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uncloseted · 3 years

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https://youtu.be/kJcpTSNWXdQ

https://youtu.be/yIZ8zUOXh2g

Can you watch these when you have the time? Im curious about your opinion on this because I think youre really smart and these are some topics rhats been on my mind lately! Thnk you so much ❤️❤️

Okay, so there’s a lot here. I feel like I should admit upfront that I dislike Joe Rogan. I won’t really dig into why because you didn’t ask for that, but I will say that if you want to listen to someone wax philosophical, I feel like it should be someone who was actually a philosopher (like Contrapoints or PhilosophyTube) instead of UFC commentator and former host of Fear Factor, Joe Rogan. Anyway, let’s dig into these videos….

The first one is called “Unattainable Beauty Standard Outrage” and it’s with stand-up comedian Bill Burr. Frankly, I find it to be frustrating because they’re both average looking white men complaining about an issue that they’re really not subject to in any meaningful way. Throughout this video, they conflate a lot of different issues- the beauty standards average men and women are held to, the (edited) beauty standards present in advertisements, and the physical requirements actors and actresses are held to are all the same in this conversation. They make them seem like it’s all the same when in reality that’s just…. three different conversations completely. I think that’s a result of the fact that they’re just kind of talking, not making an argument or even really trying to get to a point.

Let’s start out with what they’re saying about the beauty standards that average people are held to. Basically, their point is that if you cared about how you looked, you can compensate for it in other ways. The point here boils down to “ugly people won’t take the time to develop a personality like the rest of us, and they’re mad that they get treated differently.” But the reality is that you can have a great personality, but discrimination based on physical appearance will still exist. Similar to how discrimination based on sexuality isn’t cancelled out by white privilege or discrimination based on race isn’t cancelled out by being male, discrimination based on appearance isn’t cancelled out by having a winning personality. Ugly people earn less than their attractive counterparts, on average have fewer friends, worse social skills, and less active sex lives, and are seen as less moral, trustworthy, and competent. Women have it even worse; while men are able to compensate for their looks somewhat (and there are more “acceptable” looks that a man can have) through factors like wealth, social capital, and personality, women are taught from a young age that being attractive is the most important thing that they can be. Because of that, women suffer more from looks-based discrimination than men do and are more impacted every time the standard for female beauty gets raised.

Moving on, they start complaining that the UK is banning advertisements that feature impossible standards of beauty. To my knowledge, it’s actually only the London underground that did this, and I believe it specifically concerned advertisements that are digitally altered but selling a beauty product (correct me if I’m wrong here). Specifically in this episode, they’re talking about products that promise you a “summer body” with a digitally altered image of a bikini model. It’s false advertising when you show an edited model who supposedly got their body by using your product- and that should be illegal. False advertising is illegal in lots of other realms. You’re not allowed to claim that your dietary supplement will cure cancer, and you shouldn’t be able to claim that your “summer body” product will make you look like a digitally altered model. Joe and Bill comment that people are being overly sensitive, and that these advertisements just make them “want to go to the gym”, but that misses the point completely. Even if you went to the gym, there’s still tens of thousands of dollars of cosmetic surgeries and digital alterations that went into making that model look like that. It’s not about work. Those bodies aren’t achievable with work- the models themselves, who work out for hours a day and follow very strict diets, don’t look like that in real life either. Pretending that those images are achievable through “hard work” is actually really damaging. It can lead to people engaging in dangerous diets and exercise regimens, taking untested supplements, and feeling that their lack of results is a moral failing because they’re not “working hard enough” (which decreases self esteem).

Then they start talking about actors and actresses who are asked to lose weight for movies, and one actress in particular who publicly complained that she was asked to lose 15 pounds for a role. Their takeaway is that the actress who complained is being lazy, that she was hired to be hot, and that she’s being ungrateful for the opportunity. A quick fact check suggests that the person they’re talking about is Jennifer Lawrence, who said she “was told by producers of a film to lose 15 pounds in two weeks." That’s a very different story to the one that they’re telling. To lose 15 pounds in two weeks, 5′9, 140 pound Jennifer Lawrence would have had to burn 52,500 calories. Even if she ate absolutely nothing and worked out at the level of an Olympic athlete 7 days a week, she would still have only burned 39,354 calories in two weeks. That’s still 3.75 pounds short of 15 pounds of weight loss. It was literally an impossible ask. Upon telling the producer that she thought the weight loss demands were not appropriate, “he said he didn’t know why everyone thought I was so fat, he thought I was ‘perfectly fuckable.'” And so to paint it as Jennifer Lawrence being lazy is a bit disingenuous. But I’m willing to accept that maybe they just didn’t have that context, because it seems like their goal wasn’t actually to have a discussion based in research or argumentation- it’s to make the point that people are overly sensitive now and asking the world to cater to them.

Closing this conversation out, I don’t think it’s wrong for studios to ask actors to change their appearance for a role. A big part of why people get cast for particular roles is their appearance, and as an actor, you have to be willing to adapt your appearance for the role. Just like you may be asked to dye your hair or wear colored contacts, I don’t think it’s necessarily wrong to ask an actor to gain or lose weight for a role (especially since both men and women are asked to do that, and the studio provides them with the support to be able to do that safely). Those bodies are achievable with work, and I don’t think it’s wrong to show those. But I think there’s a larger conversation to be had about who’s being asked to change their weight and why. Christian Bale lost 62 pounds for The Machinist because his character was supposed to be emaciated from his insomnia. The studio didn’t ask Bale to do that. He made the decision to do it on his own, even though it made sense for his character to be that thin. By contrast, Jennifer Lawrence was asked by the studio to lose 15 pounds to... what? Look hotter in the movie? Almost every female actress is expected to look a certain way in order to even be considered for a role, whereas men can be fat, mediocre looking, older, balding, and still be cast. Even when a woman is playing a role where being hot isn’t part of the narrative at all, she’s still expected to be hot. Even when you’re playing a character that’s “let themself go” or has “hit rock bottom”, the actress needs to look hot. For men, there’s not that same requirement. Having hot girls in your movie absolutely do get more people to see it, sure, but the cost is that you’re reinforcing the idea that women must be, above else, hot all the time.

So that’s that. Let’s move on to the second video, “No, It's Not "All Men"”, featuring comedian Iliza Shlesinger. I should say that I like Iliza quite a bit and I’ve seen her perform, so I’m curious to see where this goes. It’s also important to note they’ve been smoking weed, which... provides some context to this episode, I think.

So again, they start by bitching about this “beach body ready” ad that got “pulled in the UK” (actually just from the London underground) that Joe is so up in arms about. This time he shows the ad, and it turns out that it was pulled due to “concerns about a range of health and weight loss claims made in the ad”. The concern is false advertising. So again, to paint it as, “ugly women are too sensitive because some women are actually beautiful” is disingenuous, and serving the narrative that “people these days are too sensitive”. They’re also making the assumption that this ad hasn’t been digitally altered, which I find difficult to believe.

Iliza goes on to talk about how her boobs are real and some people ask her if they’re fake, and she doesn’t like that, and how women shouldn’t judge other women to their faces about how fake they perceive them to be. I think that’s a fine claim to make on an interpersonal level, but I also think that if we don’t start acknowledging all of the manipulation and work that goes into appearing “effortlessly beautiful”, we’re going to fall deeper into this beauty standard arms race. Iliza kind of gets a pass on this because she openly admits to having a “fake nose”. Then she makes a good point about how women will be hated no matter what they do, and so it’s important to remember that when someone doesn’t like you, it typically has more to do with them than it does with you. She also says that when you don’t like someone, it’s important to do some introspection to figure out where that’s coming from, which is also great advice. Then they wander into talking about how feminism doesn’t mean that you like women more than men or that you’re asking for special treatment, just that you support the idea of equality, and that’s fine. Joe rogan praises Iliza for being “a feminist, but not annoying”, which is gross.

Iliza then says that feminists who say, “all men” are part of the problem, and I think she’s just missing the point. When feminists say, “yes, all men”, what they mean is that all men are benefiting from male privilege, regardless of the actions that they’re taking (or not) to better that situation. People in positions of privilege have to acknowledge that privilege in order to be able to better the situation, and by separating yourself out as “not one of those men”, you’re saying “it’s not my problem because I’m one of the good ones, so I don’t have to think about myself critically or alter my behavior in any way.” That said, I think Iliza is right that that stance can be taken too far and serve to alienate the men who are allies in the feminist fight for equality.

Then, Iliza equates the phrases “all men are bad” and “all women are sluts”. I think this is a bad take; “all men are bad” is a generalization made by a marginalized group about a powerful group that they’ve been victimized by. Every woman I know has had some type of intimidating, frightening, dangerous, humiliating, or dehumanizing experience with a man during their lifetime. “All women are sluts” is a powerful group insulting a group that they marginalize, with the intention of controlling that group’s actions (by making them feel ashamed of being “slutty” they’ll stop being “sluts). “Slut” is also particularly charged in this scenario, because it centers maleness. What is a slut? A slut is (usually) a woman who sleeps with men but who won’t sleep with the man calling her a slut. Which, coming full circle, is why some women say “all men are bad”.

I get their larger point that generalizations are rarely helpful, but again, they’re making this false equivalency between a political slogan (”all men”), a gendered insult (“all women are sluts”), and random, unhelpful advice, (”women want you to slow down in the bedroom”). In the first case, the generalization serves a purpose- it’s to let men know that they’re not exempt because they’re a “good guy”. In the second case, it’s an insult that contributes to a gendered power structure. In the third case, it’s just shorthand for “the majority of women that we’ve surveyed” because repeating that phrase over and over again will take away from the point they’re trying to make (that maybe you could be better in bed by listening to the sluts, Joe).

All in all, I like this one better than the first one, but Joe Rogan hasn’t grown on me over the course of watching these videos.

#Anonymous #effys-closet #effys closet

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blogparanormalexpresso2stuff · 4 years

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youtube

Graham Hancock Explains the Mysteries of Atlantis and Göbekli Tepe

Published on Nov 23, 2020

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#gobekli tepe #graham hancock #ancient history #joe rogan

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sagehaleyofficial · 5 years

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HERE’S WHAT YOU MISSED THIS WEEK (10.30-11.5.19):

NEW MUSIC:

· Fresh off the release of their latest album NINE, Blink-182 joined Goody Grace as he bared his heart on his new song “Scumbag.” The release marks the second this year for Grace, who dropped “Wasting Time” in July.

· Earlier last Wednesday, Tom DeLonge took to Instagram to share a short teaser video of some new Angels and Airwaves music. The band dropped their track “Kiss & Tell” back in the summer, and now fans received a new music video for the song.

· To celebrate what was his favorite holiday, Lil Peep posthumously released his highly anticipated EP, Goth Angel Sinner. Originally announced in October 2017, the genre-bending EP is accompanied by the release of an official music video for the track “When I Lie.”

· PUP’s latest music video endeavor involved the band bringing their song “See You at Your Funeral” to the afterlife. Directed by Joe Stakun, the music video features the band members as various spooky characters.

· Alt singer-songwriter Skye unveiled his brand new track “Voices,” featuring late rapper XXXTentacion. The powerful new single also features an interpolation of the classic Blink-182 track, “I Miss You.”

· YUNGBLUD’s “Die a Little” made its debut on the season 3 soundtrack of the hit show, 13 Reasons Why, which dropped earlier this summer on August 23rd. Previously, ahead of his debut full-length, he teamed up with Charlotte Lawrence on “Falling Skies” for season 2.

· Rapper Blackbear announced the new song in a new interview with Capital FM, and says it will be out before the end of the year. The special track will feature a collaboration with YUNGBLUD and Marshmello.

· Foo Fighters have been releasing EPs of live tracks, covers and demo songs for the past few months and returned with yet another. The latest and seventh overall EP, 02050525, saw the band covering Jawbreaker and the Passions, as well as three demo tracks.

· Panic! at the Disco released their new song for the Frozen 2 soundtrack, “Into the Unknown.” While Elsa herself, Idina Menzel, performs the track in the movie, P!ATD recorded their own version for the end credits.

· Billie Eilish said in an Instagram story video she posted over the weekend there will be two new tracks coming shortly, as well as a new music video for her track “Xanny.” The musician didn’t give a timeline for the new songs or video.

TOUR ANNOUNCEMENTS:

· Twenty One Pilots were forced to postpone last week’s show in Salt Lake City due to unsafe conditions as a result of weather. Slated to perform at the Vivint Smart Home Arena, snowfall and slick roads made them unable to make it to the show on time.

· Motionless in White and Beartooth announced a co-headlining tour last Tuesday. The Diseased and Disguised Tour, which is inspired by each band’s most recent release, will kick off in January, with support acts and additional dates to be revealed in the coming weeks.

· Green Day played their third studio album, Dookie, in full during an intimate one-off show in Madrid last Wednesday. Celebrating the 25th anniversary of their breakthrough album, the band also added an additional 12 songs to the setlist.

· Poppy performed two songs live on WWE‘s NXT last Wednesday. Rocking the house at Full Sail University, she opened the show with “I Disagree” and escorted wrestler Io Shirai out to the ring with “Scary Mask.”

· Last week, Emo Night Phx celebrated Halloween with some incredible performances and resident DJs, including one from Jonny Craig, who took the stage to perform an Isles and Glaciers track. Prior to this, a rough demo of “Clush” was originally released in January 2009.

· After much teasing from the band members, Creeper finally made their return to the stage one year after breaking up. The band performed an intimate gig at Club 229 in London, debuting their latest single “Born Cold.”

· After a few days of speculation at a new tour, Sleeping With Sirens unveiled their next round of dates. Set It Off, Belmont and Point North will be joining the band on the Medicine Tour in January.

· Poppy announced the I Disagree U.S. Tour, inspired by her upcoming album of the same name. Kicking off in late January in San Francisco, the dates run through February just prior to a previously announced U.K./Europe tour in March.

· Grayscale revealed their Nella Vita North American Tour Part II 2020 tour dates. Hot Mulligan, WSTR, and LURK will join them on the run, which kicks off in January in Wilmington, Delaware.

OTHER NEWS:

· SWMRS guitarist/vocalist Max Becker was sent to the intensive care unit and is now in a rehab clinic following an encounter with black ice in Denver. Two touring crew members, Natalie Somekh and Josh Berl, were also injured in the van accident.

· Arizona-based alt act Halocene shared a 12-minute video outlining why they believe The Masked Singer Australia ripped their arrangement (which includes an original riff) of the Billie Eilish mega-hit “Bad Guy.” The band first shared their cover in April.

· In the latest issue of Rolling Stone magazine, Green Day vocalist Billie Joe Armstrong sat down with Billie Eilish for a special “Musicians on Musicians” issue. Eilish expressed her love of Green Day while Armstrong shared his admiration for the 17-year-old artist’s music.

· Filmmaker/actor Kevin Smith recently joined Joe Rogan on his podcast, “The Joe Rogan Experience,” for episode #1372. While there, he helped confirm that Rogan is a cousin of My Chemical Romance’s frontman and bassist, Gerard and Mikey Way.

· Taylor Swift recently joined scene royalty at the self-described “most emo dinner party” alongside Fall Out Boy’s Pete Wentz and Panic! at the Disco’s Brendon Urie. Swift hit Beats 1 with Zane Lowe, where she discussed the event.

· At 2 p.m. ET on Halloween, activity began on a new Instagram account for My Chemical Romance. An hour later, the band triumphantly marked their return to the scene by announcing a return show on their Instagram, which sold out instantly.

· After almost a year’s worth a teasing and a six-episode series on YouTube, the Shane x Jeffree Conspiracy Collection officially launched. The long-awaited collab of the two YouTube megastars, the launch broke both Star and Morphe’s websites in the process.

· Actress Kristen Stewart played host to this past weekend’s Saturday Night Live episode, donning iconic Hayley Williams hair and singing the pop-punk parody, “Corporate Nightmare.” The (real-life) Paramore frontwoman later saw the skit, and took to Instagram to create the perfect memes.

___

Check in next Tuesday for more “Posi Talk with Sage Haley,” only at @sagehaleyofficial!

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ashtray-girl · 5 years

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Songs that are about Johnny Marr (probably)

THE SMITHS

The Smiths

Hand In Glove → the lyrics are about a deep friendship and Johnny himself said he thinks it’s about his relationship with Morrissey because they were “only hanging out with each other at the time”.

Meat Is Murder

I Want The One I Can’t Have → all about unrequited love. A possible reference in the title to Elizabeth Smart’s novella By Grand Central Station I Sat Down And Wept – “I want the one I want.” Also: “Meet me in the Alley” is a 1972 song by John Mars.

Well I Wonder → a desperate plea by Morrissey for someone to keep him in mind. There are several loans from By Grand Central Station... (which by the way is about a deeply emotional, doomed and unrequited love), namely: “Well I wonder, do you hear me when you sleep?” / “Is it possible he can not hear me when he lies so close, so lightly asleep?” , “My dear, my darling, do you hear me when you sleep?” “This is the fierce last stand of what I am.” This song was never performed live and Johnny said it was because they were afraid they wouldn’t be able to capture its full magic, which makes sense, but I also get the feeling that this song was particularly special to both Morrissey and Johnny, for reasons which went beyond its lyricism and music.

The Queen Is Dead

I Know It’s Over → conceived just a few months after Johnny married his girlfriend Angie while The Smiths were on tour in the US. Morrissey was Johnny’s witness. The lyrics mention a wedding and a failed relationship that “never really began” because “love is natural and real, but not for such as you and I, my love” (where “natural and real” could easily be interpreted as “straight”.)

The Boy With The Thorn In His Side → even though Morrissey said that this was a song about his tormented relationship with the music industry (that being the “thorn” in his side), in my opinion there’s also another interpretation. Just as in Well I Wonder, there are a few loans from By Grand Central Station… namely: “How can they see the love in our eyes and still they don’t believe us?” / “They intercepted our glances because of what was in our eyes.” “And if they don’t believe us now, will they ever believe us?” / “Did they see such flagrant proof and still not believe?”. These are especially relevant because they come from a point in the book in which the author is specifically talking about her love for a married man (poet George Barker) and about how they were attempting to see each other in spite of that, which caused them to get arrested while together in Arizona for “moral turpitude”.

There Is A Light That Never Goes Out → references being driven around in someone’s car. Morrissey and Johnny apparently used to go on long car rides together, Morrissey talked about how he found cars to be “erotic” and there are multiple examples of that in his lyrics (see This Charming Man, That Joke Isn’t Funny Anymore etc.). Also, the lyrics are, once again, about unrequited love.

Strangeways Here We Come (the pining here was at its finest imo)

A Rush And A Push And The Land Is Ours → the title is a reference to a traditional Irish rallying call which Oscar Wilde’s mother, who wrote Irish nationalist prose and poetry, used to urge the Irish to rise up against the British army. “Some eighteen months ago” could be a reference to Oscar Wilde being sentenced to hard labor for soliciting male prostitutes. The lyrics are about the “pain and strain” of being in love despite not wanting to. Also, the way he sings “so phone me, phone me” sounds like he’s saying “f*ck me”. (I thought I was the only one who thought that, but apparently not.)

I Started Something I Couldn’t Finish → the lyrics are about going too far with someone who can’t/doesn’t want to be pushed. Another reference to “eighteen months’ hard labor”. The “Okay Stephen, do that again” at the end is aimed at producer Stephen Street, but Morrissey is also called Steven. Why was that left in the recording? Was it fully intentional? Who wants Stephen to do what again? Maybe the other person mentioned in the song doesn’t actually mind being pushed out of their comfort zone by Morrissey, they just lack the courage to seal the whole deal for whatever reason.

Girlfriend In A Coma → according to the lyrics, Morrissey doesn’t seem to like this woman, yet he feels guilty about it and doesn’t wish her ill. Could this be a reference to Angie Marr, who he sees as an obstacle between him and Johnny, despite having a good opinion of her as a person?

Stop Me If You Think You’ve Heard This One Before → by now, Morrissey may have realized that he has written an awful lot about being in love with someone who doesn’t reciprocate. Also, his love for this other person must be so obvious by now, he’s said almost everything on the subject and yet he still wants to make clear that: “Nothing’s changed, I still love you, only slightly less than I used to, my love.” By now, his working relationship with Johnny was starting to deteriorate. Another interesting note is: “Oh, who said I’d lied to her because I never? I never!”. While this is grammatically incorrect, it’s also a common way of speaking in most Northern cities, so this reads like a quote that someone may have uttered at some point and this may be why, when called out on it, Morrissey said it was meant to be written that way. It’s worth pointing out how Morrissey liked to correct Johnny’s grammar in interviews and he even mentioned in his Autobiography how Johnny’s way of speaking was “shockingly bad”.

Death At One’s Elbow → the song’s title was taken from the diaries of 60s playwright Joe Orton, beaten to death with a hammer by his lover Kenneth Halliwell. Johnny’s opinion on the song was ambivalent. He stated that: “It was good sometimes to have a track that wasn’t trying to win the war like There Is A Light That Never Goes Out,” he said. "It was almost like, ‘We have the right to be slightly less intense.’ I liked Morrissey’s singing and I liked my own backing vocals” and yet, when asked by Johnny Rogan about it for his book Morrissey & Marr: The Severed Alliance, he sounded much less pleased with it, saying: “Oh God, did we really write that?”.

I Won’t Share You → widely believed by everyone to be about Morrissey’s possessive feelings towards Johnny (who not only didn’t mind, but seemed actually quite pleased about it).

Others

Wonderful Woman → It was originally titled “What Do You See In Him?” and included lyrics such as: “Cheat the Life out of me as you walk hand in hand / And I try, and I try, but I will never understand / What do you see in her?” “That she will plague you / And I will be glad / Yes, she will leave you / And I will be glad.” The final version, albeit quite different, is still about a woman who seems quite unpleasant but to whom the protagonist feels irresistibly drawn to. With the final: “When she calls me I do not walk, I run” there’s an acknowledgment of co-dependence in the relationship but, even though the first person is used, this could have been a way to write from someone else’s point of view. Specifically, the boyfriend of someone with a very domineering personality. (Basically, he’s writing from Johnny’s perspective).

Ask → the lyrics are about being too shy to make a move on someone, yet Morrissey seems to be eager to take on board whatever the other person has in mind. There’s pining and there’s the possibility of a relationship which looks promising but never amounts to anything substantial because the people involved don’t have the courage to take it any further, despite wanting to.

These Things Take Time → mentions of a relationship which is impeded by the fact that the other person is engaged to someone else (“I’m spellbound, but a woman divides”). Johnny was already with Angie at the time. “And the hills are alive with celibate cries”. Morrissey had been talking to the press about being celibate and not really interested in romantic/sexual relationships, but the fact that the object of his desire was someone he knew he couldn’t have could have been part of the reason why he felt he had to take that stance. Also, it seems like he already felt like this relationship wouldn’t last, with the other person “leaving him behind” in the end.

Is It Really So Strange? → I’m not so sure about this one, but I’m including it because the lyrics are about traveling from North to South and about loving someone in spite of unfavorable circumstances. Also, according to Johnny (from Mozipedia): “Road trips were a big part of the group. We opted to live in Manchester most of the time but were always traveling back and forth to London. It was in cars on the motorway where myself and Morrissey did a lot of our profound talking and thinking and listening. We loved it, because we’d take off at half three in the morning back to Manchester or down to London, just razzing about. That came out in ‘Is It Really So Strange?’”. As a matter of fact, Morrissey included the track on Rank, which he compiled alone a year after the band’s demise, and I feel like every song on that record was put in that particular order for a particular reason (if you look at the tracklist it basically tells the whole story of The Smiths, from start to finish… he even included The Draize Train which he claimed he didn’t like, which is why he refused to put lyrics on it, so I can only assume he did that as a conciliatory gesture towards Johnny).

I Keep Mine Hidden → the last song The Smiths ever recorded, it is, like “I Won’t Share You”, widely believed to be a direct message from Morrissey to Johnny, who was about to leave the band. A plea for understanding, he seems to imply that for Johnny is much easier to lie (about what?) while hiding in plain sight (“But it’s so easy for you, because you let yours flail into public view”), while Morrissey is forced to keep HIS hidden. IT could be his emotions and the fact that he feels the need to repress them because of some trauma in his past (“I’m a twenty-eight digit combination to unlock, with a past where to be touched meant to be mental.”), but IT could also be a relationship. Johnny was married, while at the time Morrissey showed no public signs of being involved with anyone and had yet to relinquish his celibate image, which may have been frustrating if he was actually interested in someone but couldn’t voice it.

MORRISSEY

Viva Hate

Alsatian Cousin → literally the first sentence on the first record Morrissey released post-Smiths is: “Were you and he lovers? And would you say so if you were?”. While the rest of the song is pretty ambiguous is interesting to note that, according to Mozipedia, Johnny was, at the time, the proud owner of two Alsatian dogs.

Angel Angel Down We Go Together → Morrissey himself admitted that this song was about Johnny. He also said it’s the only song he’d written with him in mind, post-Smiths, and that it was about how sorry he felt to see him being taken advantage of by the music industry. While the full truth of this statement may be debatable, it’s still worth noting how the lyrics end with the repeated: “I love you more than life”.

Late Night, Maudlin Street → While Morrissey said that this song was about his isolating childhood during the 70s, I think the lyrics go much deeper than that. Apparently, when Johnny wanted to leave the band, Morrissey took it badly enough for people to start worrying about the fact that he might take his own life. Both Stephen Street and Grant Showbiz admitted to this, with Showbiz even spending the night at Morrissey’s house to keep an eye on him. There’s also a rumor about the fact that Morrissey actually did attempt to kill himself by baking a cake with loads of sleeping pills in it, eating it and then phoning Johnny, admitting that he loved him and asking him to come seeing him before he died, with Johnny calling an ambulance instead. (“I came home late one night, everyone had gone to bed, nobody stays up for you, I had sixteen stitches all around my head / The last bus I missed to Maudlin Street so, he drove me home in the van...”) This would also explain the lyrics: “And I know I took strange pills, but I never meant to hurt you”. If this story was true, then I feel like moving away from Maudlin Street could actually be a metaphor for committing suicide. (“Good-bye house, forever! I never stole a happy hour around here”, “I am moving house, a half-life disappears today / Every hag waves me on, secretly wishing me gone / Well, I will be soon / Oh, I will be soon.”) There are also more loans from Elizabeth Smart’s By Grand Central Station… namely: “They took you away in a police car / Dear Inspector, don’t you know? Don’t you care? Don’t you know about love?”. This part comes from the same chapter which probably inspired part of the lyrics for The Boy With The Thorn In His Side and which is about people putting themselves between a loving couple. Also, according to Mozipedia, during the making of Viva Hate, Morrissey prepared the artwork for the final Smiths single, Last Night I Dreamt… which was originally going to include an inscription on the back sleeve saying: “When I sleep with that picture beside me… I really think it’s you.”, which would explain the lyrics: “When I sleep with that framed picture of you beside my bed / Oh, it’s childish and it’s silly, but I think it’s you in my room, by the bed.” The single’s inner sleeve was also going to feature a lyric from Well I Wonder, “Please keep me in mind”, so these may very well have been messages for Johnny. Worthy of interest are also the parts about love at first sight and seeing each other with no clothes on.

Suedehead → the lyrics are about someone sticking around Morrissey even though they know it hurts him. Suedeheads were a subculture in early 1970’s England that split off from the skinheads and came to popular notice in a book by Richard Allen. Morrissey apparently read the book, but according to Len Brown’s Meetings with Morrissey interviews, the title has little to do with the subject matter of the song: M: I did happen to read the book when it came out and I was quite interested in the whole Richard Allen cult. But really I just like the word ‘suedehead’." LB: “So it’s not even based on an episode from Suedehead?” M: “No, not really.” LB: “And it’s not about anyone in particular?” M: “Yes, it is, but I’d rather not give any addresses and phone numbers at this stage. But the most interesting nugget of information comes once again from Mozipedia, which says it may be worth taking into consideration a recollection from Johnny about a period during the latter half of The Smiths’ career when he decided to ‘get a motorbike and get a suedehead’. ‘That was my mantra for a while. Gotta get a suedehead! Gotta get a suedehead!’ […] ‘I think I may have brought that word into the vernacular, I might be wrong. But that’s what I did, got myself a motorbike and a suedehead haircut. To cloud further autobiographical analysis, Morrissey also said that he has never kept a diary, even though “I make so many records that in a peculiar way that becomes like a personal diary”. And as far as the repeated “It was a good lay” at the end, he said he just made it up (which I personally doubt, but I guess we’ll never know for sure).

Break Up The Family → I feel like the title is a metaphor for The Smiths splitting up. “You say break up the family and let’s begin to live our lives”. It was Johnny who wanted to ‘take a break’ from the band, which Morrissey didn’t approve of, so this may very well be about that particular moment when Johnny told him he’d had enough. There’s yet another reference to being driven home by someone: “Hailstones, driven home in his car- no breaks? I don’t mind.” Which reminds me of There Is A Light… “And if a double-decker bus crashes into us, to die by your side it’s such a heavenly way to die.”

I Don’t Mind If You Forget Me → when Morrissey started working on Viva Hate, one of the earliest songs he was working on was called I Don’t Want Us To Finish, with Us probably being him and Johnny. It’s said the song was later scrapped, but I feel like it may actually have been turned into this one instead. In the lyrics, Morrissey is trying to convince himself that he doesn’t mind if the person he cares about the most ends up forgetting him, but clearly he does care, otherwise he wouldn’t have written an entire song about it. “The pressure to change, to move on / Was strange and very strong / So this is why I tell you / I really do understand / Bye bye”. I feel like this is another reference to Johnny’s departure, because it was him who wanted a change of direction for the band’s future, while Morrissey seemed to be happy for them to stay as they were.

Treat Me Like A Human Being → this was a demo which was abandoned and later released in 2012 on a Viva Hate reissue, taking the place as track 9 instead of The Ordinary Boys. The lyrics are a plea by Morrissey for someone to acknowledge his feelings and have some compassion for him. The reason I’m including it in this list is because of the lyric: “Leave all your hate behind you”, which could be interpreted as a reference to the fact that, after The Smiths split up, Johnny had started bad-mouthing him in the press. Worthy of interest is also: “Three words could change my life / Yet you treat me like you never care”. I wonder what those three words might be… “Stop being racist”, maybe?

Oh Well, I’ll Never Learn → Suedehead b-side, there’s not much to say about this one but I do find the lyrics “I found a fountain of youth / And I fell in / How could I ever win?” interesting, if anything because they make me think of the fact that Johnny, being four years younger than Morrissey, was the one who put The Smiths together. It’s also been mentioned how energetic he was, fully in contrast with Morrissey’s coy personality, and yet Johnny’s energy would prove infectious, providing him with an unexpected source of drive and creativity and making him feel rejuvenated, much like a fountain of youth. Also, right at the beginning it says: “Looking up at the sign / It said: PLEASE KEEP AWAY / And so in I ran” which can be read in many ways, but would make perfect sense in the context of falling in love with someone you can’t have.

Bona Drag

He Knows I’d Love To See Him → the lyrics are about Morrissey wanting to rekindle his relationship with someone he hasn’t seen for quite some time. Even though he’s never admitted to it, I feel like this has to be about Johnny because of the line: “’Cause when I lived in the arse of the world”. It’s common knowledge that Johnny was the one who first reached out to Morrissey about forming a band by showing up to his house and later, in an interview, he said that Johnny’s initiative probably saved his life. Also, the lyric: “My name still conjures up deadly deeds / And a bad taste in the mouth” could be yet another reference to the fact that The Smiths’ split-up hadn’t been exactly amicable and Johnny was talking badly about him in the press. Still, even though Morrissey makes his feelings known right from the title (he wish he could see him and still wishes him happiness), the final: “He doesn’t know” suggests that the other person is not aware of Morrissey’s magnanimity. Also, in an interview of the same period (1990), he was asked: “If Johnny phoned and asked to work with you again, what would you say?” to which he replied: “It’s no secret I would be on the next bus to his house”. So, it seems like the song might have reflected his actual feelings.

Yes, I Am Blind → the reason I’m including this is because of the lyric: “Yes, I am blind / But I do see / Evil people prosper / Over the likes of you and me, always”. Which reminds me a lot of: “And people who are weaker than you and I / they take what they want from life” from A Rush And A Push… which I think was directed to Johnny as well. Pretty interesting are also the lyrics: “Love’s young dream / I’m the one who shopped you / I’m the one who stopped you / ‘Cause in my sorry ways I love you” and: “Love’s young dream / Are you sorry for what you’re done? / Well, you’re not the only one / And in my sorry ways I love you”. This sounds like ‘Love’s young dream’ was the one who made the first move towards Morrissey but was then pushed away by the man himself, maybe because he realized this person didn’t actually love him as much as he thought. Also, that repeated: “And in my sorry ways I love you” reminds me a lot of that line in Speedway, “In my own strange way / I’ve always been true to you / In my own sick way / I’ll always stay true to you” (more on that later). This is one of those songs that has no explicit references to Johnny or to events surrounding him, but it has such a feeling of longing to it, I can’t help but think it may have been written with him in mind.

Happy Lovers At Last United → Johnny and Angie split up for a brief period back in 1983, just before The Smiths were to go on tour in the USA for the first time, but got back together once the band were back in the UK. This song talks about Morrissey helping a couple of friends reuniting and then feeling sad because he feels like they don’t want him nor need him anymore. Obviously I don’t know why or how Johnny and Angie actually got back together… according to The Severed Alliance, they had split up in the first place because Johnny had gotten closer to an ex of his and it was actually Joe Moss, the band’s first manager and Johnny’s friend, who suggested he and Angie should get married. Morrissey’s role in this whole thing, on the other hand, is never mentioned, so the only thing we can rely on are these lyrics.

Kill Uncle

Tony The Pony → This song is a pretty harsh condemnation of someone who lets himself being repeatedly taken advantage of by anyone and personally, I see it as the flipside of Angel Angel Down We Go Together. The reason being, they both deal with a similar theme, but in two completely different ways. While Angel Angel is sad but compassionate, this one is resentful and dripping with exasperation. “Just don’t say I didn’t warn you / Always nagging big brother / He’s only looking out for you”. Being older than Johnny, Morrissey was the one who tried to refrain him from doing stuff he didn’t approve of (like working with anyone who wasn’t him). “Tony the pony / So, that’s what they call you now? / When you’re free outside / So cold and hard and in control / And… there’s a free ride on Tony the pony”. Again, Johnny was the one who left the band, who wanted a change of direction and who, right after The Smiths split up, started playing with loads of different people (Bryan Ferry, Talking Heads, The Pretenders, Bernard Sumner…) and that would make any control freak (such as Morrissey undoubtedly is) very bitter very quickly. He’s basically calling Johnny a (music) slut, who anyone can try and hire for a while. “Oh, why do you always want to stop me / From doing the things in life that make me happy? / And when I’m outside with friends, laughing loudly / Why do you always want to stop me?” and immediately after: “Oh, I would never / I would never”. This reads like a dialogue, with Tony the pony first asking Morrissey why he always has to spoil his fun and Morrissey replying that he would never dream of doing such a thing. Right at the end though, the bitterness comes right through with: “I will never say I told you so / or how I knew that something bad would happen to you / I don’t want to say I told you so / oh, but Tony, I told you so!”. I wish there were more specific references (like… what did happen to Tony that was so bad?), but I feel like my initial point still stands.

The Loop → Sing Your Life b-side, the lyrics are a plea for someone to call him if he needs him. “So one day, when you’re bored / By all means call / Because you can do / But you might not get through”. I find the last line particularly interesting because it reveals that Morrissey’s professed availability has an expire date after all. As for the identity of this plea’s addressee, I’m just gonna quote Mozipedia: “The singer’s short message to an old friend telling them ‘by all means call me’ and inevitably interpreted by Smiths romantics as being directed towards Marr.” Apparently, Morrissey was especially proud of this song, even calling it his favourite at the time.

Your Arsenal

You’re Gonna Need Someone On Your Side → This is another one which I have doubts on (the lyrics are so vague they could be about anyone, really), but Verse 2 is the one I find the most interesting: “Someone kindly told me that you’d wasted eight of nine lives / Oh, give yourself a break before you break down / You’re gonna need someone on your side”. Johnny was known to be a workaholic, even compromising his own health by devoting all of his time to any project he was working on. He also mentioned how alcohol and drugs became a problem for him in the 90s, how he used them to cope with stress, and by this time he was working with Bernard Sumner on Electronic, so my guess is that they were leading quite a hectic lifestyle. Considering him and Morrissey were still not talking to each other, it would make sense for Morrissey to know what he was up to through friends they had in common and if they had told him Johnny was still working himself to the point of exhaustion, it would make sense for him to get worried about him, hence this song, which is about being supportive through concern for someone. The other interesting part is the ending: “And here I am! / Well, you don’t need to look so pleased”. It feels like Morrissey knows the other person wouldn’t necessarily want his support, even though that doesn’t stop him from providing it, hoping the other person might come around eventually.

Tomorrow → The reason I’m including it on this list is this part: “All I ask of you is one thing that you’ll never do / Would you put your arms around me? / I won’t tell anybody.” which, even though the connection is tenuous, reminds me of this bit from by Grand Central Station… “I am lonely. I cannot be a female saint. I want the one I want. He is the one I picked out from the world. I picked him out in cold deliberation. But the passion was not cold. It kindled me. It kindled the world. Love, love, give my heart ease, put your arms round me, give my heart ease. Feel the little bastard.” It could be about Johnny or it could be about someone else entirely. At this point, some time had passed since The Smiths’ demise and who knows what Morrissey had been exactly up to (and with whom)? The one thing I’m quite sure of is that, considering how much he took from it, Morrissey used By Grand Central Station… as a way to express and sublimate his conflicting feelings towards Johnny (I might make a separate, more in-depth analysis on that in the future).

Vauxhall and I (Vauxhall is both an area of London noted for its gay clubs AND a British car manufacturer, so it looks like Morrissey’s car kink is still alive and well).

Billy Budd → from Mozipedia: “Taking its title from the 1960 film Billy Budd, based upon the posthumously published novella of Moby Dick author Herman Melville, Morrissey uses the term as a playful nickname for a long-standing and long-suffering companion. As he describes, their relationship provokes public ridicule and discrimination, so much so that Morrissey comically volunteers to have his legs amputated as a sacrifice for Billy’s freedom. The elusive nature of the lyrics offers few clues as to the identity of ‘Billy Budd’ beyond the mention of ‘12 years on’. Since the song was released in 1994 (though recorded in 1993) the line was interpreted by many as a reference to Johnny Marr whom he ‘took up with’ 12 years earlier in 1982. This theory is somewhat compounded by the outrageously spooky coincidence that in 1888 Melville published a collection of poetry titled John Marr and Other Sailors. The song also includes what appears to be another fleeting citation from one of Morrissey’s favourite sources, Elizabeth Smart’s By Grand Central Station… ([‘they intercepted our glances because of] what was in our eyes’)”. There’s also an audio floating around in which Morrissey changes the lyrics from “but now it’s 12 years on” to “now it’s 15 years on” in 1997, 15 years after he met Johnny. As for the Melville references, I highly recommend you go and read his ‘John Marr’ poem in its entirety, but this is my favourite part: - I yearn as ye. But rafts that strain, Parted, shall they lock again? Twined we were, entwined, then riven, Ever to new embracements driven, Shifting gulf-weed of the main! And how if one here shift no more, Lodged by the flinging surge ashore? Nor less, as now, in eve's decline, Your shadowy fellowship is mine. Ye float around me, form and feature:-- Tattooings, ear-rings, love-locks curled;

Speedway → from Mozipedia: “The detail that Johnny Marr once worked at a speedway in his teens is enough to satisfy some theorists that the song is a coded address to the ex-Smiths guitarist, ignoring the fact that at the time of recording Morrissey and Marr were on cordial terms”. Personally, I don’t agree with this (partial) dismissal. The fact that they were on good terms at the time doesn’t mean that everything between them had necessarily been solved. I’d like to focus on this part, specifically: “I could have mentioned your name / I could have dragged you in / Guilt by implication, by association / I’ve always been true to you / In my own strange way / I’ve always been true to you / In my own sick way / I’ll always stay true to you”. Let’s go back to Billy Budd for a moment: “I said, Billy Budd / I would happily lose both of my legs / Oh, if it meant you could be free”. Free from what, exactly? From expectations? From life itself? Looks like Johnny/Billy Budd had a secret burden weighing down on him, and now onto Speedway: “I could have mentioned your name” in regards to what? “Guilt by implication, by association” so, the burden Johnny/Billy Budd carried was also shared by Morrissey? And what could be so heinous, so scandalous as to require this eternal silent loyalty? Could it be that the relationship between Johnny and Morrissey went deeper than everyone thought or liked to admit? Could it be that they shared a bond which wasn’t just professional or even friendly, but that bordered instead on all-consuming, romantic obsession? He then says that, in his own “strange way”, he’s always been loyal to him. The way he sings it though, putting quite a bit of emphasis on these two specific words, makes me think he’s hinting to Strangeways Here We Come, which both him and Johnny claimed was their best album and also the last one they recorded together. Talking about the song, he said: “I believe in my loyalty which is as developed as possible.” So at the end, when he goes: “In my own sick way / I’ll always stay true to you” it looks like whatever happens, the secret they share is so big and important it has to stay hidden no matter what. Morrissey is reassuring him that, if it ever gets out, it won’t be because of him. “All of the rumours keeping me grounded / I never said, I never said / That they were completely unfounded.” “And all those lies, written lies, twisted lies / Well, they weren’t lies, they weren’t lies, they weren’t lies.” According to Mozipedia: “It was only a decade later that Morrissey ended all further debate by admitting, somewhat flippantly, that the lyrics were ‘probably’ just his way of winding up his detractors at the time.” We all know that Morrissey has been at the center of many a storm throughout his career, but what’s the oldest one, the one that has been the most recurring, the one most journalists seem to always come back to, in the end? His sexuality. His sexual and romantic relationships (or lack thereof). His self-admitted celibacy, right at the beginning of his career, which immediately set him apart from the rest of his colleagues and sparked instant curiosity. The vagueness, the hints, the lack of evidence. Is he gay? Bisexual? Asexual? Or really just hopeless when it comes to human connection? When they don’t have a definite answer, some people invent it, even if it’s just to make things more interesting. So, there you have it. Journalists creating rumours out of thin air just to sell a few more papers. Journalists who encourage endless speculations on the most private aspects of an individual’s life. His lyrics are dissected, his friendships scrutinised just to find that final puzzle piece, the one which will make everyone go: “Ah, finally, there it is! I knew he was!”. But more often than not, Morrissey ends up beating them at their same game. He muddies the waters, he hides his tracks. Many of the songs which people could argue are about Johnny are released as b-sides. Is this really a coincidence? To me, this song represents closure. It’s Morrissey’s way of saying: ‘Look, I know we’ve been through a lot but, no matter what, I will protect you. I won’t rat you out’. At the time, it looked like Morrissey had finally found love with Jake Walters, his driver, and I think most of this record and the stuff he wrote after is about him. But if Johnny was his first real love, then this sounds like the final vent, the definite acknowledgment of what has been, before leaving the past behind for greener pastures.

You Are The Quarry

Never Played Symphonies → B-side of Irish Blood, English Heart, the lyrics are about Morrissey laying on his metaphorical deathbed and looking at all the people who cared about him, but he’s not able to see them because he’s focused on the Never Played Symphonies of the title, which are the people he didn’t get to be with. “You were one, you meant to be one / And you jumped into my face and laughed / And kissed me on the cheek and then were gone forever… not quite”. This is a bit of a reach, but there’s a gif floating around from an old movie of The Smiths backstage in Sheffield in 1984 where Johnny and Morrissey are looking at the camera, then Johnny leans into Morrissey as if he’s about to kiss him on the cheek, but Morrissey raises his hands and points at him, stopping him. I don’t know for sure if he wrote this whole song with Johnny in mind, but that was the first thing I thought upon reading that line. Also, that final “… not quite” becomes significant if you think about their relationship post-Smiths. They spent years not talking to each other, then they made up and were on good terms for a while, then there was the whole Joyce trial and they grew distant once again. But even if Johnny has been gone from Morrissey’s life for quite some time, he has never really gone, if you know what I mean. And he probably never will be, because their shared history is impossible to ignore. The final part: “You were one, you knew you were one / And you slipped right through my fingers / No not literally but metaphorically / And now you’re all I see as the light fades.” makes me think that whatever happened between them, even if it was physical, was mostly felt on Morrissey’s part (it reminds me of that quote in his Autobiography, “It was probably nothing, but it felt like the world”). The reason I think this is about Johnny is that “you’re all I see as the light fades”, as if to say: the light has finally gone out, and now it’s just you.

World Peace Is None Of Your Business

Forgive Someone → a bonus track on the deluxe edition, it sounds like Morrissey’s been reminiscing on past grievances. “Betray you with a sword / I would slit my own throat first of all, I will”. This reminds me of Speedway’s repeated declarations of eternal loyalty. “The black peat of the hills / When I was still ill”. This has to be a reference to The Smiths’ song Still Ill, even though “the black peat of the hills” also reminds me of These Things Take Time: “… and the hills are alive with celibate cries”. It’s like he’s thinking about his late adolescence, when he was lonely and depressed, before Johnny came to save him. “And then recall if you can / How all this even began / Forgive someone”. This looks like Morrissey is asking Johnny to think about how their legacy came to be and to forgive him for any mistakes he made. “Shorts and supports and faulty shower heads / At track and field we dreamt of our beds / In the bleachers you sit with your legs spread, smiling / ‘Here’s one thing you’ll never have’”. I feel like Morrissey’s past car kink has been replaced by a runner kink, especially considering the fact he later wrote List of the Lost, in which the main characters are track runners. The final, repeated “Our truth will die with me” reminds me once again of Speedway’s ending: “In my own sick way, I’ll always stay true to you”. In conclusion, whatever happened between Johnny and him will remain between the two of them, at least until Morrissey is alive.

#the smiths #morrissey #johnny marr #marrissey #this has been quite a ride my dudes #good luck to anyone who decides to read this

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the-software-club-blog · 7 years

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PUBLIC SPEAKING BLACK BELT - Simon Sinek on London Real

PUBLIC SPEAKING BLACK BELT – Simon Sinek on London Real

Simon Sinek discusses his public speaking experiences. FREE FULL EPISODE: https://londonrealacademy.com/episodes/simon-sinek-start-with-why/ Described as “a visionary thinker with a rare intellect,” Sinek teaches leaders and organizations how to inspire people. With a bold goal to help build a world in which the vast majority of…

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brn1029 · 2 years

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Time for today’s Rock Report, brought to you by Meriwether’s bistro! swing by for, breakfast, brunch lunch or dinner at Meriwether’s Bistro inside Hells Canyon Grand Hotel in Lewiston. You’ll find bottomless soup and bread for only 8 bucks from 11am till closing! And Join Meriwethers Bistro's loyalty program and get a complimentary dessert or appetizer. Every dollar you spend equals one point and get DOUBLE points during happy hour and Sunday brunch.

David Crosby and Stephen Stills have joined their Crosby, Stills, Nash & Young bandmates in demanding that their music be pulled from Spotify in protest against misinformation spread about Covid vaccines on the streaming service. It was Neil Young who first made such a request to his management team and record label last month, accusing podcaster Joe Rogan of spreading misinformation about the Covid vaccine.

Spotify agreed to remove his music from its platform. Graham Nash followed suit this week, seeking the removal of his solo recordings from Spotify. The remaining two bandmates joined them on Wednesday.

Expressing solidarity with Young, all the CSNY members issued a joint statement urging their labels to remove the band catalog from Spotify along with their solo works."We support Neil and we agree with him that there is dangerous disinformation being aired on Spotify's Joe Rogan podcast. While we always value alternate points of view, knowingly spreading disinformation during this global pandemic has deadly consequences. Until real action is taken to show that a concern for humanity must be balanced with commerce, we don't want our music — or the music we made together — to be on the same platform," the statement says.

A biopic on The Who's late drummer Keith Moon is set to start shooting in Britain this summer, according to Variety. The biopic is tentatively titled The Real Me, based on a song on the Who album Quadrophenia. Who members Roger Daltrey and Pete Townshend are on board as executive producers, while Paul Whittington is directing the biopic based on script penned by Jeff Pope. Los Angeles-based White Horse Pictures is producing the film. The production company is best known for Martin Scorsese's documentary George Harrison: Living in the Material World, as well as Ron Howard's Beatles documentary Eight Days a Week: The Touring Years. Nigel Sinclair, Oliver Veysey and Jeanne Elfant Festa are named as producers of the movie, along with longtime Who manager Bill Curbishley. Moon is regarded as one of rock music's greatest drummers ever, although he was also infamous for his alcohol and drug addiction. Moon died from a drug overdose at his London apartment in 1978 at only 32 years old.

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lindsaywesker · 2 years

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Good morning! I hope you slept well and feel rested? Currently sitting at my desk, in my study, attired only in my blue towelling robe, enjoying my first cuppa of the day. Welcome to the weekend! Looking forward to turning my alarm off and sleeping until whenever!

In solidarity with Neil Young and out of sheer disgust with the vaccine misinformation spread by Joe Rogan, I’ve seen lots of people on my Twitter feed deleting Spotify and migrating their playlists to Apple Music (where they can hear Neil Young.) I predict other acts will follow suit.

Naturally, many people in East London think that ‘propaganda’ is having a very close look at something but, jokes aside, propaganda is one of the real evils of this world; lies, rumours, untruths, half-truths, playing on prejudices and lots of emotive language in the pursuit of gain, in the pursuit of respectability and status. Example No. 1: Americans. They have tried to convince the world that Christopher Columbus ‘discovered’ America and even named a national holiday after him. All the while forgetting to mention that they massacred millions of indigenous people and simply stole their land. Propaganda. In this time of Coronavirus, it’s interesting to note that during the initial Spanish ‘conquest’ of the Americas, up to eight million indigenous people died, primarily through the spread of diseases. That’s right: they poisoned them! Looks like that ‘poisoning’ strategy still works? Example No. 2: Jeremy Corbyn. The Tory-owned press did an effective job of convincing the general public that Corbyn was both a terrorist sympathiser and an anti-Semite. Neither of which are true. But the public fell for it and the Tories installed their candidate. Propaganda. We know what happened next. Example No. 3: Boris Johnson. We are expected to believe that he’s doing a good job, and that he ‘delivered’ on Brexit and ‘delivered’ on Covid. To quote the brown-tongued Jacob Rees-Mogg, “He’s got all the big decisions right.” Propaganda. Very unwise to be several miles up Shit Creek without a paddle, but here we are!

I know this might sound obvious but I know a lot of people. I like a lot of people and I actually love a lot of people. My first priority is to take care of my family: pay the bills, keep them fed and watered. My next priority is to try and see all the wonderful people that I know. Next month, we’re having dinner with a couple we haven’t seen for almost three years. That’s not good enough! The guy has known me since I was 17. 45 years ago! It will take a major feat of organisation to see all my friends this year – well – as many as I can, but I will give it a good whack! To paraphrase the words of Jean Carne, I’ve got a lot of catching up to do!

Look forward to the pleasure of your company tomorrow at 1.00 p.m. for ‘The A-Z Of Mi-Soul Music’ (The Letter E Pt. 4.) The quickest two hours of my life!

Have a fabulous and funky Friday! I love you all. You’re probably thinking, “You don’t even know me!” but, if people can hate for no reason, I can love!

#mixcloud #mi soul #dj #lockdown #new blog #music #coronavirus #books #weekend

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avaliveradio · 4 years

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Jax Daily December 2020 Music Issue | Best Music and Podcasts of the year

What’s happening today in our Music and Art world?

From Podcasts to watch in 2021 to songs that are leading the Global streams in 2020 and which music group is setting up a content creation studio..

Don’t miss the Jax Daily Newsletter arriving on email to you daily featuring the latest in our music and art culture.

December 2020: In this Issue

Song that exceeded our expectations Globally in 2020

Podcasts you should be listening to

Why Spotify is invested heavily in Podcasting

What New Indie Music came out today : December 2020

How Artists like Liam Gallagher are debuting music today

Which music group is building content creation studios in LA and London

Get the scoop on social media apps on the rise

What will the music industry be like in 2021?

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Most Streamed Artists Globally

#1 : Puerto Rican rapper Bad Bunny claims the top spot with more than 8.3 billion streams this year from fans around the globe. His album YHLQMDLG—released in late February and featuring collaborations with Sech, Anuel AA, and Daddy Yankee—is the number one streamed album as well. The superb Puerto Rican vocalist is now the most streamed artist on Spotify globally, but has never had a UK hit – something he’s determined to change.

#2: is Drake : Drake Now Has Twice as Many Streaming Songs No. 1s as the Next Closest Act. "Toosie Slide" debuts at No. 1 on Billboard’s extends Drake's record with eight leaders on the chart. 55.5 million U.S. streams in its first week (ending April 9), according to Nielsen Music/MRC Data.

#3: is Latin star J Balvin : a Colombian reggaeton singer.. In March, J Balvin released his audiovisual album Colores, which took home the award for Best Urban Music Album at this year’s Latin Grammys. In addition to his many recent accomplishments, including a McDonald’s partnership and a Fortnite appearance, Balvin made the 2020 TIME 100 List.

#4: is the late rapper Juice WRLD from Chicago was the most-streamed artist on Spotify. His album “Legends Never Die” was the platform’s most-streamed album in the U.S., while Ricch’s “The Box” was the country’s most-streamed song.

#5: most streamed is The Weeknd : The Weeknd's "Blinding Lights" is Spotify's Top Song of 2020 with close to 1.6 billion plays. The single was the subject of a popular dance on the social media platform throughout the year.

Most Streamed Female Artist

#1 Billie Eilish continues her reign. ( for the second year in a row)

#2 Taylor Swift

#3 Ariana Grande

#4 : Dua Lipa

#5: Halsey

Most Streamed Songs Globally

#1: The most-streamed song of the year is The Weeknd’s “Blinding Lights,” which held out strong after being the second most-streamed song of the summer with almost 1.6 billion streams this year.

The Weeknd earned his first career GRAMMY wins for 2015, including Best Urban Contemporary Album for Beauty Behind The Madness but seemed to be Snubbed by The Grammy's this year ..

They Tweeted:

“The Grammys remain corrupt. You owe me, my fans and the industry transparency...”

#2: In the second spot, Australian ex-busker Tones And I’s viral 2019 earworm “Dance Monkey” released on 10 May 2019 as the second single from the debut EP The Kids Are Coming.

And who doesn’t secretly sing this song when it comes on the radio?? lol You know you do !!

#3 : Roddy Ricch’s “The Box” : "The Box" is a song by American rapper Roddy Ricch, released as the fourth single on January 10, 2020, from his debut studio album Please Excuse Me for Being Antisocial.

#4 : The very catchy “Roses – Imanbek Remix” by Imanbek and SAINt JHN : a song by American rapper Saint Jhn, originally released on July 22, 2016 and later included on his 2018 album Collection One. It was then remixed by Kazakh producer Imanbek and released as a single on September 18, 2019.

#5 : “Don’t Start Now” by Dua Lipa : a song by English singer Dua Lipa from her second studio album, Future Nostalgia. Lipa wrote the track with Caroline Ailin, Emily Warren, and its producer Ian Kirkpatrick.

Most Streamed Albums Globally of 2020

Bad Bunny’s YHLQMDLG with over 3.3 billion streams

The Weeknd’s After Hours

Post Malone’sHollywood’s Bleeding.

Harry Styles’ Fine Line

Dua Lipa’s Future Nostalgia