i went to their concert three years ago

Hey guys! This is just my reaction/summary post of the BTS Concert in Newark (Thursday, 3/23)! I’ll be going into a lot of detail, but bare with me. I’ve linked all the fancams I took throughout the post, so you can check that out :)

[Full Fancam Playlist]


Alright so first things first…I’ve been following BTS since ~May/June 2014, and this was the first time I was actually able to go to a live concert. I WAS LITERALLY BEYOND THE MOON when I got tickets, and I was so excited that I was badgering everyone I knew with my fangirling. BTS means so much to me, they got me through some of the hardest times in my life, and they gave me happiness and hope. So getting to go to one of their concerts, see them and support them in person, was such a blessing.

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There was a moment I won’t forget at a concert, but not at the last one I went to. It was Outkast in Toronto, two or three years ago. They’re Star Wars fans and they had lots of Star Wars references in their lyrics. At one moment they mentioned Darth Vader and like they knew I was there, they gave me a shout out. It was nice.
—  Hayden Christensen [Gold Magazine 2005]
X Japan's Sensational Vocalist Toshi

After a Devastating Decade, Toshi Soars Back to Take Center Stage

From Tokyo Journal 2015 Volume 35, Issue #276

TJ: Let me ask you from the beginning. How did you start X Japan with Yoshiki?
TOSHI: I met him in kindergarten 45 years ago when were only three or four years old. We first played music together when we were 10. That year, Yoshiki went to a KISS concert with his mother and his younger brother and as we were in the same class and I was a big fan of KISS, I asked him about the concert. Nobody else at that age was talking about rock music and that’s when we started to become close friends. At the time, I could play acoustic guitar. I wanted to learn how to play electric guitar and Yoshiki had one as well as a drum set. So, we would go to his house and practice KISS covers with Yoshiki on the drums and me on guitar. We weren’t a band yet, but that’s how we started playing music.

TJ: When did the band start?
TOSHI: We went to the same kindergarten, elementary and junior high school. When we were 12 or 13 years old, we found a couple of classmates that could play guitar and bass. Our first live performance was at a graduation party.

TJ: Did you sing from the beginning?
TOSHI: At that time, I was playing guitar and my friend was the vocalist. When we were 15, I started singing when our junior high school split into two schools. Most of the band went to the new school, but the vocalist stayed in the old one. We lost our vocalist so we auditioned our remaining band members. Both Yoshiki and I sang, but of course, I was better than Yoshiki, so I became the vocalist (laughs).

TJ: How did you learn your English? Have you lived abroad?
TOSHI: I lived in Los Angeles for three years from 1993 to 1997. I learned a little English during that time and I had a pronunciation teacher when we were recording. My teacher was Larry Moss. He taught many famous actors and actresses and he taught Yoshiki as well. He was a very good teacher.

TJ: What is the hardest part of being a professional vocalist?
TOSHI: Maintaining the condition of my voice, body and mind so that I am always at my best for every performance. It’s very important to me. I’m careful about what I eat. Every morning I eat natto [fermented soybeans] mixed with onion. I also drink fresh juice I make myself from organic apples and carrots with a slow juicer every morning. I drink it to build resistance to sickness and to keep my body in good condition. I’ve been doing this everyday for over a year. I had a very hard time both mentally and physically when I got ill. I realized I needed to change my eating style, and after I did that, I’ve been in very good shape ever since. Also, I recently started sadou [tea-ceremony]. I wanted to study Japanese history and culture and sadou is good for concentrating and learning Japanese tradition, history and manners. Although I can only do it every now and then, it really helps me mentally when I can practice sadou.

TJ: So the past year was a good one for you?
TOSHI: Yes. I also published a book about my life. The book is called Brainwashed. By exposing my past, my mind became very clear and I could draw a line between the past and present. I was able to start a new life. By telling everyone including our fans about my past through the book, everything became clear and I’ve been able to see the path to follow. So, I’m doing very well now.

TJ: How about your solo career? How’s your solo career going?
TOSHI: I just finished a three-day event a couple of days ago. Ever since I released my book, I’ve also been on various TV shows as my book became big news in Japan this year. I’ve been interviewed on various TV shows, variety programs and year-end specials. I’ve been doing a lot more things than I have in the past. I did a solo rock concert and I also did a concert at a classical venue. I’ve become more active after I released the book and I have been feeling dynamic energy building inside me. In 2015, I’m looking forward to putting this dynamic energy towards both X Japan and solo projects.

TJ: What do you like about being a member of X Japan?
TOSHI: Yoshiki and I have been in X Japan for such a long time and we’re still here now after so many experiences and difficulties. I feel like we’ve grown up together with many of our fans. They’ve always supported us with great passion no matter what happened. I’ve always been very impressed by that. It’s a miracle. I love X Japan’s great fans and the sincerity of its members.

TJ: Tell me about the difference between X Japan of the past and the X Japan of today.
TOSHI: Since we were young at the beginning, we just went for it headfirst. We were driven by the power of our youth, but it’s been 20 or 30 years now and we’ve grown up. Many years have passed, but our passion has gotten only stronger.

TJ: What is the most challenging part of being a member of X Japan?
TOSHI: Keeping my voice in good condition, so that I can sing the music that Yoshiki or other members make, and living up to their expectations.

TJ: Can you tell me a little bit about your guitarist PATA?
TOSHI: Whenever I see PATA, I feel at ease. He creates a relaxing atmosphere for X Japan. He’s the most interesting one.

TJ: OK, and how about HEATH?
TOSHI: HEATH is cool. His bass playing is very cool, and he’s like my younger brother. He’s the cute one.

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What Do You Want For Christmas? Part 2

Characters: Sam x Reader

Words: 1339

Summary: It’s the day after the trip to see Santa, and Sam and the Reader go on their first date. 

So many of you guys liked this last year, so I decided to make it not a series this year fior Christmas! :) Enjoy!

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GQ (October 2016) | Choi Minho

(T/N: Please note that there might be something lost / errors in the translation. Thank you and enjoy!)

Q: I also interviewed Minho in 2010. I’ve changed a lot since then
I’ve changed a lot as well. That was 2 years since debut. Compared to that time, I’ve experienced a lot of things and also have mentally become mature.

Q: What kind of experience?
Minho: Not only my work experience, but also my daily life. Even from a really small thing like dinner… But if I point out significant thing, it’s concert last week. There would be a lot to put it in details.

Q: Do you like to dwell on things?
Minho: I think a lot. I’m the type who picks out which ones were good and which ones were bad based on my standard.  

Q: How did you sum up your experiences between 2010 and now?
Minho: I felt that there were things I thought of vaguely from debut, and I started to come up with realization from that. I wonder if the image I show to the people I’m comfortable with can make me become close to public. That is my real image, yet I’m still in fear until now. I wondered if I should tone it down a bit. Since I suddenly came up with realization, there were times when I started to discover myself a bit more.

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2017 Jan BAILA Interview – Sakurai Sho [English translation]

– About sense of nervousness.

“My nervous episode recently? Sorry but I didn’t remember any…… (giggle). Live broadcast is something which you can’t expect, rather than feeling nervous, I feel that adrenaline comes out, and I feel sense of spark, there is no sense of nervousness.

If I really have to talk about nervousness, it would be the opening of the concert at Kokuritsu Stadium in 2009. The performance was moving and flying 50m above ground using wire, at that moment I felt that my pulse was pounding. If my pulse was measured at the moment, it must have been higher than anyone else. It has nothing to do with my acrophobia, anyone going that high would feel the same. Other members just flew like nothing happened, that sounded like more abnormal (giggle)”

– Thing that made me throb and witness fans’ feeling.

“Three years ago, I and members went to the joint live of Justin Timberlake and Jay-Z Yankee Stadium, New York. I was in high tension from that morning, even I hadn’t entered the venue I had already felt very much excited. At that time I thought that perhaps audience who come to ARASHI concert would feel the same too. My mind blew away in the appearance and music of my two favourite musicians on stage, I carved in my heart to remember this feeling”

– About “Kimi ni Sasageru Emblem”

“There are many occasions that people say to a person with disability ‘You are positive’, after I played this role this time, I had another thought. People with handicap do not live positively. Even facing the difficult situations they can’t just be frustrated, they have no way but to overcome the difficulties. I feel like I cannot say that is ‘positive’.”

“The first thing I did for this performance was to make my arm masculine. And I re-read the manga ‘Real’. The training was to enhance the programme for arm and torso in my usual training manual. When I met wheelchair basketball players it was very clear that their muscles of shoulders and arms are very strong, surprisingly strong. Though my arms are masculine originally, they looked slim [compared with those of wheelchair basketball players], so I trained to a great deal targeting my torso”

“When I actually saw the life with wheelchair, I sensed that my arm muscles were not strong enough, though it’s for sure, even I practiced basketball again and again, I couldn’t catch up the satisfying level…… On the other hand, I don’t want to have even a little regret, there is no other way but to fully perform what I can do.”

“On the day filming the match, there were 1,500 extras in the venue, there was filming of cutting the pass, and the happy face when a goal was made, such refined filming went on, I said to Ichihara Hayato-kun and Ando Masanobu-san “I want to play the match”, actually I was bit impatient (giggle). After all it was just filming of match scene, we could not proceed the play [after filming the scene]… The filming started from morning to night, there was 40 minutes rest, and I proposed to the director that I wanted to play a match even for 5 minutes. Extremely speaking, though we were not practicing for the match, but we have practiced, and wanted to play a match in front of the audience. In the real match, during the moment of collision the impact was strong, there was full of enthusiasm. It was different from concert, I could feel the bond that was only in the team of sports players, and taste the moment of connection with the co-actors of TV drama and above all teammates. This is a performance depicting the power of wheelchair basketball and strength, I would be happy if the audience will spot on this”

– About challenging the limit in life

“In University Year 3 I filmed ‘Kisarazu Cat’s Eye’, in Year 4 I had my first-time leading role in ‘Yoiko no Mikata’, the filming of the TV drama overlapped with university examinations, I had really tough memory about that…… Everyday I had revision for examination, and memorised the drama scripts, and challenged the filming. I had an awareness that I had challenged my limit, now no matter how heavy the work is I no longer get scared. Perhaps, though there are moments that I am even busier than that period of time, since I had got through a very tough base, I don’t feel difficult anymore. However, if I had to do what I had been done in that period of time, I definitely wouldn’t be able to do it again (giggle). Among members we often talk about the moments shortly after ARASHI’s CD debut, but we all say that we already don’t want to recall that hard and busy time. If putting serious statistics, nowadays is absolutely busier. But, at that time we didn’t have such experience so we got flustered by the sudden workload. But because of that experience there is nowadays’ ARASHI. I think overcoming the difficulties connects us with the real fortune”

– About 22 October, 21st anniversary of entering Johnny’s.

“I didn’t receive greeting from anyone, though I also had nothing [about this] to talk to anyone, indeed it is a special day. The day I entered Johnny’s was the day I went to Johnny’s Jr.’s audition day, day ago my parents were angry about this, but on that day they sent me to the venue, I still remembered that clearly. The kids who had the audition together had their families with them, only I was alone and I went home alone after the audition…… (giggle). 21-year period of time indeed packs a punch, I think I managed to continue thus far. Though at that time I couldn’t imagine that there is such a life waiting for me”

keep your eyes on me–Three years ago, Blaine dropped out of NYADA and returned to Ohio. Three years ago, Kurt stayed in New York. Three years ago, they had their worst and last fight. What happens when they both turn up in the same place (a gay bar in Manhattan) at the same time (a chilly Friday night in late November)?

a/n: heavily influenced by Walk the Moon’s latest single because I went to a concert and imaginings happened on the way home. thank you to mary for reading it over! on ao3

warnings: a couple of s6 spoilers, shameless lyric dropping, flip-flopping of characters’ POVs

He hasn’t been out like this in months, not since he went out with cast members from his small off-Broadway original production in celebration of a relatively successful opening night. The production didn’t exactly make him an instant big name in musical theatre, but it didn’t hurt, either; Kurt Hummel is a name that’s known now, if only among serious enthusiasts.

He’s out tonight because of that, actually. The director of an upcoming Broadway show that the blogs have been buzzing about called him a few days ago and asked to meet with him for an informal chat about getting Kurt the male lead role. They had talked over dinner - about more than just the show and its stubborn producer - and now, to Kurt’s surprise, they’re at a gay bar. Well, he is. He hasn’t seen the director in about an hour, not since watching him not-so-discreetly slip into the bathroom with a guy whose chest was covered in glitter.

Clearly, the director’s interest in him had been both unprofessional and fleeting.

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10祭 Report

“Jussai Report”

It’s 1:30 in the morning here in Tokyo, Japan, but I thought I would write up a concert report while everything is still fresh in my mind.  I’ve never written a concert report before so I don’t know if there’s any format I should follow.  I did make a video report on 8sai when I went two years ago, so I’m just going to do what I did then: report everything I remember including highlights, skits, and songs.  Here it goes:

I went to the 10sai performance on August 9, 2014 at Ajinomoto Stadium in Tokyo.  A typhoon was supposed to hit during the concert (and throughout the weekend), so we were all prepared for the worst.  However, it didn’t rain a single drop throughout the whole three-hour show.  That’s probably what I was most thankful for, honestly. 

The concert started at 5:30 PM.  I was in arena seating right in the middle so we could see the stage but couldn’t really see their faces that well, so we relied on those huge screens on the stage.  The concert starts off with a video of a typical Japanese matsuri (festival).  We see each member doing something you would do at a festival.  Off the top of my head, I remember Okura buying Yakisoba, Hina making takoyaki, Yasu playing those fish games where you try to catch them with the net, Maru buying a mask, Subaru sleeping, etc.  Then, all of them see fireworks and start to walk together towards the screen down the matsuri path.  That’s when the intro to “Naniwa Iroha Bushi” starts playing and they all enter the stage on floats with lanterns in their respective colors.

After “Naniwa,” they go into “Zukkoke Otokomichi” and that’s when they all board floats that go around the stadium.  I couldn’t really see them since I was right in the middle, but again, I relied on the screens.  There was also a water mister that was attached to the float so they would shoot water at the crowds.  They moved to the back of the stadium where they had another stage waiting.  Then, they performed “Musekinin Hero.” They got back on the floats while performing “Monjai Beat” and returned to the stage to perform “King of Otoko.”

After “King of Otoko,” they say their greetings.  I remember Hina saying they were thankful that it wasn’t raining and Yasu said that he wanted to meet us, etc. 

Then, they said how they were thankful for Johnny’s jimusho that they would perform a special Johnny’s medley.  This was so much fun to see especially if you’re familiar with other johnny’s artists and songs.  The songs they performed were: Omatsuri Ninja (Subaru, Hina, and Yoko), Sushi Kuinee (Maru, Yasu, Ryo, Okura), SHE! HER! HER! (Maru, Yasu, Ryo, Okura), Kamen Butoukai (Subaru, Hina, and Yoko), Garasu no Shounen (Maru and Yasu. My relative is a big Kinki Kids’ fan so she really enjoyed this performance haha), Real Face (Hina. It was hilarious when he did Koki’s rap and tried to imitate Kame’s wink),  Seishun Amigo (Ryo and Okura…oh, Torn), Original Smile (everyone), weeeek (everyone), Venus (everyone), Ai Kakumei (Maru. I just know this as the song Takki always performs at the Johnny’s countdown only Maru didn’t fly around the stage.  He did pre-record the spoken part and had a wig on like Takki’s hairstyle lol), Andalucia (everyone), A.RA.SHI (everyone wearing those sheer jumpsuits that Arashi wore during their debut.  It was hilarious.  I think I laughed to the point of crying when watching Hina try to do the sakurap LOL), and Ee jyanai ka (everyone).  They, then, went into “Takoyaki in my heart”, which is such a fun song live since you just jump around screaming Osaka and pretty much the whole opening in general was just so exciting XD Then, they did another “SHE! HER! HER!” at the end of Takoyaki. 

After the medley, while they changed, a clip (trailer?) of Eight Ranger 2 started to play on the screens.  I haven’t seen the movie yet, so I’m not sure what it was supposed to be.  However, it was building up to the next event which was obviously the Eight Ranger skit.  They performed the Eight Ranger theme before going into the skit. 

I’ll try my best to describe the skit: Basically, it was about how Black had a confession he wanted to tell everyone but Nasu went to the bathroom while he was talking.  Black told everyone else that he liked someone and that he wanted to use this “cupid’s arrow” to get her to like him back.  He accidentally shot the arrow and, then, it hit Nasu.  Nasu then suddenly falls in love with Black.  The other ask him “what do you like about Black?” and the screen shows a scene with Yoko in drag and another scene showing his “cool side” beating up a bunch of gangsters. 

The next scene, we see Red who notices that the girl who Black likes is being attacked by someone in a bee costume.  Red uses the cupid’s arrow to hurt the attacker.  Then, we find out that the person in the bee costume is Yellow. Yellow is in love with Red now.  Red confronts the group and tells them what happened.  They all ask Yellow, “what do you like about Red?” and the screen shows Red lifting up his arms showing his hairy arm pits and the next screen shows Red cleaning out his ears with two Q-tips and how Yellow says he likes Red’s face when he cleans out his ears.  While all of them are wondering what they should do, Green comes clean and says he accidentally hit Blue with the arrow. 

On the screen, it shows that Green and Blue were going to find a four leaf clover.  Once they found the clover, the arrow was placed right in front of it.  Green threw the arrow behind him not realizing it hit Blue, who is now in love with him.  Then, all of them ask, “what do you like about Green?” The screen shows half-naked Green.  Then, half-naked Green biting onto a bathrobe he starts to put on and Blue says he likes how he uses a bathrobe, not a towel.  Then, we see various pictures of Green (probably just Okura lol) sleeping and Blue says he likes Green’s sleeping face.  Then, the screen shows Blue’s favorite picture of Green which is Green with the vegetable Okra (Okura and Okra picture). Orange, then, complains that he’s the only one that’s not in a couple.  Basically, everyone starts fighting and the members who are in love with other members start defending the members they love and Orange is caught in the middle (and with his free time, he uses it to do impressions). 

Orange remembers that there’s a magical cure (like fairy dust?) and he goes on a journey to find it.  So we see Orange on the screen going to find the cure while everyone else is on stage, circling each other with knives.  Once Orange comes back with the magical cure, he is caught in the middle of the knife fight and everyone accidentally stabs him.  He spreads the magical fairy dust on himself and is cured. Then, they use it on the people who are in love with the other members.  We find that Nasu is repulsed by the fact that they would even ask if he likes Black.  Yellow says he finds Red cool, but as a member of their group, not that he likes him that way.  Then, we find that Blue actually is really in love with Green.  He planted a fake cupid’s arrow near the four-leaf clover just as an excuse to be infatuated with Green.  Blue then hugs Green who immediately pushes him away (this action however got a favorable response from the crowd though lol). Then, they segue into playing “ER 2”.

While Subaru, Hina, and Yoko change, the other four promote their respective projects coming up (Yasu’s play, Okura’s 24 hour drama, Ryo’s new drama, etc.).  Then, they switch, and Subaru, Hina, and Yoko talk.  Subaru promotes that he’s doing well haha. Then, they all go into band mode.  It’s a more relaxed band this time since everyone is still sitting and Ryo and Yasu have acoustic guitars.  They all play the song that Ryo wrote for Maru from their Hohoemi Date batsu game.  Then, they all play the song Yasu wrote for a batsu game last year and everyone wrote one line (I’m not sure, since I didn’t get to see that yet).  After that song, they play “Omoidama.”

Then, they go into the “Hachi Fes” corner, imitating “Arafes.” The characters on the screen look just like the Arafes characters when they did the rankings.  The animation was adorable:) First, they did album song rankings.  The top 8 were: 8. “tte!!!” 7. Rolling Coaster 6. Ichibyou Kiss 5. Doribura 4. Eden 3. Juu nen ato no kyou no hi mo 2. All is well 1. Buryure (ブリュレ) (which they performed live). 

Then, they went into single rankings: 8. Tsubasa ni Koi, 7. Ai Deshita, 6. ER, 5. It’s My Soul, 4. Mugendai, 3. LIFE, 2. Yellow Pansy Street (which they performed), and 1. Osaka Romanesque. 

Next was coupling song rankings: 8. Eightopop!!!, 7. Aoi Shashin, 6. Bansou, 5.Fuseiyou Ribit (浮世踊リビト), 4. I to U (Yoko says he likes this song), 3. BJ, 2. Cool Magic City, 1. Heavenly Psycho (which they perform).

Then, the next part was also one of my favorite parts of the show: the Solo/Unit Shuffle! They dressed up in the same costumes and learned the dances of their fellow members.  Ryo and Subaru sang “Kicyu” (Ryo as the Yoko part and Subaru as the Yasu part), Yoko and Hina sang “Torn” (Yoko as the Ryo part and Hina as the Okura part),  Maru sang “Watashi Kagami,” and Yasu and Okura sang “Pan Panda” (which was so adorable and I was hoping that was one of the unit songs and sure enough it was!!).  Then, Hina came on stage as Babun Man and sang the theme song.  Then, everyone came out wearing the Babun Man costume and it was hilarious.  Usually the crowd yells “Shingo!” during the Babun Man segment, but since everyone was dressed as Babun Man, the crowd yelled “Eito!” instead. 

Then, they had another costume change into yukatas, this time, fitting with the matsuri theme.  They sang “Junjyou Koi Hanabi” and towards the end of the song, fireworks started to go off, which was beautiful.  It really felt like a festival at that point.  They even had the audience do the wave.

After the song, everyone said their thank you’s.  Yoko got really emotional and started to cry.  He couldn’t say anything at first because he was crying so much.  I really liked Okura’s speech when he thanked each member, saying that he wouldn’t be who he is today without their help (he wouldn’t be able to talk on variety shows without Hina and Yoko or he couldn’t sing without the help of Subaru, etc.).  They are all thankful of the staff that’s been with them since the beginning and, of course, all of the Eighters who supported them for ten years. They ended with “Osaka Romanesque.”

They had one encore where they got back on the floats and performed “It’s My Soul” and “Aoppana.”  Then, they returned to the stage, introduced the band and the back-up dancers, and, then, end their concert with what they do every time: hold each others’ hands (while the audience does the same) and bow. 

Overall, it was a great experience.  I’ve been to 8sai and 8EST at Tokyo Dome, but out of the three, this probably has been my favorite.  From the beginning where we were all excited and full of energy to the end where we were emotional, it was a beautiful event that I was thankful to be a part of.  Thank you, Kanjani8 for a wonderful concert.  Forever Eighter❤

If you got to the end, thank you for reading!!(^o^)/

EDIT: There was a camera flying over the arena seating throughout the whole concert so I’m pretty positive they were filming footage for a DVD:)

Preference #143 - Your Child Catches Him Cheating On You

Zayn: “Dinner’s in the oven and your dad will be home soon. Love you. xx” your son Oliver said reading your text after you had to go grocery shopping. As he walked into your house he saw your bedroom light on, so he figured Zayn had gotten home already. “Dad?” he called out slowly making his way into the kitchen to take the food out of the oven so he could eat. “Dad I’m home,” he said again after getting no response. He got his food before going upstairs to see if Zayn was really home, as he reached your bedroom he heard soft moans followed by Zayn’s voice. Oliver slowly opened the door to see another woman in your husband’s arm. “Dad what are you doing?” you son said freezing at what he saw in front of him. “Oli— it’s not what is looks like,” Zayn said getting dressed quickly while the woman did the same. “You’re cheating on mom, how could you?” he said running downstairs as the girl quickly left. “Let me explain,” Zayn said fixing his hair, before you slowly opened the door followed by your other kids holding the grocery bags. “Explain what honey?” you asked as your son and Zayn looked at each other.

Liam: “Please mom can I go with my friends to the park?” your ten year old son, Joe, asked after you said no. “Okay, fine but you have to be back before your dad gets home,” you said giving in. “Yeah mom I will,” he said before running off with his friends in the park near your house. You were making dinner when your son entered your front door and went straight to his room. “Joe!” you called after him, “Joseph Payne get back here that’s no way to come into this house,” you said following him into his room. He sighed walking back to you. “I’m sorry, can I go to my room I don’t feel good,” he mumbled not making eye contact with you. He couldn’t look you in the eye after he saw his father kissing a women that clearly wasn’t you. You both heard the door open and close followed by Liam saying, “[Y/N]? I’m home already.” You were about to tell your son to get ready for dinner when he slowly walked into his room. “I’m not hungry tonight, I don’t wanna see that man ever either,” he muttered shutting his door before you could ask what was wrong.

Harry: “Yes mom we’ll call you once the movie’s over,” your daughter Nicole said as you drop her off at the movie theater with her friends. After buying their tickets they ordered drinks and snacks they made their way into the theater. “There are no good seats anymore we should’ve come earlier but Ashley took forever oh well look there’s five empty seats for the five of us over there by that old couple,” your daughter said as they all sat down before the movie started. “Hey Nicole isn’t that your dad over there?” her friend said as your daughter looked over at her father with a woman resting her head on his shoulder. “Y-yeah I think so but he told mom he was busy and wouldn’t be home for dinner,” she trailed off walking over to see if it was really him. “I have to go,” she told her friends running out of the theater in tears as her friends followed her close behind. “Nicky! Nicole wait for us!” her friends called after her. “I don’t wanna be here in the same place as him can someone call my mom please,” she cried harder just thinking about what her father was doing to you.

Louis: You noticed your son David was acting strange lately, he avoided talking during dinner and was barely home. At first you saw nothing wrong since he had recently turned seventeen, but it has been going on for three months now after Louis’ last concert of his reunion tour with the boys. “What’s wrong honey?” you asked sitting on his bed one day after he got home from school. “S’nothing,” he said tossing his football in the air. “Don’t lie to me I know when something’s bothering you or your sister now tell me,” you encouraged. “I don’t think you wanna know, I don’t wanna hurt you like that,” he sighed. You were now curious to find out what was bothering him. “You won’t son, now tell me, is it something with your girlfriend? Are you having problems at school babe?” you asked only for him to shake his head. “Mom…dad’s cheating on you…with his old girlfriend. I saw them during his last concert three months ago,” he said making your heart skip a beat. “You saw wrong babe, your dad wouldn’t do that to me,” you choked out. “I didn’t mom, I also saw then yesterday after school,” he said, your tears slowly falling as you cried onto his shoulder.

Niall: It was almost Niall’s birthday so you decided to go shopping, while your sixteen year old daughter Amelia went with her friends you took your nine year old daughter with you. “Meet me at this food court in exactly two hours no later okay,” you warned as she ran off with her friends. While you and your other daughter bought his present, Amelia saw none other than her father cheating on you. “Dad?” your daughter said looking at Niall walk out of a store holding a woman’s hand. “Amelia, what are you doing here?” he said, letting go of the stranger’s hand. “Shopping with my friends, but you told mom you were working late tonight, and who’s she?” your daughter asked. “Never mind don’t answer something I already know and its more clear than anything that you’re cheating on mom with her,” she said turning around. “She’s just a friend baby there’s nothing going on between us I promise,” he plead. “Don’t bother lying to mom about her cause I’m telling her right now,” she whispered more to herself as she made her way to the food court where you told her to meet you.

A/N: finally got around to posting it sorry for the very very long wait but anyways let me know what you think about it? okay bye..enjoy! also let me know if you want a part 2 to this :)

[ENG SUB] Bang.Talk - 2nd 'Keyword Talk'

yes i subbed the entire thing instead of doing homework, enjoy!

NOTE: i was really sleepy when i translated this so if it doesn’t make sense i’m really sorry just know that it’s generally correct.. i hope… anyway happy reading, please take out with credits!

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Kanye's Interview for Style.com

I’s quite daring to keep clothes that simple. Nearly every designer over-embellishes and over-designs, and then people don’t actually want to wear the clothes. I wouldn’t consider myself to be a designer in that way, I just want to propose a solution to problems that me and my wife and my friends face. I sit with a group of problem solvers and say, “In this situation, I would like to have this.” And then from my art background—from my heart background—I have a perspective on color that I’ve always wanted to get across. What I thought was interesting was taking a red and doing it in a sports bra, and as opposed to the usual super-techy fabrics that people use for gym clothes, to really have more of a dry approach to the gym clothes. Even with the way we took Adidas socks and turned them into sports bras. It’s like, “What is almost like Alaïa that you can sweat in?” A sock! And it had to only be the sports bra because it looked really funny once [it] started going into the biking shorts. I tried that and that didn’t come out so well.

And did Adidas give you a completely free hand to do whatever you like? How was working with them? No, they put some boundaries, but solutions come from boundaries. I stepped in, we had to learn [to work with] each other. I had to learn what my voice was because I was still coming off of doing crocodile this and almost irresponsible takes on designing clothes to make up for a lack of skill. And now I have a real purpose to what I want to present. Adidas is the perfect place to be. If someone was to say, “Hey, do you want to go to a high-end house now?” I’d absolutely say no. I’m not trying to [sound] presumptuous, I’m just saying that if in my wildest dreams I was presented with the opportunity, I would absolutely say no at this point. Because I’m only concerned with making beautiful products available to as many people as possible … The least I could do is spend my time trying to give other people a piece of the so-called good life. Everyone should have the good life. It’s like [Amancio] Ortega [founder of Zara] and H&M group. Before that happened, you could tell who came from money, who didn’t, who had a bigger paycheck, who didn’t. It was about separation and I think high fashion is about elitism and separation, and I am completely opposed to that … [though] I’ll still go to crash the Saint Laurent fashion show so I can be closer to the genius that Hedi [Slimane] has, even if the prices aren’t genius, even though the prices are completely unfair.

It’s funny that you bring up Hedi Slimane because of the reaction on our site in the comments section. Your work is very different, but the only two people who get that extreme a reaction, for and against, are Hedi and you. I don’t know what inspires people to either absolutely hate it or absolutely love it, but there’s no in-between with you. Have you looked at the comments on this collection? Have you seen what people are saying? Oh, no, they just need to have the clothing. Anyone that has a negative comment just needs to have the clothing in their life. I don’t need to read that because it’s not going to inspire me in any way. I don’t need any more negativity in my life [laughs] to make me work harder. I can’t possibly physically work harder. I have to tell myself to go to sleep.

What about the reviews? Did you look at the reviews, or are you in a place now where you don’t care about that kind of thing? I don’t read the reviews, because it’s some kind of backhanded compliment or something focusing on not the main point. It was really difficult to do this. It would be difficult to make a proposition this simple for any designer. So many people told me that it had to have logos or it had to have this, but I fought for exactly what I wanted in my closet. I fought for what was true to me … There are a lot of kids in the streets that have waited for someone to speak for them and what they’re doing and for them to connect with it directly. And that’s what I’m here to do. Just as the last photo showed you, I’ve got an army behind me, so unless the reviewer is recognizing the army, they’re not recognizing the tank coming. I mean, I don’t know if people felt this, but it’s too late. Like the Drake album says, if you’re reading this, it’s already too late. If you’re seeing this, it’s already too late.

Tell me about the casting. It was every different type of body. Was that always in your mind as you were designing? One hundred percent. Do you know how many fights I’ve had with intellectual fashion people about the idea of putting bodies on the—I won’t even call it the runway. What would you call a place where a military brigade stands? It’s no longer called the runway for me.

The parade grounds, maybe? Yes, the grounds. Because in an army, people are different sizes. No one says you can’t join the army unless you’re 6'2". People sometimes ask, “Why does Kanye West pander to fashion in this way?” I don’t pander to it, I’m trying to learn from it. Because I believe there’s some information in it that can help people have better lives. And it’s being held and blocked and not given to the people. So this is very much a Robin Hood approach that I have to making clothes. Before, the companies, the big groups, the LVMHs, the Kering Groups, created the workplace [for] the beautiful souls that go and dream of fashion their entire lives. [They] go to the Harvard of design, Parsons, or the Yale of design, Saint Martins, they dream of one day being a part of the magic that fashion week creates and what these lines create. And they felt that if they worked in mass [market], which had—past tense—a negative connotation, that their dreams would be stepped on, crushed, and they would be thrown in some office in the garment district and never get to feel the glory of the true Paris runway. But when I did concerts, two, three years ago, when [Central Saint Martins] professor Louise Wilson was alive, I’d give 100, 200 free tickets to Saint Martins students in London. I did runway shows—one of the things that was successful about the runway shows is that there are people that I hired straight out of Saint Martins that went on to work for Balmain, that went on to work for Givenchy. And that made me a part of the system, as opposed to when you think of the idea of a celebrity hiring somebody, you’d be more embarrassed to have that name on your résumé. And now, I’ve got such a hard reputation of screaming, of doing this type of thing, if you’ve got my name on your résumé—

You can handle anything? You can handle anything! [laughs] It’s like New York City, the person. If you can make it here, you can make it anywhere. But seriously, because we don’t take the shit. So now I’m able to go and hire people directly from Parsons, people directly from Saint Martins, and that was the key. These super-dreamers, these super-passionate people, these super-special spirits and souls—they were looking for a place to go. And now we have a place where you not only can create in an environment that’s comparable to creating at a fashion house or creating at Apple or at Pixar, but also you can connect with people the way that H&M or Zara or, of course, Adidas can connect with people.

Do you feel that high fashion is sort of old-fashioned in a way? I believe the category of ready-to-wear should be removed. I’m biased, but I think the best red-carpet look of all time—if not, one of the top five—was my wife’s look at the Grammys. You know what [Jean Paul Gaultier] just did. He said, “Fuck the shit. I’m making real shit. I’m doing perfume and couture.” And by focusing on that, he delivered … I just think for me as a person that dresses the most photographed person in the world, I get bored with ready-to-wear really easily. Here’s this glamorous being, this modern-day Helmut Newton girl, and you just get this “mid” thing. I just feel like we’ve been hit with this barrage of extreme medium. And you never go and ask, “Hey, can I get an extreme medium?”

Tell me about dressing Kim. Why is that important to you? Do you see it as similar to your design process, dressing her? It’s learning. She was always my muse, now she’s become other designers’ muses. Or designers’ muses, because like I said, I don’t want to disrespect designers by calling myself a designer, I just think I have a vision of something that I want to do. But God has a special way to teach people through life. I guess I got a little more credit for my second collection than my first, for whatever that is worth. But soon as we started dating, fashion people were really opposed to the idea of reality stars. And all the relationships, the somewhat friends that I had somewhat built up, completely turned their backs on her and me. They already had their back to her, and now they turned it to me. The so-called traction that I was getting in the high-fashion world was completely thrown out the window and I was finally allowed to go to school, where every day I was in my mom [Kris Jenner]’s house, in my little brother’s old room, Rob’s old room, re-tailoring a Céline skirt, re-tailoring a Saint Laurent jacket, re-tailoring a Zara top, re-tailoring Wolford … And day by day by day, [Kim and I] learned, we got better. We looked at the photographs together and she improved my style, we improved each other.

That’s fascinating because a lot of designers don’t work with a woman’s body like that. I think that’s one of the problems with fashion right now, so I find it fascinating that you’re working directly with her. With the body of all bodies, right?

And a different body than you see in fashion most of the time. That’s what we were talking about with the Adidas collection. And how do you present that in a way that’s sexy and still dignified. And that’s part of the reason why I work with really strong women, like Vanessa [Beecroft, the artist who staged the Adidas show], that will not allow a woman to even be halfway disrespected. It’s such a far cry from what you would traditionally hear and see in rap. It was a complete new education.

We can talk about the staging. First of all, I have to ask you about the wait. People did have to wait a long time outside. Is this something that you would have done differently in retrospect? Yeah, I apologize that people had to wait. That’s definitely not something I did on purpose. I actually had no idea what time it was. I wasn’t looking at the clock or in charge of that. It’s literally my first proposition in three years. So I apologize for the wait, to the people that had to actually wait at the New York fashion show. I apologize to the kids that had to wait in the 42 theaters where we streamed the show across the globe, I apologize to them for the wait. Let me just explain something to everyone. I’m sorry. I’m a human being. I’ve got opinions, I’m not always right, I’m not always on time, I don’t always say things in the proper way, but my intentions are always extremely pure. My purpose is extremely just.

Did you feel that you needed the voiceover at the beginning of the show? Why not let the clothes just speak for themselves at that point? I think that question is a little bit offensive.

The reason I’m asking is because the wait and then the voiceover set it up for the audience to not be on your side when it started, I’m not asking to try to offend you… This audience isn’t on my side, anyways. It’s the fashion audience. They’re not even on their own side.

That’s true. So, tell me about the clothes. I think you said you started working on the collection 18 months ago? I started 18 years ago. I mean, if we’re talking about the wait, what about my wait? These photographs right here that I’m showing you of these garments and how they’ve been presented, in my opinion are equal to any—not equal to Miuccia [Prada], but equal to a lot of things that are considered to be high-end. What else do you want from me? It’s hard, it’s hard for everyone, and it was a thousand times harder for me. I’m not trying to, you know—I didn’t even want to focus on any of the issues that I’ve already said, it’s like, just listen to the old interviews, and anyone that is more offended by the words that I said at the beginning than inspired, you know, I’m the spark. It’s up to people to be oil or water. If you’re water, your life’s already over. If you’re oil, like the age of the kids that were standing there, you’ll probably be sparked and do something really dynamic in life.

You said 18 years—I’d like to talk about that. When did you first become interested in fashion? Was it while you were growing up or later that you became more interested in that? It’s in my code. I went to my grandfather’s funeral and my cousin stood up and told this story about how he won best-dressed in high school because his mom was a tailor. And I looked to the left of me and the lady was just as—and I hate this word—but just as chic … I dislike the concept of chic being the highest compliment for a human being. I’d rather someone be nice than to be chic. But regardless, this person that was sitting to the left side of me was both nice and chic. And to the right side, this person was also extremely nice and chic and a real person in Oklahoma City. And I looked at the entire funeral and I said to myself,This looks just as good, if not better, than fashion shows that I go to in Paris. And I realized that it had all been a scam, that it had all been smoke and mirrors to present this concept that a straight black guy out of Chicago that’s a rapper, that’s married to a reality star, could somehow not design a coat, that can’t design a T-shirt, that can’t have enough of an opinion. You know, it’s like voting. Fashion is merely an opinion. And I’ve got a lot of opinions.

I’ve heard that about you. Adidas allowed me to be in a position to give mine.

There was that article in The New York Times at the weekend that talked about the lack of diversity in fashion, that there are not many black designers in fashion. Is that something that you think about? Racism and the focus on racism is a distraction to humanity. It would be like focusing on the cousin from your mom’s side versus the cousin on your dad’s side. We’re all cousins. We’re all the same race. To even focus on the concept of race, it’s like—perhaps people give me an extra cookie for the fact that my color palette is so controlled and I’m black. When someone that’s like, racist, comes up to me at A.P.C. and says, “I thought it would be a bunch of animals on your shirts,” because they heard that I rapped. But it just makes the journey interesting. We came into a broken world. And we’re the cleanup crew. And we’re only cleaning up by helping each other.

Coming back to reviews, you did learn from the two shows in Paris, and I don’t know if that was because of what was written or your own experience. You said that to me earlier, that’s why your focus is so strong here, because you went through that. It had nothing to do with people’s words, it had to do with experience. I went to Hawaii for eight months and worked on Dark Fantasy because I had the resources and I had the record deal to do it. I could be like Nicolas [Ghesquière] or Karl [Lagerfeld] in the music space because I had the resources. And every designer out there knows. You talk to Haider Ackermann, you talk to any of these guys, they know that resources are so important—the proper backing, the proper CEOs, the proper distribution, the proper fabrics, the proper production person in the studio. And to make an entire team work together with the kind of egos that come along in fashion is practically impossible for anyone. And that’s why people take those luxury deals because they know that these bankers will give them a proper structure. Every designer, whether you go to Kering Group or Jones Group, you want a structure. An artist needs a structure so that they can be an artist. There’s no comment that would have given me the structure. I had to go and meet CEO by CEO by CEO, fabric person by fabric person by fabric person, designer by designer by designer. So anyone that’s out there that gave me a bad review on my first collection and felt that that helped me do better now, fuck you. You didn’t help me. You just talked. And then you talked about the next show.

Do you feel you have that structure now with Adidas, with the team? I have a slightly better structure.

It’s not where you want it to be, but it’s on the way? It’s on the way. We’re constantly growing, we’re constantly building. I mean, this is the beginning of something really big. This is the beginning of something truly democratic. You know, I am here to take the best talents from fashion and give them to the people. Constantly. It’s not some weird promotional lineup BS, like Versace doing something for H&M and for that one moment in someone’s life they can have the one shirt.

So when’s it going to be in stores? We’re going to do some injections within the next three months. The camouflage pieces will be out within the next three months. I want to point out one thing to all the people who only work in fashion and don’t really take full consideration of this thing called the real world. People say, “Hey, Kanye, you’re going against all odds.” And I say, wait a second, the shoes sold out within the first 10 minutes. 9,000 shoes. So everyone, the odds are with me. The people are with me. Now it’s up to you to choose whether or not I’m chic enough to sit at your dinner table. And I could give a fuck about your dinner table, by the way. I’ve got my own petrified Rick Owens table in my house. Is that chic enough?

I think I’ve got my headline for the homepage. So the sneakers sold out, 9,000 pairs, but the clothes—are they going to be limited edition? I hate the concept of limited edition completely. I hate the concept of separatism. Elitism. Classism. We’re all equal. The only thing that’s valuable is time. It’s the only thing we can’t get back. The only luxury is time. Let’s stop playing games with each other and let’s start helping each other. If someone really feels that there’s something that I can improve on, do like Pat McGrath and come to the fucking show and help me. Do like Vanessa Beecroft and come and help me. Because I’m not here for this to be about me. I’m here to help people. I’m here to help the 14-year-old version of myself that couldn’t afford shit.

How much will the camo jacket be? Not as cheap as I would like it to be. We’re working on the prices now, I don’t have the exact prices. But what I will tell you is that we’ll eventually get them super-inexpensive. And it will be all about everyone having them.

Did you look to anyone, like Margiela, Helmut Lang. What influences— You guys know my fucking influences. I’ve got four influences and it’s written all over the face, you know the combination. Just as much as Drake is influenced by Kanye West, you know my fucking influences. You see Raf Simons right there, you see Helmut, you see Margiela, you see Vanessa [Beecroft], you see Katharine Hamnett. It’s blatantly right there. I’m not going to try and act like I was influenced by a fucking dog walking down the street that broke its ankle that I had a heartfelt discussion with. I had a heartfelt discussion with all of these fucking Helmut Lang images that I stared at for so many years. I had a heartfelt discussion with my Tumblr.

The point is you’re choosing your influences. I know, for example, you’re a fan of Thom Browne, but you’re not looking to Thom Browne here. You’re choosing what’s relevant. Also, workwear, utility, the idea of being a dad, no time to look in the mirror because I’m looking at my daughter, I’m looking at my wife. And I’ve got to take her to dance class.

Let’s talk about the personal evolution of your style. I also just wanted to say a major influence was the London riots because I was living in London at that time and saw the way that the kids wanted the clothes and I didn’t have the skill set to do the more inexpensive clothes. This designer said to me one time, we were looking at something online, “This looks like a really bad couture designer that no one knows.” Think about the idea of a really terrible couture designer, which there are a lot of. I didn’t have the skill set to do inexpensive clothes. Now I have a team of really, really great designers that speak in a very Apple, Pixar-type [way].

A lot of it seems to me to come from your personal style, too, especially as it’s developed over the last couple of years. Would you say that’s true in the Adidas collection? Oh, yeah, definitely. With my first collections, they would say, “I want to see more of you.” And I didn’t even know who I was. And it was far less defined who I was, and I didn’t know who I was until I had a daughter. And then I realized that the purpose of life was to protect her and my wife at all costs. And that is who I am.

I know you have a lot of respect for Ralph Lauren, and there is something very democratic about the way that Ralph designs. It’s not just high-end runway, it’s something people wear through every aspect of their lives. Is Ralph someone you admire in that sense? Ralph is the god. And that’s all I want to say about Ralph.

With the collaboration you did with A.P.C., did you feel that it was a stepping stone in this direction and now you’ve sort of gone all the way? Yeah, there are a lot of similarities to the collaboration. You know, there were walls of class to be broken. I felt it was important for me to present in a fashion context, to earn a cultural degree in some way. In the same way that people who go to Harvard have to stay up, you know, pop a Xan, do some test—you know that when you see that show, that I lost sleep. You know that that wasn’t the normal way that people context celebrity clothing, you know that there was something extremely authentic about the process, you know it was something very focused about the way that all of these items are supposed to be an addition to your wardrobe as opposed to an opposition in your closet. It’s supposed to become friends with what you already have in your closet.

Do you feel that it’s important to do the runway each time, every season? Just with the way that you’re talking about democracy and getting it into people’s hands, would you consider releasing it other times of year? We’ll have more injections. I eventually want it to be brick-and-mortar. One of my dreams was to be the head creative director of the Gap. I’d like to be the Steve Jobs of the Gap.

Well, from what I’ve heard, they could use you. Perhaps this is a bit of a demo tape. When I say Steve Jobs of the Gap, as I talk to the people at the Gap right now [leans into tape recorder], I’m not talking about a capsule. I’m talking about full Hedi Slimane creative control of the Gap is what I would like to do. And I can say this because it doesn’t conflict with my Adidas contract. [laughs]

And what’s up with Nike these days?I’m sure they’re doing OK. [laughs]

I’ve got to ask you just one more question. Did you see the controversy over the last A.P.C. collection from Jean Touitou, where he referenced “In Paris” and he used the N-word in his presentation? Racism is a distraction to humanity. Jean Touitou is one of the most humane people I know. Jean Touitou had my family have dinner with him every time we came to Paris. And there are a lot of people who own fashion companies who didn’t.

[INTERVIEW] Smart Magazine - June 2014 Issue - Jun. K

Q. How did you feel when your first solo was decided?
A. Finally for music after 13 years!

Q. Any certain memory from the album making?
A. All-nighters. It was so hard, but I worked hard then.

Q. About the tour that will be starting in May?
A. I want to make anything with fans

Q. The main point of your MV?
A. The view from the song called NO LOVE. Although we filmed it in Korea, I think the scenery looks like in Swiss. The point are the red outfit and the printed design.

Q. What do you usually use when you’re composing?
A. I usually use a keyboard named KRONOSX88, and CUBASE for composing program.

Q. The important point when you compose a song?
A. Anything left I felt after hearing the melody line and lyric.

Q. Is doing activities on your own a good thing or bad thing?
A. Although I don’t know yet as I haven’t done that much of solo activities, the good thing is to be able to show myself more to the fans. The bad thing is being lonely. I’m not that used to be alone.

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