shirt are you wearing? Black

31: Summer or winter? Summer, I’m bad in the cold 32: Hugs or kisses? Hugs 33: What book are you currently reading? Wuthering Heights for college 34: Who do you miss right now? Nobody really 35: What is on your mousepad? Don’t use a mouse 36: What is the last TV program you watched? We bear bears with my sister during dinner 37: What is the best sound? Jungkooks laugh… (also ice cracking) 38: Rolling Stones or The Beatles? Rolling stones 39: What is the furthest you have ever traveled? From England to Florida 40: Do you have a special talent? I’m the best at limbo, don’t try me 41: Where were you born? England

42: People you want to participate in this survey?

I’m gonna try and tag new people but I always tag the same people by accident anyway lmao I’m sorry: @goldseok @trustbangtan @wheresjhope @whoisminyoongi @jeoncore

#tag #not bts

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pokalkalasreko · 6 years

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Top 50 Singles of 2017

Hello and welcome to the third annual edition of my top singles list (2016, 2015)

I really like writing these lists and 2017 is all about doing more of the things you like and less of the things you don’t.

Hair Down by Mollie King would have been my top song of the year, except that ultimately it just wasn’t any good.

This year, because I’m feeling extra festive, I have made the list into an apple music playlist.

Allie X – Casanova

And we’re off. This chorus has one of the best hooks of the year.

Jax Jones - Breathe ft. Ina Wroldsen

Ina Wroldsen has one of my favourite voices in music. You can hear her singing backing on a lot of early songs by The Saturdays, given that she wrote most of them. First of two Jax Jones entries on the list.

Yaeji - Raingurl

Yaeji is cooler than me, you, anyone you have ever met, and anyone you will ever meet.

Lost Kings - Quit You ft. Tinashe

In which Tinashe controversially claims she is addicted to a Coldplay song.

Katy Perry - Bon Appétit ft. Migos

In 2013, Katy Perry was the biggest popstar on the planet, and I couldn’t understand why. In 2017, she releases a string of actual bops and her career is in nosedive. I’m ready to stan.

Josefine Myrberg - Head over Heels

Josefine Myrberg came third in Swedish Idol back in 2014. Nobody seems to be listening to her music much these days, but Head Over Heels (7.5k views at time of writing) is a genuinely beautiful song worthy of a lot more recognition.

Kehlani - Already Won

The first time I heard this I was like ‘yaaas’ all the way through. Kehlani’s autobiographical ode to her own successes is a reminder to all of us to recognise that sometimes, we have already won.

Sigrid Bernson - This Summer

A pop song by a Swedish woman about enjoying summer. There is nothing better.

Sage the Gemini - Now & Later

Released in 2016, but reached its chart peak in 2017 so it’s allowed. Now & Later was almost my most played song of Q1 so there’s that.

Gabrielle Aplin - Waking Up Slow

I’ve just discovered that a PIANO version of this song has 3x as many views on YouTube. That is criminal. This song is full of synths and it bops because of it.

Stockholm Noir - Hopeless Dreams

The “Take me to the south of France, I’ll feel poor again” bit is excellent.

Anitta - Paradinha

A very good friend of mine who happens to be multi-lingual informed me that this song doesn’t make any sense in about 3 different languages. Which is as ridiculous as it is iconic.

Dagny - Wearing Nothing

I love the choreography in this video. Dagny is a brilliant popstar.

Shania Twain - Poor Me

I wasn’t mad about the other singles Shania released as part of her comeback this year, but this hit me for real. Shania voice has changed in tone so much, and now it suits the melancholic Poor Me perfectly.

Danny L Harle - 1UL

What a song. I wish the singer was credited so I could look into her other work because I think she has a very listenable voice.

SOFI TUKKER - Best Friend feat. NERVO, The Knocks & Alisa Ueno

That bassline. Features galore. Nonsense lyrics. A kitchen sink bop.

Dinah Nah - One More Night

Dinah Nah is an international treasure, making banger after banger for anyone who will listen. As part of the excellent Spotify for Artists year-end thing, she proudly shared that she has 894k fans in 60 countries, which is quite remarkable and warms my heart.

Shakira - Coconut Tree

I liked Malibu by Miley Cyrus but I preferred Coconut Tree by Shakira. This song is truly meditative, and takes me straight to the beach.

Tove Styrke - Say My Name

Ironic because I still can’t pronounce Tove’s surname.

The Chainsmokers - Paris

I know it’s the Chainsmokers, but I think this song is actually very good. That final instrumental goes off.

PVRIS - Winter

From Paris to PVRIS, this song has one of the biggest choruses of the year. I also love that they have called the video a “visualette” - so extra.

Wiktoria - As I Lay Me Down

Wiktoria puts in a solid effort here, pretty much yelling her way through the entire song without taking a breath and it is incredible. Bonus points for a liberal use of “HEY” noises throughout.

Niall Horan - Too Much To Ask

Don’t @ me. I am the last person who would have expected to see Niall Horan anywhere near my top thousand songs of the year, but here we are. The only thing constant in life is change.

Lorde - Green Light

The final chorus of Green Light was one of my defining moments of Glastonbury 2017 - genuinely euphoric. I read somewhere that Lorde uses significantly more nouns than other songwriters and that’s what makes her songs so memorable. That could be true. I haven’t counted the nouns in Green Light though but it feels like there’s a fair few.

Charli XCX - Out Of My Head ft. Tove Lo and ALMA

Charli XCX’s POP 2 is an absolute triumph and my album of the year. Every song has about 12 different hooks and sounds so fresh. Tove Lo and ALMA are a dream collaboration on Out Of My Head.

KStewart - Sex 4 Breakfast

KStewart is my favourite new artist this year, and this is the first of two singles on this list. Somebody played a ‘prank’ on me at Brighton Pride this summer, and told me KStewart was playing on the mainstage at 4pm. I was so excited and squeezed my way to the front. However, at 4pm KStewart was nowhere to be seen and, to my surprise, out walks Louisa Johnson. Good stuff.

Tinashe - Flame

The nicest thing I have ever done for myself is to buy myself VIP tickets to meet Tinashe and see her perform at Koko in Camden. Here I am like a competition winner:

It feels now like she’s never going to break through into the top tier of popstars which is a shame, because I really think she has it all.

IMRI – I Feel Alive

The best pop song Eurovision has had in years. Unfortunately slightly strangled by the 3 minute rule, I would take another 1 or 2 choruses at the end for good measure. Imri seems like he’s having the time of his life and that’s great to see.

Loreen - Body

It took a couple of listens, but now I am completely addicted to Body, and it is pretty much on repeat whenever I am commuting. Perfect for drowning out the real world.

Loop - As if

I follow Loop on Instagram and she seems great. This year she has released a bunch of breezy, refreshing electro-pop including As If. I’m hoping that 2018 is her year.

Poppy - My Style (feat. Charlotte)

My Style would be right at home on Robyn’s Body Talk, which is one of the greatest albums ever. As Robyn appears to be taking some time out, I am thrilled that Poppy has stepped in with her own brand of robo-pop.

Liv Lovelle - Won’t Say Too Much

For the first minute of this song I’m always like “where is this going”, and then that drop happens and it all makes sense.

CNCO, Little Mix - Reggaetón Lento (Remix)

Kim Petras - I Don't Want It At All

More like Kim Petr-SASS 💁 I Don’t Want it At All is the ultimate ode to materialism and an absolute stomper.

Nicki Minaj - Regret In Your Tears

I feel like Nicki Minaj is too often overlooked as a popstar who sings. Regret In Your Tears is an understated jam, and she sounds great.

Astrid S - Breathe

Exactly what a pop song should sound like. I had a flatmate this year and we had nothing at all in common, apart from the we both listened to Astrid S. The power of pop music to build bridges.

Kelela - LMK

Kelela was one artist who made me genuinely excited about music this year. Her album Take Me Apart is exquisite, sounding both fresh and nostalgic at the same time. LMK is one of the best.

KStewart - Hands feat. Yungen

If there were any justice, this would have been huge for KStewart. But there isn’t and here it sits with less than 50k(!) views on YouTube. Hands is completely radio-ready, and could be lifted off any Ariana album.

Rita Ora - Anywhere

Rita Ora has had an incredible year. I love that she hosted America’s Next Top Model, then sacked it in and had 3 huge top 10s, which is probably more than your fave. Anywhere was instant for me, and her best by a long way. The nonsense post-chorus is reminiscent of those early 00s garage classics. Rita herself has said that it has no meaning, and I hope that in 2018 we are able to enjoy more songs with no meaning whatsoever.

Dua Lipa - New Rules

Well this one took off didn’t it. Dua’s meteoric rise has been so exciting to watch, and it was New Rules that really took it there. She just seems like a great person too, and I’m sure 2018 will belong to Dua. Another lesson in the power of a good music video to rocket launch a song’s success.

Aly & AJ - I Know

This song is just so perfect. The return of Aly & AJ has been the most welcome surprise. I Know is cool, lazy, atmospheric, synth-pop and a major shift from their 2007 Disney days.

Tove Lo - Disco Tits

I said this when I wrote about Cool Girl last year, but it’s worth repeating that Tove Lo makes it seem so effortless. Disco Tits is amazing and I wouldn’t be surprised if she wrote it in her sleep.

Little Mix - Power ft. Stormzy

Little Mix are just unstoppable. Every year I think they have reached their zenith and then they take it to another level. Power is single number four from their fourth album and it’s this good. By now, Jesy Nelson (the best one) knows her way around an iconic second verse, so I think it’s neat that this time her verse starts with “my turn”. Also - what a video. Well done everyone.

Jax Jones - Instruction ft. Demi Lovato, Stefflon Don

"All my ladies” was THE call to action this summer. What a song.

Carly Rae Jepsen - Cut To The Feeling

Carly Rae Jepsen has mastered the ability to make happy sounding music which suddenly hits you as heartbreaking once you get stuck into the lyrics. Cut To The Feeling was released about a week after the Manchester attacks, and for me, the line “I want to play where you play with the angels, I want to wake up with you in tangles” stuck out as truly devastating among the euphoric, soaring synths.

Blessed - See Through All The Colours

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I’m obsessed with Blessed. See Through All The Colours is so huge and I really thought would have been their breakthrough. Unfortunately it wasn’t to be, but I think watch this space. Very excited to see what they bring in 2018.

Nadine Coyle - Go To Work

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One of the best things about 2017 has been seeing the true joy that Nadine Coyle, gets from being a popstar, and equally, the true joy she took from the really quite lukewarm reception of Go To Work. Earlier in the year, Nadine made a surprise appearance at a popular London club night to sing a couple of choruses of Go To Work (she didn’t even stay long enough to take her coat off). I was living in those few minutes.

Mirela - Contigo

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This song was the runner up in the Spanish pre-selection show for Eurovision, and won the televote by a landslide, but was struck down by some bizarre jury voting rules. It’s basically incredible. It’s ridiculous, it’s trashy, it’s fun. Bai-la-la-la-UH.

Katy Perry - Swish Swish ft. Nicki Minaj

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I know. A basic bop if ever there was one, but no song this year has bopped as hard as Swish Swish. I spent my entire time at Glastobury telling anyone who would listen that I only came to watch Katy Perry do Swish Swish. Everyone thought I was joking. I’m still undecided on that music video, and that dance, but the song is brilliant.

Steps - Scared Of The Dark

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Let’s be honest, Steps in 2017 could have been shit but instead they were amazing. The moment when this sat at number 1 on iTunes ahead of chart villain Ed Sheeran was a sweet piece of pop justice. Scared of the Dark is a banger, incredibly good pop music, and my top single of the year.

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sunshinesparklezandspain · 7 years

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The origin of my pale skin and freckles

My Goodness My Guinness! Another successful travel weekend was spent in Ireland, the first place I have visited that has ties to my ancestors. Needless to say, embracing my Irish heritage was special and I very much enjoyed my time in Ireland. I arrived in Dublin, where my good friend and sorority sister, Kristin, is studying. I was also able to see my other sorority sister, Taylor for a little bit before she headed off to Germany for the weekend. It was so nice to see her! . I explored Dublin a little on my own while Kristin was in class (as it was a Thursday), and later we met up to grab coffee and do some sightseeing. We visited Trinity College, which has the most beautiful campus I have ever seen. I would not want to attend if there were always tourists milling around lol..

We then grabbed Irish Coffee and Guinness and I was able to rule out Irish Coffee as a favorable beverage, but it was another check off my ridiculously tourist bucket list! I then had my first Guinness at dinner that night, and was surprised to find that I liked it, as I am not a beer girl. I also had a lovely beef and Guinness pie, which is basically a twist on Shepard’s Pie (per my understanding). It was lovely, and very heavy with my Guinness as an acquaintance to say the least. We then visited some pubs that night and enjoyed the nightlife of Dublin.

On Friday we headed to Galway, a beautiful city about 2.5 hours out of Dublin where my roommate Emily studied in Spring 2016. Emily always gushed about Galway and how beautiful it was, and she definitely did Galway justice with her explanations. Galway is a smaller town with so much character and beauty. We enjoyed walking around, seeing live music, and of course eating some traditional Irish food and drinking Guinness. I got my very own Claddagh ring while in Galway, something now very near and dear to my heart as a girl that is Irish on both sides of the family. 😊 A Claddagh ring signifies love, loyalty, and service and they are made in the village of Claddagh which is just outside Galway. It is said to have significance based on which way the ring faces, with the heart facing out meaning your heart is open (to love) and if it is turned inwards it means you’re married. There are some variations but this is the gist of what the lady at the store told me. She also told me more about where my family hails from with my Bubby’s family being from the Galway/Claddagh area with the family name of Eldridge (ironically) and my Nana’s family from Limerick with the very Irish family name of O’Brien. This was an interesting part of my trip that really connected me to Ireland and my lovely pale-skin heritage. 😉

We spent the rest of the day exploring Galway by the river at the Claddagh Quay (pronounced key) and enjoying its charming beauty. We then headed to a lovely restaurant where we had Guinness and I had a delicious beef sandwich. That night we spent some time with Marquette friends (in Galway and visiting) and had a fun time at the pubs. Saturday was my last official day in Dublin so we grabbed lunch when we arrived back from Galway and I tried “Bangers and Mash” which is a traditional Irish dish of sausages and you guessed it- mashed potatoes and gravy. It was very good, and definitely fulfilled my Irish cuisine goals for the trip.

Ireland exceeded my expectations in more ways than one. I was able to “cheers” to my ancestors and experience the Irish culture in two outstanding cities. I am excited to return somewhere down the road, and continue to learn more about my heritage. 😊 Thank you for having me Kristin!!

#Study Abroad #Ireland #Dublin #Galway #Irish Girl #Sigma Kappa #Sorority Sisters #Claddagh Rings #Claddagh Quay #Galway Girl?#Live Music #Travel Blog #Marquette Global #Irish Food #Guinness #Luck of the Irish

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