Jackson doesn’t have to do any of this got7 promo when this is his solo schedule sponsored by Pepsi. But he fucking did. Because he loves got7. Anyone coming after Jackson again for his solo career will rot in hell. /
January 2016. There’s a bench at the top of Primrose Hill, in London, that looks out over the skyline of the city. If you’d passed by it one winter night, you might have seen him sitting there. A lanky guy in a wool hat, overcoat and jogging pants, hands thrust deep into his pockets. Harry Styles had a lot on his mind. He had spent five years as the buoyant fan favorite in One Direction; now, an uncertain future stretched out in front of him. The band had announced an indefinite hiatus. The white noise of adulation was gone, replaced by the hushed sound of the city below.
The fame visited upon Harry Styles in his years with One D was a special kind of mania. With a self-effacing smile, a hint of darkness and the hair invariably described as “tousled,” he became a canvas onto which millions of fans pitched their hopes and dreams. Hell, when he pulled over to the side of the 101 freeway in L.A. and discreetlythrew up,the spot became a fan shrine. It’s said the puke was even sold on eBay like pieces of the Berlin Wall. Paul McCartney has interviewed him. Then there was the unauthorized fan-fiction series featuring a punky, sexed-up version of “Harry Styles.” A billion readers followed his virtual exploits. (“Didn’t read it,” comments the nonfiction Styles, “but I hope he gets more than me.”)
But at the height of One D–mania, Styles took a step back. For many, 2016 was a year of lost musical heroes and a toxic new world order. For Styles, it was a search for a new identity that began on that bench overlooking London. What would a solo Harry Styles sound like? A plan came into focus. A song cycle about women and relationships. Ten songs. More of a rock sound. A bold single-color cover to match the working title: Pink. (He quotes the Clash’s Paul Simonon: “Pink is the only true rock & roll colour.”) Many of the details would change over the coming year – including the title, which would end up as Harry Styles – but one word stuck in his head.
It is safe to say that almost the entire world has recently been exposed to the solo debut of Harry Styles, member of the band One Direction. While he was not the first one to start up a solo project – Zayn Malik left the band in 2015 to pursue a solo career, whereas both Niall Horan and Louis Tomlinson released solo material in 2016 – he was, perhaps after Zayn’s dramatic departure, the most hyped and anticipated artist out of the original bandmembers.
It’s been two weeks since Harry released his incredibly successful #1 debut single, Sign of the Times, which leads his self-titled LP that will hit stores on the 12th of May. Subsequently, critics have been quick to write their reviews, labeling the rock anthem as an epic song that establishes Harry as a credible artist. Part of the promotional roll-out of Harry’s debut seems to be centered around the cultivation of that notion: Harry Styles is to be seen as an authentic, honest, yet mysterious, credible musician. Given the fact that Rolling Stone profiles itself as the market-leading music magazine when it comes to crediting such artistry, it was to be expected that a profile and cover issue of Harry Styles would follow suit.
In a companion piece, Rolling Stone published a so-called ‘fansplaining’ column on their website – delving into the fanbase that has supported Harry Styles throughout the years, probably aimed at gauging their reaction to his debut. An interesting take, given the fact that the journalistic lens of Rolling Stone seems to focus mostly around discrediting the opinion of young women, particularly those who have been avid fans of the music that One Direction has put out in previous years, and who have supported Harry and his peers throughout that time. Aside from the fact that such an understanding of music is abhorrently misogynist, as it values the middle-aged white male’s opinion as somehow more legitimate than those of women (even when those women were able to recognize the artist’s talent years prior to those men who were blinded by their fragile masculinity), the article also failed to do what it intended: Explain what makes these fans so loyal to their idol.
There seems to be a deep-rooted misunderstanding of the relationship between fans and the artist they support, starting with the idea that all fans are the same. They are not. As such, many internal disagreement can exist within a fandom, while all maintaining the same admiration for the artist. It should be clear that fans are perhaps, aside from the artist themselves, the most critical of the output provided. People might find that contradictory, but I have found this to be true amongst many different groups of fans. It is similar to having a best friend that loves you unconditionally, but that will set you straight and call you out on your mistakes when you stumble. Fans are there to help the artist along, but that doesn’t mean they will not hesitate to analyze, criticize and educate their idol as well as their peers if they feel this is necessary. Such criticism stems from the expectations they have formed about said output products. Most fans will distinguish between music on the one hand, and image on the other hand. This is separate from the expectations and perception fans have from their idol’s personality. However, they will expect both music and image to reflect the personality of the artist – this is where the honesty comes into play.
For those who have been following One Direction’s career and musical development, the style of music chosen by Harry did not come as a surprise. In fact, while many reviewers seem to shy away from making the comparison, it seems that Harry’s music seems to progress most naturally out of the latest albums of One Direction. Songs like Walking in the Wind, If I Could Fly, or the slightly older Ready to Run and Where do Broken Hearts Go all reflect similar soft-rock vibes. It also fits the fans’ perception of what Harry’s personal taste in music is like, as he’s always hinted at big artists from the 70s and 80s as his big musical influences. His continuous rejection of explaining his lyricism is also consistent with the Harry fans have come to know and love over the years – he’s expressed many a times how much he values music as art. And art is interpreted by the person observing the artpiece, he likes that a song might give different people different perspectives, as long as it resonates, it’s enough.
This links back to image. In my view, many fans see Harry as fiercely protective of his private life. And with good reason, given how he had to grow up in the limelight – starting off on the X Factor, a reality show that is as much a storytelling drama series as it is a singing competition. However, this is also where there is a deep dissatisfaction amongst fans. Part of celebrity culture is providing the public with certain glimpses into your private life, and fans are quite ambivalent in their appreciation of this. On the one hand, fans want to see their idols be happy and have the opportunity to talk to them, or get to know them. On the other hand, fans recognize the flagrant violation of privacy in terms of stalkers, paparazzi and ‘inside sources’ speaking to the press.
In Harry’s case, this is where the dichotomy is most apparent. While he himself never speaks out about his private life or relationships, not even his friendships with other celebs such as Ed Sheeran, Alexa Chung or Nick Grimshaw; his private life has quite possibly been most speculated about and most prominent in tabloids out of all the One Direction members. Rolling Stone does an abysmal job at respecting the same mysteriousness they hail Harry for trying to uphold by filling in the blanks and pushing him to talk about relationships he’s chosen not to address in the past. Their leading title for their profile does not focus on the music, or him as a new solo artist, but rather on him ‘opening up about famous flings’. It is a common misconception that fans want to hear him say that he’s single, or want to know the ins and outs of who he beds. Rather, fans want to hear what makes Harry happy. They don’t want to marry him, they want to know if he’s hydrated and well loved by his family and friends – if he’s taken enough holidays and if there’s anything in particular he still wants to achieve or cross of his bucket list; that is if he has one. They want to hear him honour the fundamental friendships that underpin the appreciation and adoration fans carry for all One Direction members. They want to know what inspires him – not who. Does he order a cheeseburger at McDonald’s, or does he enjoy a Big Mac on cheat days?
Similarly, many fans will find the sudden recognition by Rolling Stone and other acclaimed music reviewers to be bittersweet. While they will feel proud of Harry at seeing him succeed and get this approval, they also call it for what it is: a thinly-veiled rejection of One Direction and the Harry Styles prior to his solo debut. It is an honour to be hailed as the next David Bowie or Mick Jagger, but the line between inspiration and imitation is thin, which makes fans wary. What is more – the celebration of Harry’s apparent ‘new honesty and authenticity’ (again a rejection of his previous work) is rather awkward, when the reviews do not seem to provide Harry Styles with the room to be iconic as himself. They make sure to draw comparisons with a multitude of icons from the past, as if every choice he’s made has been infused with the mentality to emulate his predecessors. Fans want Harry to succeed by being true to who he is, and while his music gets recognition, it’s still not perceived as being something that is only fully Harry’s.Finally, it is important to not just address what fans expect from their idol, but also what they take away from them. In Rolling Stone, Harry Styles shared that what hurts him are fundamental issues that are lacking in today’s society – things like ‘equal rights, for everyone – all races, sexes, everything’. He’s a feminist, has been involved in the HeforShe campaign, and has expressed his support for LGBTQ+ as part of One Direction. He was frequently seen waving a rainbow flag in concerts, stated that ‘here at One Direction, we love love. Love is love,’ and has worn rainbow bracelets – most recently even a rainbow pin proudly fastened on his shirt. Moreover, he’s taken great care in answering questions about partners, favouring the word ‘spouse’ and always using gender-neutral pronouns. Harry is proud of the fact that he wears 26inch women’s skinny jeans, and continues to present himself as vulnerable in photoshoots, and to break gender norms by not shying away from the colour pink, silk and sheer, glitter boots, or wearing nailpolish. While some might not see the significance in this, these moves are incredibly powerful and can help people of all ages feel more accepted and comfortable with being who they are – it makes them feel normal and safe in a heteronormative world that is dominated by gender stereotypes. What is more, it reinforces their love and support for the artist, as they agree with their worldview – it’s a connection on a more fundamental level, that is not fueled by romantic love interest, or aesthetically pleasing faces and outfits.
Moreover, it inspires fans to change their views on society, and to extend the same charity and empathy as their idol does. In this respect, One Direction and its individual members have - unfortunately - been grossly underrated. Only recently did Steve Aoki note the incredibly power held by this fanbase in particular, calling the fans ‘an institution, like an army of bees’, recognizing how Louis Tomlinson’s fans were mainly responsible for his debut single’s smash success – creating and coordinating their own promotional campaigns, creating merchandise and posters, and requesting the song on radios. But this dedication does not limit itself to seeing their favourite artist succeed. Inspired by the great amount of charity work that One Direction has done itself, ranging from participating in Comic Relief and being patrons of numerous charities to Louis Tomlinson spending over 3 million pounds to organize a fundraiser in the form of a Princess Ball for ill children, the fans have bolstered this attitude to give to those in need and started charity drives in honour of the multiple members. The popular account 1DFansGive encourages fans to donate money to the charities that Harry and his peers are patrons of or have expressed their support for – with unparalleled, consistent success.
These positive aspects of the unique relationship between Harry Styles/1D and the fanbase are entirely lacking or even erased in media representation, which further fuels the dichotomy and love-hate relationship that fans have with media outlets. They stigmatize his fans as being teenage girls who fantasize about a relationship with him, and therefore are obsessed with his sex life – when this is frankly an insulting and gross overgeneralization. It is off-putting that fans are shamed for behavior they do not demonstrate, all the while the press engages in exactly that same behavior. It is not fans who force the idea of Harry Styles dating Taylor Swift or Kendall Jenner down anyone’s throats – it’s the press. It is not fans that prioritize his romantic relationships over his musical abilities and interests – it’s the press. On the other hand – it’s not the press that makes an artist successful, it’s the fans. And most importantly, it’s not the press that annually raises thousands of dollars inspired by an artist’s activism - it’s the fans. And the press doesn’t even report it; not even when they attempt fansplaining.
My advice? Don’t try something if the verb is derived from a harmful, toxic, divisive, humiliating and belittling behaviour that takes away someone’s voice and agency. Fansplaining is just as appreciated by fans as mansplaining is by women - not at all.
People say, “When are you gonna have your solo careers?” Excuse me? We don’t want our solo careers. We love being together and I think we’re a strong and powerful force. The longer we go as a band, the closer we become as well, so our sisterhood gets better.
It’s not like we weren’t warned. Rumors had long swirled about the sound of former One Direction heartthrob Harry Styles’ upcoming solo career taking inspiration from ‘70s rock staples Queen and David Bowie, and Styles’ own fashion statements of recent years certainly telegraphed his interest in being considered part of the British rock continuum. But still, it can’t help but be a little shocking to hear Harry’s solo debut “Sign of the Times” for the first time, to hear that thudding piano intro give way to soaring guitar and dramatically sighing vocals. It’s strangely disconcerting in how familiar it all feels.
Throughout the song’s nearly six-minute run time, the memories of British rock history shoot off like fireworks – spanning from late-period Beatles to Bowie to Listen Without Prejudice-era George Michael to Suede to Robbie Williams and even early Coldplay. It doesn’t sound like a tribute to (or rip off of) any of these artists – it just sounds like someone who’s grown up studying at the feet of all these titans and now wants to try his hand at joining their ranks. And to Styles’ considerable credit, he basically succeeds: “Sign of the Times” is as lighter-waving, arm-swaying, random-mate-hugging a power ballad as they come, sounding – as many have pointed out on Twitter on this somewhat apocalyptic-seeming of Fridays – like the appropriate montage soundtrack for the end of the world.
But whatever IRL timeliness the song’s strength-in-weariness lyric delivers, musically, the song’s title comes off as pretty ironic. Fact is, “Sign of the Times” couldn’t sound much less like 2017; a pop era where rock music is viewed as increasingly archaic and even the biggest bands – no shade to LCD Soundsystem – seem to be trading in their guitars for turntables, or at least some enormous synths. To hear Harry’s big return keyed to a song built around Elton John piano and George Harrison guitar slides is pretty jarring: Ten years ago, the song would’ve felt somewhat safe, 20 years ago it would’ve felt downright pandering, 40 years ago it would’ve been Eric Carmen’s “All By Myself.” But right now, it feels practically subversive.
And you know what? The rock part of it isn’t even the most surprising thing. What’s really staggering about “Sign of the Times” is just how goddamn British it is. Look at the paths the other One Direction members have taken since the group went on indefinite hiatus: Louis is making EDM bangers with Steve Aoki, Zayn is trying to catch a ride on Drake’s luxury liner and Niall (Irish, not British) is making Mumford-via-“Hey There Delilah” folk-contemporary. Hell, look at 1D themselves: Their last few albums were heavily rock influenced, but took cues from Fleetwood Mac, Journey and Def Leppard – the latter a U.K. band, but one way more popular with American audiences – rather than anything proudly British.
Styles, meanwhile, practically sounds like he’s draping himself in the Union Jack and yelling “Yanks Go Home.” He’s created the perfect song for British rock fans who wish Glastonbury would go back to more traditional headliners, who wonder why 20 years after Be Here Now essentially ended the Britpop moment, nobody seems interested in picking up Oasis’ mantle. (The Gallagher brothers will probably hate it.) In the U.K. as in the U.S., the entire musical mainstream seems to be going global, and that’s mostly a good thing, which has led to some interesting and boundary-breaking music at pop’s center. But there’s something undeniably refreshing about a huge pop/rock song with this strong a sense of its home country’s musical history and identity – you just don’t hear much of that anymore, coming from anywhere.
It’ll be fascinating to follow what radio does with this song. It doesn’t sound like anything topping the charts on either side of the Atlantic, and it’s just about impossible to imagine American top 40 stations scheduling six minutes of this in between Chainsmokers and Bruno Mars jams. But less than a day into its lifespan, the song already seems to be striking a big enough chord – it rocketed to the top of the iTunes charts within hours of its middle-of-the-night U.S. release – that it might soon prove equally impossible to imagine the biggest stations ignoring it entirely. If this really is the film soundtrack to the end days, then cue the Don LaFontaine trailer voice: IN A WORLD where pop was ruled by trop-house and Ed Sheeran, ONE MAN dared to try to bring British rock back to the mainstream. Let’s sit back and see how this unfolds. - Billboard
Samuel - I’m Ready [letter eng trans - please credit if using]
Hello! It’s Samuel! ❤❤ Thank you sincerely for showing me lots of love and interest up till now. I learned a lot through PRODUCE 101 SEASON 2. While filming PRODUCE 101 SEASON 2 for 4 months, there were times I was tired and things got hard but every time I received support and messages of love from the fans, I received a lot of strength. I genuinely thank you for supporting me every time it gets hard. I think I’ve been able to get this far thanks to everyone. To the fans who sent letters and voted till the very end, I love you very much! I will definitely repay the love you’ve sent me!! ❤❤ I will quickly find you with a cool image and album! Until then, I hope that you wait with unchanging support! I will become a hardworking Samuel! ❤❤