30 lyrics

<b> Heathers Week 2017</b>

<b>Sunday March 26:</b> Favorite character(s)
<b>Monday March 27: </b>Favorite au/headcanon
<b>Tuesday March 28: </b>Favorite ship (platonic or romantic)
<b>Wednesday March 29: </b>Musical or Movie?
<b>Thursday March 30</b>:Favorite Musical lyric/scene
<b>Friday March 31: </b>Favorite movie quote/scene
<b>Saturday April 1: </b>Wild card (Choose what you want to do!!)

Excerpts from interview with Johan “Shellback” Schuster (from 2015)

His artist name Shellback is fittingly from professor Shellback in the Swedish cartoon Bamse - a logical and technical genius that has a solution for everything. And also a person that sleeps a lot at his workplace and may seem a bit absent. 

A more intelligible way to understand how Johan thinks is to listen to his works. “Shake It Off” with Taylor Swift was, together with Megan Trainor’s “All About That Bass”, the song that dominated the year of pop music in 2014. If you haven’t heard “Shake It Off” a hundred times you are obviously allergic to electricity.


Anyone who thinks there is a formula for pop hit records is a sloppy listener. The songwriters and artists that try to sound like the others on the charts can become successful - for a while - but they soon fall into oblivion. On the contrary, the biggest songs are those that break the norm, the ones that do not follow any rules other than gut feeling.

Shake It Off (billboard #1 for 4 weeks) didn’t sound like any other modern hit song at the time of its release. The song starts with a five second long drum intro - old fashioned acoustic drums - something that is unheard of on commercial radio.

It is Johan playing the drums on Shake It Off. It is also Johan playing guitar, bass, keyboard and shouting in the background.

Songwriting on Shake It Off is credited to Shellback, Max Martin (Johan’s discoverer and mentor) and Taylor herself.

Johan further explains:
-  Shake It off was the next to last song we recorded for the album. The other was actually Blank Space (billboard #1 for 7 weeks). With Taylor one can work very quickly, sometimes we wrote a song a day. When we met 6 months after our first session we felt like there was a type of song missing.

How do you know that?
-  Basically it’s a kind of pleasing frustration. How good everything feels. We’re home, we have everything we need. But, at the same time… a feeling of… something missing. Something that breaks from the other stuff. Something more light-hearted. Pharrell had just released Happy and that song was on our minds. When we worked with Taylor on the last album, which was the first time she didn’t write everything herself, we did We Are Never Ever Getting Back Together. It had a different feel than her other songs. It had a more fun and flirty feel to it. We felt that maybe we needed a song like that.

-  Taylor usually has a solid idea when she comes in, but this time we had nothing. It is also uncommon for Martin and me to work that way. We usually come well prepared to a session. So we just sat there. What the hell do we do now? We started playing music to each other to get reference points. Someone that happened to be me said, how about doing something in the same tempo as Hey Ya by Outkast? Something faster and more drum based?

-  In the studio there was a drum kit set up and ready to go. I went in and played something just for fun. We later on used that very recording for the song. What you hear is played live. We really thought of it as a sketch - all right, now we have a tempo to work on - but it often happens that you keep the demo even though it isn’t perfect, since there is more feeling in it. Martin was humming something, Taylor was humming something else. There was a mellotron. I found a brass sound and started playing something really bad on purpose (duh duh duh, exactly what is heard on Shake It Off). Martin instantly said: “That is awesome”. If he had not said that I would have moved on and tried something else. 

-  What we had didn’t really feel like chorus chords, but just as we were packing up for the day Taylor wrote a falling melody that sounded really hooky. We still didn’t know what it was. Is it a chorus? A verse? Me and Martin listened to it in the car on the way home and we were shaking our heads. Is this good? Is it shit? The next day after we had slept on it, which is the best thing you can do, we realized that we had been humming it all morning. The rest of the song wrote itself very naturally. Taylor wrote the lyrics in 30 minutes.

It is an incredibly clever lyric, a comment to her life situation as a tabloid target.
-  She is a hell of a writer, personal and broad at the same time. And the speed of it is unreal. I don’t get how she does it. If I was to write about my life it would be the most boring lyric in the world (starts singing the Shake It Off melody): “I go to the studio every day…”

The Kill
30 Seconds To Mars
The Kill

Lyrics:

What if I wanted to break
Laugh it all off in your face
What would you do?

What if I fell to the floor
Couldn’t take all this anymore
What would you do, do, do?

Come break me down
Bury me, bury me
I am finished with you

What if I wanted to fight
Beg for the rest of my life
What would you do?

You say you wanted more
What are you waiting for?
I’m not running from you (from you)

Come break me down
Bury me, bury me
I am finished with you

Look in my eyes
You’re killing me, killing me
All I wanted was you

I tried to be someone else
But nothing seemed to change
I know now, this is who I really am inside

Finally found myself
Fighting for a chance
I know now, this is who I really am

Ooh oooh
Ooh oooh
Ooh oooh

Come break me down
Bury me, bury me
I am finished with you, you, you

Look in my eyes
You’re killing me, killing me
All I wanted was you

Come, break me down
Break me down
Break me down

What if I wanted to break?
What if I, what if I, what if I
Bury me, bury me, bury me