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The CBC Music Festival: Main Stage - Duration: 8:55:05.
For more infomation >> The CBC Music Festival: Main Stage - Duration: 8:55:05. -------------------------------------------
НЯШНАЯ НЕКО | АНИМЕ ПРИКОЛЫ | ANIME COUB | ANIME CRACK | ANIME MUSIC - Duration: 7:23.
For more infomation >> НЯШНАЯ НЕКО | АНИМЕ ПРИКОЛЫ | ANIME COUB | ANIME CRACK | ANIME MUSIC - Duration: 7:23. -------------------------------------------
Samida - Gesi Bağları (Turkish Folk Music) English lyrics - Duration: 2:58.
I'm wandering in Gesi Vineyards,
I've lost my lover..
Oh I seek.
I've lost my lover..
Oh I seek.
I trust in your only one greeting
Come and sit with me
I tell my affairs,
He/She doesn't take my point, what will I do with that lover
He/She doesn't take my point, what will I do with that lover
I've three bunches of roses in Gesi Vineyards
Hey, beware of God, there's death for you and me.
Hey, beware of God, there's death for you and me.
If there's death, there's persecution in this world
Don't leave me beyond mountains my poor mother
Nobody cries but my mother cries for my pain
Nobody cries but my mother cries for my pain
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BTS - Fake Love Live Reaction [MUSIC BANK] [ENG SUB] - Duration: 5:33.
hi everyone we are 2L
and today we're reacting to
bts fake love at music bank
we waited to see the live, someone asked us to react also
because we wanted to see the choreo we figured we'd do it
this chorus haunted me for a long time after the reaction
i listened to it many times since
Suga's outfit
oh shit
oh my ..
i love their clothes / yeah me too
Jin ♥
did u see his pants ? / yes
omg
Jungkook is so fine
J-Hope !
black suits j-hope so well
i loved this in the music video
with the fog
he looks so good, Jin !!
and they're singing live
he looks so good I can't
i like how they switch spots
stop
and the song is so nice
that was cool
he looks really good
how he came in / look ! (behind)
well this time they zoomed in too much
this was so cool too
no / damn
*internally screaming*
the way his voice sounds ♥
oh fuck
wait
omg
i feel really attacked
jin
ikr Jin wow
Jungkook
stop
no but Jimin is so rude
*of course*
that's enough we understood
once again Jimin and his jacket "accident"
I'm so happy that Jin has that much parts
I think it's like his song, it's unbelievable how good he looks
his parts too
he's too ...
i like this part
at the end you see
oh my god
he's so good-looking
it's so cool with the fog effect
i really like the ending
yeah me too
the vmin and then jinkook part ♥.♥
so dope
it's a shame that during Suga's part
it's cool that they zoomed in on him but we couldn't see what was happening behind him
yes i saw it after
that seemed so cool
he appeared from nowhere in front of the camera
but they performed on others shows so
yes / maybe in other lives
but they looked so good in this
but Jin / Jin wow Jin
damn
finally
yes finally in the middle for dancing and he has more parts too
and jungkook ... i loved his outfits too
yes their outfits were good
and RM
i love black hair on them
yes RM with his finger, i was like 'okay calm down'
okay so tell us your thoughts
if u like the comeback stages and if you have some you would like to recommend to us
bye
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phoenix halle dortmund adresse warsteiner music hall kapazität Konzerte Programm Veranstaltungen - Duration: 6:01.
For more infomation >> phoenix halle dortmund adresse warsteiner music hall kapazität Konzerte Programm Veranstaltungen - Duration: 6:01. -------------------------------------------
Music Is My Life: Jen Cloher | Episode 14 | Podcast - Duration: 46:47.
[DRUMS PLAYING]
Take note of Jen Cloher, an Australian singer and songwriter,
who you may have seen opening up Courtney Barnett and Kurt Vile's
recent tour.
On this edition of Berklee Online Music Is My Life podcast,
Jen Cloher takes us through her early years Down Under
and discusses her relationship with Courtney Barnett,
who is her partner in life as well as her partner in business.
Having co-founded the Milk!
record label in 2011, Cloher also founded
an organization to help independent musicians called I Manage My Music.
So we spoke backstage at the Orpheum Theatre
in Boston at a recent stop on the tour with Courtney Barnett and Kurt Vile,
the latter of whom walked into the room where we were chatting,
before we had started recording, and he apologetically
asked where the nearest shower was.
Oddly enough, it was in the adjoining room.
So you will hear him walk through and in turn paraphrase
a lyric from his song "Life Like This."
And I must also warn you, you can very clearly
hear the sound check going on outside the room,
as the roadies test the equipment, ripping on either Beck's "Devils
Haircut" or maybe "I Can Only Give You Everything" by the band Them.
Anyway, Cloher says she was studying at the National
Institute of Dramatic Art in Sydney when she first
realized she wanted to be a singer.
Let's let her tell the story.
When I was there, I bought my first secondhand acoustic guitar
and started writing songs in the girls' change rooms.
And they weren't very good songs, but it was a start.
Who was the artist that made you want to pick up the guitar?
Well, it's funny, because it was actually I was living in a share house,
as you do when you're a student, and one of my friends
there was playing guitar and writing songs, which was really inspiring.
But then one day she had a friend of hers come over,
and he walked into the kitchen with a guitar
and just played a song he'd written and it just blew me away.
I just had this moment where all of the dots kind of connected.
And I just thought that's what I want to do.
You know, that's the thing.
Whatever that guy just did, that's what I want to start to do.
So I just think you just have those moments.
And I would have been like 19.
So it wasn't like--
I mean, I'd always loved music and connected with music
and obviously worshipped at the altar of certain artists and bands and stuff.
Yeah, what altars were you worshipping at?
Well, the band that I think had the biggest impact on me as a young teen--
so sort of around the age of 13 or 14 I became obsessed with The Doors and Jim
Morrison.
[LAUGHS]
Yeah, I think it was probably the thing that I connected
with most with The Doors was the transcendental kind of performance
nature that he had.
And I didn't have any brothers and sisters.
So my parents had pretty average music taste.
Yeah, what were they into?
Aw, bad stuff-- not bad stuff-- that's mean.
But it wasn't cool.
Like they weren't listening to the Rolling Stones.
Right, right.
They weren't even listening to the Beatles.
Do you know what I'm saying?
It was kind of whatever was happening in the world of folk,
like Peter, Paul and Mary.
It was just a bit safe.
I was imaging it would be kind of like--
I think you and I are the same age.
And my parents were also just a little too old to be Beatles fans.
So they gravitated towards like Neil Diamond and Barbra Streisand.
You are absolutely in the world.
And as an only child I didn't have any cool siblings to go,
you really need to be listening to this.
So in a weird way, I kind of didn't really
find my stuff until I was in my later teens,
and I started to meet people at school and then really at university.
When you first started playing, did you start writing right away?
Or did you start trying to figure out other people's songs?
I started writing straight away.
I think there was definitely that sense that--
I definitely covered a few songs and learnt chords that way.
But then once I kind of figured that out, I was like,
I'm going to write my own songs.
It wasn't like a decision--
I am going to be a great songwriter.
But I definitely had this ambition that I
wanted to do what that friend had done in the kitchen.
And I wanted to say my words and my expression.
And I think that's why songwriting appealed
so much, because I could marry both the authorship and the performance.
So often with acting, you're performing someone else's words or story,
which is also fun.
But the great thing about music is you get to author the story line.
So it can be about someone else.
But it can also be deeply personal.
By the time I started writing my first songs,
I'd been acting for about four or five years, actually training.
So you knew, and your parents knew, you were going into the arts.
That was a given.
Yeah.
Were they supportive?
Mhm, I think it was that kind of mixed thing
where they can see you have obviously a natural talent
and passion for performance.
But at the same time, they had reservations around
whether that lifestyle and that career choice
was going to serve me financially.
And I think also in Australia--
I don't know what it's like in the States--
but in Australia and New Zealand, there are such small populations-- you know,
big country, small population.
The population of Australia is 25 million,
which isn't even the population of Mexico City or Tokyo.
So to actually make it work financially is kind of almost impossible.
As far as-- you saying the bands that do get out of Australia were few and far
between--
is the music-loving public supportive of the Aussie bands who make it national?
Or do they turn their back on them the way sometimes people tend to do?
Yeah.
I mean, I think there's definitely a strange small town
mentality in Australia.
And when you do become successful, there's a lot of people that are very--
there's a lot of pride and particularly if they're your fans.
And they're very supportive.
But then there's also this weird kind of backlash.
It's called the tall poppy syndrome.
The tall poppy syndrome?
Yeah, where you just cut people down.
You don't want them to get too big.
Is that an Aussie expression?
I think it actually originated in the UK.
And it is definitely something that people in the UK
have identified as part of their national psyche as well.
It's a strange thing, yeah.
I don't know.
It's like maybe there's this kind of idea of--
basically, it comes in this kind of idea of don't think you're too good.
It's a strange way of thinking.
But I think what is changing, which is wonderful,
is the regularity now that you're seeing Australian bands and artists connecting
with international audiences.
It's becoming much more common.
Maybe they're smaller bands.
Like it's not INXS or Men at Work or Midnight
Oil-- like this big, massive thing that needs to happen.
You can come over like Courtney Barnett or Tame Impala or whatever.
And they are initially playing King Gizzard to sort of smaller rooms,
and then it just builds and builds and becomes whatever it's going to be.
And that's really exciting to see.
And I think as that starts to happen, Australians
are getting more used to it.
And maybe they're getting over their low self-esteem.
Because I think that's where that stuff comes from.
Really?
OK.
National low self-esteem, where you don't
feel like you or your fellow countrymen deserve to be celebrated or successful.
And I think that's sort of starting to shift.
And people are becoming more and more proud of the bands that
make it overseas, rather than having to kind of pull you back.
There's a line in one of my songs actually.
I wrote a song about this called "Great Australian Bite,"
but it's spelled B-I-T-E. The Great Australian Bight, B-I-G-H-T,
is actually just, I guess, a part of the geography in Australia.
It's kind of famously down in the bottom of Australia,
and there's all sorts of beautiful sea life that
inhabits the Great Australian Bight.
But in the "Great Australian Bite," I reference a term that I only learnt
a few years ago, where I say "crabs in a bucket."
And I didn't know this.
But apparently, if you leave crabs in a bucket,
particularly female ones apparently--
I don't know why--
you never need to worry about any of them escaping.
Because the minute one gets to the top of the bucket,
the others will pull it back down.
And I thought that was a great image, that we're crabs in a bucket
down in Australia.
Like don't get up, we'll pull you back down.
So that's a weird thing to kind of grow up with.
Did you very much feel that?
Were you kind of done with a band like You Am I or something,
after they made it first?
I mean, I guess they kind of made it over here.
Not really, no.
No?
OK.
I only knew of them--
I don't think they did in the way that they should have.
I think that's the feeling I have with You Am
I is that they've written songs as good as any band, rock band, or any
of their contemporaries.
And I know that they've toured over here and stuff.
But to my knowledge, they're not coming back and playing
to theaters of a few thousand.
Right.
They didn't do the INXS thing or the--
No.
And they should have, because they're one of the great live rock
bands that have come out of Australia, and Tim Rogers is a great songwriter.
I mean, the whole album that I've just made and released
revolves around what it is to be an Australian musician.
Right.
And I want to get into that a little bit more.
But let's go back a little bit to when you're at university,
and you're playing, and you're writing songs for the first time.
When you played out for the first time, was that easy for you
because you had stage experience?
Yeah.
To some extent, I'm sure it was less scary because I
had been in front of audiences.
And it was an environment that wasn't entirely foreign.
But of course, there were a whole set of new technical things to consider.
It takes time to get good enough to play guitar on stage,
and I was determined to be someone that played guitar as well.
I was actually in a band in Sydney just singing for a while, which
was a really good experience.
And we didn't do anything really.
We just sort of played a few club shows.
What was the name of the band?
Weirdly, it was called Milk, can you believe?
Wow.
Now, you say weirdly, so there must not have been any connection when
you named the label.
No?
Courtney named the label, and she knew nothing about Milk.
That's funny.
So how long did Milk last, Milk the band?
Yeah, Milk the band, I think we were together for about three years.
But it was really a rehearsal room band.
So I got the experience of just singing and having a band around me.
It was a good experience on that level.
But at the same time, I was playing guitar and writing my own songs outside
of that band.
So I was sort of co-writing a bit with that band.
But, yeah, I was really much more interested
in what I was doing at home in my own time.
And then when I got kind of good enough to be able to sit onstage and play
guitar, then I was like, see you guys, and went and did that.
What were you doing to make ends meet at that time?
Or were the ends not meeting?
Well, you have to--
you have to make ends meet.
So I was doing predominantly-- this is funny.
I was working in sales, but at these really big shows, like craft shows,
and selling magic pens that change color.
I'd sort of sit there with a Madonna headphone
on and do terrible demonstrations.
And then people would come up and buy magic pens from you.
But the great thing about that show was that--
I think I did it for about a year or two--
it was very seasonal.
So you could kind of go out, do a whole lot, make a whole bunch of cash,
and then you had time to just go and focus on your creative pursuits.
And then I started to work at a place that
was full of artists, musicians, actors, and it was basically an online wine
company.
I think it's called telemarketing.
But the great thing about that job was that you just
had a community of like-minded people sitting around you.
That was fun.
We'd kind of sit around and drink wine together and just
talk about whatever show we were doing at the time,
or writing songs, or the gig we just played that night, the night before.
And again, the great thing there was that you just pop
in for five hours, five times a week.
And then you had your morning to write.
You didn't have to go to work until 3 o'clock.
So this must have been shortly before your first album, right?
Yeah, it was.
I mean, I spent a good, I reckon, a good five years really working on the craft,
being able to play and write.
And most of the songs that I wrote in that period I never released.
And then I moved to Melbourne from Sydney
because I heard that the music scene was really thriving there,
and it was the place to be.
And then I started writing, really writing,
for what would become my first album.
And that's where I put together really my first proper band, The Endless Sea,
who went on to make two albums.
Was that named after the Iggy Pop song?
Yeah, yeah.
From the New Values album.
There was this really cool Australian film, Dogs in Space.
I don't know if you've ever seen it?
I don't know if it made it over here.
But I didn't see it.
It's worth watching.
Michael Hutchence was the lead.
Really?
Yeah.
He's the lead actor, and the soundtrack to that album
was full of really cool bands from what's
now known as the "Little Band" scene, which happened in the,
I guess, kind of early '80s, late '70s into the early '80s in Melbourne.
And it also had a bunch of songs from overseas bands like Iggy Pop.
And, yeah, I remember there was a song, "The Endless Sea."
But I thought that he was saying, "the embassy," like some secret.
(SINGING IN DEEP VOICE) The embassy.
[LAUGHING] That's a good Iggy.
And then I realized it was "The Endless Sea,"
and that's how my first band was called, named after that song.
That's great.
And then you, right away, received acclaim, right?
Yeah.
Well, I mean, it's interesting.
Because I guess in a way, if you were to just look at it as like this girl comes
along, puts out an album, gets nominated for an ARIA,
which I guess is kind of like the Grammys here?
Yeah.
But then when I tell that whole story, you
realize there was like 10 years of developing as a performer,
developing as a writer, developing as a songwriter and guitarist,
getting a band, going for grants.
Like it was a long process to get to a point
where I would release something that was of a quality that would be recognized
for Best Female Artist, I think it was.
Right.
I mean, at that point you're, what, 30?
Yeah.
So yeah.
That isn't called overnight success, is it?
No, no, no.
And you know, I think, particularly these days, people just,
they're having success in their late teens, early 20s.
And it's all happening really fast.
But that wasn't my story at that time.
Well, I think-- I mean, I've always been cynical about that, that they want
to get the artists as young as possible so they
can extend the career to make them more money for the labels, you now?
Yeah.
So after that, what do you do from there?
You had said this was your first time in the States.
I thought after you get the ARIA, you're like, all right, international success,
here we go.
Did you go tour the UK or anything?
No, no.
The first time I've ever toured outside of Australia
was in September this year.
Really?
Yeah.
My goodness.
So it's been 10 years later, really, maybe longer.
What has been the hesitation?
I guess really, you know, circumstances.
So when I put that album out, that was 2006.
I didn't have management.
I didn't have an overseas label.
And then my mother got very sick.
And so I went to New Zealand, where my parents were living at that stage,
and spent two years really helping them through the next stage of their life.
And it meant that I really couldn't just focus entirely on music.
I was writing during that period, and I did write another album while I
was back in New Zealand with them.
But, yeah.
I mean, I think I was smart enough to realize, and I'm glad I did,
that unless you have a label and a team overseas, there's
no point touring there, no matter who you are.
No one will know you exist because you don't have anyone on the ground
there kind of connecting the dots.
So I could see that there was no financial reason
that I would go and tour overseas.
And until there was that team, or that label--
or whether that would ever happened, I didn't know--
that it was probably better to just stay at home,
continue to develop as a songwriter, and build my story there.
And thankfully, things have lined up.
Some of it's been kind of chance and opportunity.
I mean, I think a lot of the chance and opportunity,
if I hadn't developed as a songwriter and a musician,
it would have been none of the stuff that's happening now.
Right.
Well, it's exciting that it's exciting, you know?
You've been doing it for a while, but you're still
reaching new successes, which is great.
Yeah.
It's really exciting.
I mean, I'm on my fourth album.
I'm in my 40s.
And I'm connecting with international audiences, and media, and people
for the first time.
The great thing is I'm not freaked out.
Like I think, had it happened 10 or 12 years ago,
I would have been really scared.
Whereas now, I'm just kind of I've seen enough of what the music industry is,
and I feel really comfortable with my place in it.
I don't care about being successful, or famous, or any of those things.
I would have 12 years ago.
I thought that was really important.
But now, I just have a very different perspective on why I'm creating music.
At the same time, I don't want to go into any kind of debt.
So I'm not stupidly just saying that I don't care about success on that level.
Like it would be great to be able to come and tour in the States,
and be able to tour in the UK and Europe, and have those tours break even
and make a profit.
Right.
You mentioned your mom, and that was a really powerful essay you had written
about her struggle with Alzheimer's.
And what I found the most heartening was the bit about where she is--
is this the naked Kurt Vile behind us?
No.
Oh my god, please.
Fuck that.
[LAUGHING]
God.
So yeah, that one part you mentioned you're singing to her.
And she says, I know who you are.
Tell me a little bit more about that.
Well, that was a pretty amazing day, really.
Because it was also the day that she died.
She was living, at that stage, in a care facility for people
who have Alzheimer's disease.
My father had died just three months previous.
And thankfully, they'd been really close.
So he'd been in cottage literally 100 meters away,
so he could visit her every day.
But it was hard.
It was a very hard time in my life-- and their lives, obviously.
And yeah, I went in on Christmas Day to spend the day with her.
It was our first Christmas together without my dad.
And after Christmas dinner--
you know, I'd sat and had Christmas dinner and we did all of the stuff.
And after Christmas dinner, I brought out my guitar
and just played songs for her in the lounge room.
There were probably another 15 people that lived in that Alzheimer's ward
with my mother.
And they were enjoying it.
They were very getting a free concert.
And when I started to play "Mother's Desk," which was a song about her
on an album that I had just released, her eyes lit up, and she looked at me,
and went, (HIGHER VOICE) now I remember who you are.
You're my daughter.
[LAUGHING] It was quite funny really, because it was
like, who did you think I was for the last two hours?
She must have just been like, who's this freak sitting down
eating Christmas dinner.
Why is she following me around?
It wasn't until I pulled out the guitar and played this song.
But the great thing I realized was how music
seems to open neural pathways, obviously to memory, and also emotional memory.
And it's often noted with Alzheimer's disease
that music seems to be one of the last things that our memory lets go of,
that we still have recognition around music and just how powerful it is.
But in your relationship with your parents, and you had spoken--
I think it was in the same essay-- about playing "The Longing
Song" for your dad.
It's just a really affirmative thing to know they had favorite songs of yours.
And did they follow your career, and would you guys talk about your songs
with them?
Yeah.
I mean, they definitely did.
And they loved that I was writing songs.
And I think the heartbreaking thing for them
was that they wanted it to be really, really successful.
They wanted to see me make lots of money and not
being in a situation where I was trying to work out
where I was going to find the money to make my next album, which has really
been the situation I've always been, is like, OK,
now we're going to make another record.
How do I fund raise?
How do I bring in the resources that I need to make this happen?
But they were very proud.
And I think by the time they both died--
in the last couple of years when I was back in New Zealand and whatever,
I really did see them fully support my vocation and career choice.
So, yeah.
I mean, that whole essay that you mention is up on my website
if anyone wants to refer to it.
I've got a little blog there.
But, yeah, really for me it was just acknowledging the importance of music.
Because I think that we live in a world that kind of
sees music and art as a commodity.
And I have a very different viewpoint on that.
I think it's a basic need.
Mary Oilver, a famous American poet, sums it up
beautifully in one of her poems, where she
says poetry is like bread in the pockets of the hungry,
and that we have these needs that go beyond food, clothing, housing.
That there's also the need for art and for connection through art.
And that's why people sell out the Orpheum Theatre,
because they want to come and be fed.
Right.
I like how it's bread in the pockets.
It's not bread in the stomach or the mouth.
It's just have it at the ready.
Like it's comforting to know it's there more than to actually consume it.
Yeah.
So your parents pass, and then you make another record.
And when in the timeline does Milk!
begin?
Sure.
So I met Courtney, it would have been, I think, end of 2011.
Yeah, somewhere in the middle of 2011 our paths
crossed just through music stuff.
And we're partners as well.
We've been together now for six years.
And had you dated other musicians before, or other songwriters?
Yeah, definitely.
I mean, definitely they've come into my orbit.
And I've always been drawn to actors and musicians.
And all of the kind of loves of my life have been artists.
Yeah.
It's just so funny to hear each other's cameos in each other's songs.
Like, there she is in "Forgot Myself."
There you are in "Depreston."
Is that something between the two of you that you discuss and say, hey,
you're in my song?
Yeah.
You do let her know?
Or then she lets you know?
Kind of.
I mean, I did sort of mention to Courtney
that there are songs on this album, my new album, that are very specific.
And I do mention you and our relationship.
And really it's more examining my struggle
around being away from someone who's touring
all the time, which was really hard.
So it's not really about Courtney.
It's kind of about me.
And I think Courtney just loves a good song.
So she was like, yeah, go for it, you know, if it's the truth.
So you guys meet in 2011.
Yeah.
And then I think it was like really early 2012 Courtney decided
to start a record label.
And I kind of scoffed at it at first because I'd
been making records and putting them out and done the whole indie thing.
I was like, God, why would you want to do all that work when you
can get someone else to do it for you?
But then she really showed me this whole new world of connection
and how you can connect directly with your audience.
And she just has this wonderful way of connecting very quickly
with an audience, with people, and using all of those wonderful online tools
and free tools.
And you know, she really kind of rode that wave, I think,
of connecting with people through social media and built-- you know,
we both together built the brand of Milk!
Records very slowly, literally from her bedroom,
releasing our music and our friends music.
And when I say releasing, we were recording it, putting it
on the online store, and then posting it to social media, and then doing a show.
But the thing that you discover is people love that.
Because they don't feel like there's any bullshit between them and you.
And so what we started to see was this audience evolve around the label.
And that's been really fun to kind of see,
that it's not just fans of Courtney, or me, or any band specifically.
But they love the label, and they love all of the bands on the label.
And they come along to see that community on stage together.
And that's been something that I've never imagined a label could be.
Yeah.
You mentioned the community on stage.
And I was wondering--
I was going to ask you before you said that how you guys find talent.
But is it just basically the people in your orbit
that you're looking to and saying, hey, we'll put out your record?
Yeah.
It really is that simple.
I mean, Melbourne has an incredible grassroots community of musicians,
people playing in each other's bands.
It's the real deal.
It's an exciting place to be making music in the world right now.
That's great.
Really talented people, really talented bands.
Can you think of historically any other scene
that you've read about or anything?
Like is it Seattle in the '90s?
Is it San Francisco in the '60s?
Yeah.
Well, I guess one of the--
I had this moment when I was at a show, this little kind
of dive bar in Melbourne called The Old Bar, which is really loved, well loved.
And I went along to an album, I think, a single launch or something for a band,
just a punk band, like young punk band.
And I looked around the room and it was just full of interesting people,
like non-gender conforming, trans, punk, just mums and dads,
and it was cool in that sense that it was real.
Like if it had been in Sydney-- sorry, Sydney--
it would have been really highly presented and curated
and self-conscious and everyone looking at each other to make sure like--
whereas, there was this kind of sense that everyone was very comfortable
and that it was really edgy, and punk, and interesting.
And I was like, this is real--
I feel like this scene that I'm watching unfold around me
will be remembered in history.
I forgot to ask about the In Blood Memory.
That won the Australian Music Prize as well, right?
And so that was Milk!
Right?
Well, yeah.
That was nominated.
So it was in the final nine albums that they select albums of note.
And the great thing about that was, yeah, exactly what you said,
I put it out through Milk!
Which basically means that I did most of the work myself.
And I just discovered--
what I had been thinking is that you can actually do a lot yourself.
And if the music is good, the songs are good, people will share the message.
And that album was really cool, because a year later,
people were just discovering it and talking about it.
It was this really slow, slow grow thing, where it was a word of mouth,
have you heard this album?
Have you heard this album?
And I think definitely the most successful album, as far as my peers
turning and kind of recognizing my songwriting,
which is I think what we all want.
Yeah, it is.
More than anything, you want other songwriters
that you look up to or admire to turn around and go,
I really love what you're doing.
And that's what really happened with In Blood Memory,
and I think obviously because of Milk! and Courtney's career
really starting to kind of connect and take off.
So that was really cool.
And the Australian Music Prize is what everyone
wants to be nominated for because it's selected on the AMP,
not how successful the album was commercially.
You mentioned Courtney taking off, and there
was another piece of writing of yours I read
about you dealing with feelings of jealousy, which is
the most honest thing I've ever seen.
Well, I guess Morrissey said we hate it when our friends become successful.
But tell me how you did deal with that, and how
you did settle that in your head.
Well, I think the Morrissey thing is a great line because it's true.
You know, I think anyone, no matter what field they're in,
when someone very close to you starts to become successful
and their life starts to morph or change,
or they start to move away from the pack that you were used to running with,
it can be really challenging, because it makes you look at yourself
and question have I got this right?
Am I a success?
Am I a failure?
Is that what success looks like?
What am I doing with my life?
It just throws up all of these questions, you know.
And that's what happened for me, because I'd been making music for a long time.
And it's a tough slog.
Anyone who is out there making independent music
knows it's not an easy path.
And then Courtney connected so quickly, so immediately,
and then this overseas audience, and it was just
like bang, bang, bang, bang, bang--
you know, kind of a dream run.
And it made me question, am I doing this right?
Should I give up?
That's what success looks like.
Those voices started to play out.
And the good thing I'm really glad is that--
maybe because I've been around on the planet for long enough
and learned enough to know--
I just went through it.
Just go through the feelings, see what's on the other side,
don't listen to the voices in your head as the truth
because they are often just stories, old stories.
And thankfully, because I lived through the sort of last four years
of all of that stuff, things changed.
And a good couple of years ago, I just got over it
and I was able to really, genuinely celebrate Courtney's successes
without any kind of hesitation, because that was the growing
up that I had to do as a woman.
I had to get over myself in that area of my life.
And I think that's the thing is you're either on this planet
willing to stay open and continue growing, or you just shut off and go,
that's my story.
I'm a victim of the world.
And I just don't ever want to be a victim.
Yeah.
How do you make that decision?
How do you do that pivot?
How long did it take for that pivot to happen?
I think it's really a case of being willing to feel your feelings
and know that you're not going to die feeling them.
And there's always something on the other side.
Nothing stays the same, not even the good stuff.
So it's that thing of realizing that everything's in a process of change.
There is no security.
There's no way to feel comfortable, and safe, and grounded.
That's going to change--
just like staying open to what comes in.
And I think that's a good way to live because you don't--
When in the picture did I Manage My Music come about?
Sure.
Well, that's interesting because I Manage My Music really evolved,
perhaps, a year before I met Courtney.
And so I was running workshops for self-managed artists.
It was really a way of me trying to work out how people were actually making
this work because I can't work it out.
My second album had gone into debt.
Even though I'd done a lot of touring, and had
played pretty good shows, and festivals, and whatever,
I just could not work out how you could make music a sustainable business
practice in Australia.
And so I thought, I'm going to start some workshops.
I'm going to invite people in to talk about it openly and discover how people
are making it work, and then slowly changed a lot of my business practice
so that I could make it sustainable.
And it also meant changing a lot of ideas that I had--
ideas like music should support me.
Well, no.
I needed to go and get jobs like running workshops, teaching,
whatever to support myself, to clothe myself, feed myself, house myself.
And music could support itself.
You know, there was my music account.
Whatever I make from music goes into that account.
Whatever I then want to make in music comes from that account.
And if it's not in there, I have to go find it.
And just having very clear boundaries around how my music business would
operate from that day onward.
And so you can see very clearly how that thinking aligned with what
Courtney wanted to do with Milk!
So she had this wonderful ability to kind of realize it, and create
the visual backdrop for it, and connect with people,
and really created the brand of Milk!
Which is a very honest, direct communication with fans.
And then I had this whole DIY business ethic that was developing and growing.
And then we married the two.
And I treated Milk! like you might treat a grassroots, independent artist--
do possible campaigns, do a lot of fund raising--
it's all about self-supporting and not going to outside parties for money.
And yeah, I'm still running the workshops.
Wait.
Were you saying that you had two separate bank
accounts, one was just a music account?
Yeah.
That's interesting.
That's almost like the money you win in gambling
goes into the gambling account, and you don't touch that for that or--
Exactly.
And I guess the music industry is kind of a gamble in a way.
Yeah.
And I think it's a really good, clear way
to kind of have that business separation.
And I think a lot of artists struggle with seeing their music as a business.
It usually starts as a passion project.
But really, if you get into all that and play shows,
and get people to pay money, and you release a record
and get people to buy it, it's a business.
And that's what I had to get my head around was I'm running a business.
It's a small business like any other small business.
It needs to be subject to the same criteria
of running any other small business.
I'd like to talk about the new album, which
it seems like a very definitive statement, naming it just self-titled
and it feels like with the other albums that I've listened to,
this one more than any other, I feel like I
know your opinions on a lot of things.
[LAUGHTER]
I know what you think of music journalists.
I know what you think of touring.
But tell me, what was your mindset going into recording?
Well, it's interesting you mention that.
Because I guess in a way, without even really realizing it,
I wanted to, I guess, pull away some of the wanky mythology around music.
People think it's like one big party, and you're just out on the road
partying every night, playing to thousands of people.
And you know, it's all the glamor.
And it's just a job.
It's fun.
And it's awesome when people walk through the door and pay money
to see you.
But it's also Kurt Vile walking around the venue looking for a place
to shower, hoping there might be one.
Yeah.
And I think it's good to talk about that stuff.
And also, like the song that you reference, to you
guys is where I sort of say most critics are
pussies who want to look cool-- you know, those who can, they do.
Those who can't--
Yeah.
But that's really to sort of remind people
that there's a lot of people with opinions about music--
journalists, people online just chiming in on bloody Facebook and YouTube,
and it's just like well, go and make your own music if you don't like it.
I'm just over here doing what I do.
I don't really care what you think.
And also, people forget musicians have a heart and a soul.
It's tough when you go and someone saying nasty things about you
and what you're doing.
But that's just part of the job, and that's kind of what you learn.
But, yeah, I guess with this record, if there was any kind of agenda
that I set for myself--
and I think you do need to do that, as you develop as an artist,
is what's the kind of bottom line here?
What am I trying to do here?
Whether it's sonically-- you might be like,
I just want to make a fun pop album.
Which is awesome.
Do it.
For me, it was like I want to make an album that is really, really honest.
I don't want to obscure or create other characters or stories.
This is a direct conversation with the listener.
And if they're willing to go on the journey,
they're going to learn some stuff about me.
Maybe it's going to make them questions some of their own ideas.
Who knows?
But that was definitely something that I get
a lot from when I listen to records, is I love it
when people reveal things that feel maybe too personal.
You're like, oh, whoa, that's a big thing to say in a song.
And I'm like, that's kind of what I wanted
to try and mind in this record is I've got nothing to hide.
And I don't think--
we live in a world that's full of bullshit and people
lying to us every day and pretending that what they're saying is true.
We're just seeing it at the moment, all of these lies.
You know, people are really getting taken to the cleaners.
And it's kind of liberating, and it's also really kind of terrifying.
But I wanted to tell the truth.
And I guess Courtney and I were faced with,
you know, do we now go back and perfect, drop in the perfect notes.
No one hears the fumbling, or the trying to find the--
oh where, oh there it is--
you know?
Yeah.
But I think that we made the decision to keep
those moments in there because the performance as a whole
was much more exciting.
And I think it's cool.
I like listening to stuff.
It's an interesting album because it's raw.
But it's really well recorded and it's really, really well mixed.
And that was something that I really wanted to go for.
It's something I really like about a lot of Pavement records or Stephen Malkmus
records, where you don't get these perfect studio snare sounds.
Like everything isn't perfect, but you still
get the sense that here's a band recording in a room,
but it sounds cool.
If anything, it draws me in because I'm like,
that actually sounds like a kick drum in a room
rather than overdubbing and perfecting.
And I'm not saying that there isn't room for those records.
I think that it's great when bands go for the absolute pinnacle of production
and perfection, and that's what they're going for.
But I didn't feel like this album lended itself to that kind of set ideas.
Maybe down the trek, I'll make an album like that.
Yeah.
Yeah, what is next?
I have no idea.
I've actually had a year that's been so busy that picking up a guitar
and writing has been virtually impossible.
Obviously, you're absorbing things all the time when you're on tour.
And I'm hearing all these new songs, and is stuff going in.
But I'm comfortable with that.
I think it's good to have a little bit of a break.
[DRUMS PLAYING]
It is good to have a little bit of a break, isn't it?
And thank you for using your break to listen to the Music Is My Life podcast.
Listen to Jen Cloher's self-titled album out now.
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[Non Copyrighted Music] Evan King - Titan Striker [Epic] - Duration: 3:50.
BreakingCopyright: Music for videos YouTube Music Library
BreakingCopyright: Music for YouTube YouTube Music Library
Today on BreakingCopyright: Evan King
No Copyright Music (Non Copyrighted Music) Evan King - Titan Striker
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[ESP] 180525 : BTS MBC Music Core - Duration: 1:16.
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Dance Parfromance 2018 Old Hindi Dj Song s.g studio Music - Duration: 5:00.
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Chinese Songs VS English Songs: A Pop Music Mashup (Asian American Heritage Tribute) @RosendaleSings - Duration: 4:23.
Ooh
零七年 那一首定情曲的前奏 要是依然念念不忘 太不稱頭
早放生彼此 好好過 都多久
I was too scared to face my fears 'Cause nobody told me that you'd be here
And I swear you moved overseas That's what you said, when you left me
我找了份工作 離你宿舍很近
當我開始學會做蛋餅 才發現你不吃早餐
喔你又擦肩而過 你耳機聽什麼
能不能告訴我
再被你提起 已是連名帶姓 Why don't you just meet me in the middle
Put your hand on my beating heart 多少人愛我
偏放不下你 是公開的秘密 It was just like a movie
It was just like a song
我們愛的沒有錯 只是美麗的獨秀太折磨
她說無所謂 只要能在夜裡 翻來覆去的時候有寄託
你不知道我為什麼狠下心 盤旋在你看不見的高空裡
And every time you walk out the less I love you
Baby we don't stand a chance, it's sad but it's true
I'm way too good at goodbyes
只期待後來的你能快樂 那就是後來的我最想的
But people fall in love in mysterious ways Maybe it's all part of a plan
I got that ripped jean daydream look in my eye
And you got that red lip classic thing that I like
記得我寫給你的情書 都什麼年代了
到現在我還在寫著
再被你提起 已是連名帶姓 Why don't you just meet me in the middle
Put your hand on my beating heart 多少人愛我
偏放不下你 是公開的秘密 It was just like a movie
It was just like a song When we were young
Hi everyone, I'm Rosendale! Hi everyone, I'm Mona.
May is Asian American Heritage month. Rosendale and I both grew up in the Bay Area
Listening to Chinese and English music.
So we wanted to showcase in one song that, actually
music is universal, and we can put Chinese and English songs together into one perfect melody.
Thank you guys so so much for watching! Please make sure to like, comment, and subscribe.
And make sure to check out Mona's channel in the description box below
and I will see you in the next video. Bye!
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Weird Music Box Type Trap Rap Beat | BladeRunner 2049 - Duration: 3:13.
Blade runner 2049
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Why do we HATE pop music? - Duration: 9:25.
Why do we hate popular music? Why does pop music suck?
It could be because it's mostly unoriginal recycled nonsense written by the same four guys over in Memphis
It could be because half of the shit coming out these days barely has any harmonic information
You got drums vocals bass if you're lucky and that's it!
Or maybe it's just personal preference you know we all like different things and that's perfectly fine
But I've got two additional theories I'd like to share with you today
The first has to do with the loudness war and over compression
the second one is potentially a little bit wild and crazy, but that's the way I like it ;)
now don't get me wrong there are people who like popular music, I mean there has to be it's selling
people are buying it, but I'm talking about those of us who hate it!
Who have that instant revulsion to it. Someone puts on the latest Katy Perry hit
and it causes us physical pain! If you're one of these people then this video is for you
So, I had a long drive to the other side of Melbourne last week, took about 45
minutes and I was listening to the radio to pass the time - I know condolences
and in that 45 minutes I felt like I got a pretty decent representation of what the
radio has to offer these days. We had a bit of Maroon 5, which I didn't mind,
there was Bruno Mars trying to be Michael Jackson, that's alright
then you handle your diva pop shlock, which all sounds the same and then there
was a little bit of like club shit as well and the melodies in that it's just
listen that's just made for a drug trip. right? So, I was listening to this music
and I immediately realized that most of it wasn't half-bad, you know we had
some catchy melodies and I actually wanted to sing along to them, which is a
fantastic sign, but despite all this I felt myself getting irritated, genuinely
annoyed at what I was listening to. I had to stop and ask myself "why"?
if I'm in theory enjoying this music, why is it pissing me off?
So, what got me thinking, and at least in my case, I came up with two possibilities...
The first, like I said, has to do with the Loudness War. So, for those of you who don't know part of the
mastering process involves compressing the crack, and it makes perfect sense
because otherwise you'd be constantly adjusting the volume on your stereo or
your computer or your iPhone or your Walkman... whatever the kids are using
these days, but what tends to happen with mainstream music is they over compress
it so if a decent mix, a decent mastering job, in my opinion is about
here so it allows some dynamic range, which means you know you've got some
quiet bits you've got some loud bits but they're within you know a
comfortable range of each other without destroying the energy of the song what
the mainstream music industry likes to do these days is compressed the shit out
of it until it's basically all one level. Why would they do this?!
well the way it's been explained to me is apparently there's genuine value in
having the louder's track on the radio. I know it seems absurd, but this is
supposedly what these big record labels are striving for. I've actually heard
examples of professional commercially available albums that have been
compressed and boosted in volume so severely that they actually clip which
means there's digital distortion on the CD that has gone out to the world to the
public to buy like this this still blows my mind they've ruined their recording
for the sake of it being the loudest recording that you can buy guys I wish I
was joking this is absurd maybe you've noticed this yourself you're listening
to a popular song you know it's got that loud banging chorus that's just high
octane and getting you excited then the bridge comes along yeah the bridge
usually comes down a scooch right even if it's still a high-energy song the
bridge might bring it down a little bit comes down in energy I actually heard
examples on the radio the other day of the singer whispering the song and I
immediately noticed I'm like okay it's come down it's the bridge but it's not
any quieter than the previous chorus was so my first theory is this practice of
over compression and there being no dynamic range left in mainstream popular
music it's giving you ear fatigue imagine listening to something at the
same volume constantly pumping never stopping three minutes then another
three minutes then another three minutes over and over and over again there's no
point in this music where it lets you rest imagine for a moment your next-door
neighbor is doing renovations on their home I know of which I speak because
currently both my neighbors are doing this so they've got power tools going
all day long drills saws whatever the hell else you plug in to build things
why not throw that in there as well it's a constant cacophony of noise repetitive
at one unceasing volume it would drive you insane it is driving me insane yes
never place those power tools with popular music our repetitive noise and a
single unceasing volume sure you might like the song you might have chosen to
listen to that song but listen to it again and again and again put on the
whole album play a different album move to another artists it's all at the same
volume your ears have no time to rest and they become fatigued theory number
two is a little bit wild but I find the concept of it fascinating so there's
this phenomenon called the uncanny valley you may be familiar with it
essentially it describes humanity's inherent mistrust of things that look
human but they're just a little bit off so at one side of the scale you've got
things that are clearly not hearing and we can sympathize with them dogs cats
pets of all varying shapes and sizes we love them they're clearly not human
they're not trying to steal our identity the one keep an eye on the cats and on
the other end we've got your bog-standard human we are
human we trust other humans for the most part but in the middle is the uncanny
valley occupied by those creepy cutting-edge AI robots and monkeys the
theory as I understand it is we subconsciously perceive these things as
trying to steal our identity so we have an inherent mistrust of them I think a
similar thing is potentially happening with the vocals in popular music so
nowadays with mainstream music as a matter of course everything is pitch
corrected now this doesn't mean that mainstream singers pop stars divas
what-have-you are bad singers some of them might be it's just a general
practice that's automatic now I've talked to a couple of reporting engineer
friends of mine and they say yeah regardless of how good the
singer is just as a matter of course they pitch correct why because they've
got deadlines and they haven't got time to scrub through every single note the
singer is singing to make sure that it's the correct note so just to save time
they do a blanket let's pitch correct it so we know it's all correct before we
send it off yeah that's kind of shitty but that's how it works there's also
kind of a trend around over-processed vocals now I mean you've got vocoders
and reflux true like you know Cher's signature thing and that's obviously not
meant to fool you it's obvious that that's processed and that's fine now
here's where the uncanny valley analogy fits into it and this might just be me
but on the one end we've got the thing that is obviously not human we've got
vocoders actually very much like the use of vocoder Daft Punk for example I think
users are brilliantly and I can't get enough of it and you've got reflux
churning the stuff that is obviously not a true natural human voice and then
you've got a proper natural human voice like someone's singing to you
acoustically but in the middle you've got all these over processed vocals that
yeah they sound human but they're not quite human and I think maybe that is
contributing a little bit to our general revulsion towards popular music and as
the construction sounds begin next door I'm gonna have to wrap this video up so
those are my two theories as to why we hate popular music so barring personal
tastes you hate popular music really dig deep
and have a think about what it is that really gets you guarded about pop I'd
love to hear about it in the comments down below thank you for watching I'll
see you next week
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Bangla EID Exclusive Comedy Natok | Dui Mitthuk (দুই মিথ্যুক) | JS Music Presents | 2018 - Duration: 31:51.
Bangla EID Exclusive Comedy Natok | Dui Mitthuk (দুই মিথ্যুক) | JS Music Presents | 2018
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[ESP] BTS Exclusive Interview! after Billboard Music Awards. - Duration: 4:56.
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Sure-D - Nothing Cyah Stop Meh (Official Music Video) "2018 Soca" [HD] - Duration: 3:00.
Sure-D - Nothing Cyah Stop Meh (Official Music Video) "2018 Soca" [HD]
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3D MUSIC-Selfish Song Video-Race 3 Songs | Salman Khan, Bobby, Jacqueline | Gujju 3D Sound | HINDI - Duration: 4:43.
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Olá, vamos conversar + música | Hello, let's talk + music - Duration: 5:31.
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the Best GUITAR Music ever , for Relaxing, Reading, Studying, Meditating And Yoga - Duration: 1:08:06.
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