the truth behind the music industry


Eric and Dylan both followed the throbbing bass of techno, electronica and industrial, whether the beats were melodic or hard-driving. Eric called his favorites - Rammstein, KMFDM, 242, Orbital, and Loreena McKennitt - “fairly unique” although in truth they were still plenty popular. (…)
  And there were other reasons behind Eric’s favorite music. He said he enjoyed Rammstein because they were German and he could understand their words. But in his own mind, any German band, no matter the band’s actual beliefs, probably made him feel closer to the Nazis.
  KMFDM takes the initials from the German phrase Kein Mehrheit Fur Die Mitleid, or No Pity for the Majority. The band does not give permission to reprint its lyrics, but Eric wrote that he liked them “because of the points they are trying to get across.” He listened to the song “Son of a Gun,” before he played soccer, and noticed that it, “shows the way I feel about myself.” The song’s fast, tough and overdone beats talk of explosions, apocalypse, and through it all, a superhero. 
  Eric, in true fashion, also pontificated about the bands he hated: 311, Aquabats, Blink 182 Less Than Jake, Pietasters, Reel Big Fish, and “Puff freaking daddy!!! He sucks! He can absolutely NOT rap!!! No one can, because rap is GAY,” he wrote in one of his Web diaries. 
  And he didn’t like rap videos: “They are all the same!! 5 stupid cheerleaders in color coordinated nylon outfits dancing around infront of a curved orblike camera with a dumbass guy walking around swingin his arms sayin ‘uh huh yeyeah werd up you know what im sayin uh huh mmmmhm yeya babey." 
Dylan wasn’t so much into lyrics. When it came to techno, says Devon, "Like, the more bass he could get in that music, like subwoofers and stuff, the better. He really liked that. A lot of it is mostly instrumental, which he liked a lot. He didn’t have to deal with all the lyrics and stuff. He wanted to make up his own mind what the music was about. He did not like to be told what to be feeling. He was an individual. He always strove to be an individual. He didn’t always succeed. You can just lose yourself in techno music. I remember nights staying up with him and he just drifted off. Music shuts off the outside world." 
  Sue Klebold says she once asked Dylan about a poster of shock rocker Marilyn Manson in his room and he replied that he didn’t really listen to the lyrics, but the music. Another one of his favorite bands was the Chemical Brothers. And at one point, he talked with Devon about going to one of their upcoming concerts. But Devon notes, "He obviously never ended up going to it because it came in summer of 1999." 

- Columbine: A True Crime Story by Jeff Kass.
(Drawings; Eric’s drawing of Orbital and Rammstein & Dylan’s quoting of Beautiful by The Smashing Pumpkins in his day planner)

An interview I did for some dude who only ended up cutting 95% of what I said... Questions are bolded My words are not

Gonna be honest just took my first ADDERALL PILL cuz I’m working on a long form video at the moment and I never tried it so these answers are probably gonna be really weird!
When I initially asked you ‘Who is FrankJavCee’ you replied: ‘Some asshole on the internet.’ That seems, sort of, self-deprecating, don’t you think?     To be honest, I don’t really like myself that much. It’s really human to be self deprecating, as much as an audience wants to see someone succeed I find on the internet people want to see someone fail most of all. Espeically with the amount of FAIL-MONTAGES and CRINGE COMPILATIONS that exist. I try to stay humble to the best of my abilities, like I find my videos aren’t as well produced as others or even as creative and funny as others, but I try my best to not let my ego get the best of me. I’m just a college drop out unemployed student loan debt 24 year old man child making music while still living with my parents.
On your bandcamp thing, it says, you want to be a ‘GRAMMY AWARD WINNING MUSIC PRODUCER.’ Is that sincere?     The Grammy awards have always been to me the subjective truth in the industry. Like if you have a lil gold statue then I have made it as a musician or an audio engineer. The older I get however the more I see that award shows and all those superficial things don’t really matter, what matters most is the music I leave behind when I’ve been long gone, if people still listen I’ll be happy. If I ever get a lil gold statue for making pretty tunes I’ll be happy too. We have to set goals to strive for and musically that’s one of them.

What’s it like being a music artist in East Los Angeles, California? I’ve never been to California, I imagine it’s quite nice though, right? I mean, I’m probably being ignorant about that, but California looks nice on the TV shows my mum watches, you know?     California is a beautiful mysterious place. I read up on a lot of history cuz I like looking at the roots of the trees of life. It was once called Bear Country cuz a lot of bears lived here, then settlers killed them and pushed them away. I live in EAST LA, which is where all the Hispanic people live. South LA is where all the black people live and WEST LA is where all the white people live. In America I notice things are separated primarily by class and race, so I grew up in a working class mexican neighborhood. That sorta stuff doesn’t really affect my art that much, because I rarely go outside. I spend most of my time inside on the internet, and I find the internet my real home. Although living in LA has helped me meet so many cool artists, becuz a lot of people and artists live here. The misconception about Los Angeles is there’s only one type of people here, and it’s seen as glamourous superficial and hollywood aesthetic, but it’s actually a giant vast desert city comprised of a bunch of villages that one day said hey lets connect. The irony is a lot of films are shot here in many locations so people from the outside world get only a one dimensional view of what the city is… I do want to venture into it more and find local artists to film around with cuz there’s so much more than what the mainstream media tells you about this place. Like my neighborhood was in that one Seth Rogan “GREEN HORNET” film and they said it was COMPTON or whatever, and I was like… “NO IT’S NOT THAT’S EL SERENO!”      To answer your question about the music artist… it’s really weird, cuz I haven’t found any artists like myself near me. I have connected with other YouTubers, but no real weird niche music stuff around here, maybe I gotta look harder, like I said, my neighborhood is the internet.
I was writing an article about Yung Lean last year, and knew nothing about Cloud Rap at the time. I later found your video ‘HOW TO CLOUD RAP’ which turned out to be pretty funny, actually. I mean, what are your genuine thoughts on Cloud Rap? Is it even called Cloud Rap, or is it Trillwave, I don’t know.     I actually really like the sounds, it sounds really nice. I’m all into aesthetic and the way music makes you feel. Lyrically I like how something will tell a story. I actually made a video making fun of Yung Lean back in 2014, I used to like his music, til his fans started hating on my for making fun of him and then it got kinda weird cuz I was just having a giggle m8. It’s funny cuz that Yung Lean video was my first time rapping about something, I tried to make a message that glamorizing depression and suicide wasn’t cool because words do affect people, especially young people trying to find their way in the world. I do fuck heavy with the whole TEAM SESH aesthethic and Xavier Wulf and Bones and their music is really great. I’ve also been a huge fan of LIL B cuz he just makes me feel good about myself, like his message and how real to himself he is. I also really like cloud sounding vibes, I started this project with my girlfriend Marion called Cecilia where we released on CLOUD RAP track which is on my SPOTIFY and that stuff is good. Also music is whatever you wanna call it, I can call Cloud Rap, FOGHAZE and people will probably be like… “I GET IT!”

I know you’ve done similar videos. ‘How to make Trap Music’ was a good one. What’s your ‘process’ like when you’re making these videos?     Honestly there is never one way. FOr that video in particular I wrote the song first then kinda ran several takes of me explaining the track to people. Sometimes I write a full script, like my newest video I’m working on or my HISTORY OF NOISE MUSIC and then edit things for it. THere’s really no one way to get started, the process is magic it’s literally different everytime… the hardest part is knowing when it’s done. I find when I can watch something and say to myself legitimately… I want to watch/listen again more than 3 times I have something magical on my hands. I’ve been really interested in collaborating and working with other people more recently. Working with a team is something I’ve always wanted to do, and understanding how other people work helps me as well. In fact I’ve had few internet collabs and a few in real life collabs I’m really happy about. It’s all about going out into the universe and saying YES to things that feel right!

From your videos, I get the impression that you’re sort of a ‘music critic’ using non-traditional methods. Would you agree with that? I mean, what are your thoughts on the contemporary music scenes right now? You seem kind of cynical at times.     When I was younger I was really optimistic. Then I went to college and learned more about how society worked and it shifted my perspective loads. Then I signed a music contract to be a top-line writer in the industry and that changed my perspective on the music industry. My first video that everyone comes to me about HOW TO VAPORWAVE was made when I was angry at everyone. I was pissed off at the world, I had been making music most of my life and at that point no one really cared or really listened to me, so I needed to vent my frustrations in a creative way, little did I know that video would blow up and cause weird ripples in music culture. I still don’t know if my persona on the internet is an act or really how I feel sometimes, becuz internet artists are still a relatively new phenomena in culture. I do a lot of internet research especially with musicians who blow up and become great headliners and DJs who perfect a particular style or sound that everyone emulates. I found that me personally as an artist could never really acchieve the same thing with music alone, because I had one thing most successful musicians have in the modern age, “TALENT, LOOKS, MAJOR FUNDING” I’m still understanding what it takes to go viral but I don’t want to go viral in the music scene anymore, becuz it appears like a flash in a pan I want to grow my audience with me. I’m only cynical if the viewer perceives me as such. I’m just a lonely dude reading what I write down.

Do you agree that your videos are cynical? Obviously, that’s part of the humour, right? But I think that humour taps in to a serious disappointment regarding current music trends. You didn’t hold back when it came to criticising ‘Trap Music’ for example.     I actually believe I was born in the trap. I actually live in government housing with my parents, and they wanted me to go to college and get an education and leave and become something great. But I literally just failed them by dropping all my classes and coming home and saying to them, I’m gonna be a YouTube musician! So a lot of my cynicism comes actually from my self loathing and teenage angst that would later turn into adult anxiety. YouTube is literally just my cardboard box that lets me get up and shout out all my crazy ideas to the world. Also I don’t think I’m funny at all, just kinda pathetic to be honest with you.

Tell me a funny story – it can be about music, or just from your life in general. My editor loves these. I’ll get told off if you don’t give me a ‘narrative’ to work everything in to, you know?
    I was in Marching Band in high school we only had a few kids and we’d play pep rallies every Friday for the football team in the high school courtyard. I played Alto Sax and everyone loved playing this old song that was passed down for generations in the school marching band, but by the time I was a junior in high school the band was like 10 people so I’d normally solo it. We called it techno, and it was basically a marching band EDM song, where I’d play the TETRIS melody while the bass drums would hit a 4 on the floor rhythm. I never messed up cuz I learned how to play that and other video game songs by heart. So one day while at the pep rally there was an exceptionally large amount of kids watching us, and we were getting close to my solo. I never messed up… and I mean NEVER!But this was like 2009 and I was an emo kid and had this weird ripped up black sweater I’d wear everyday and my sleeve got stuck in one of the valves and made my saxophone squeak and make horrible dying noises instead of beautiful music. So I instantly stopped and screamed out to the audience, “I’M SORRY!!!” as loud as I could…Everything was silent, not a single laugh, not a single word.. the audience just looked back at me in dissappointment then my band director went up to me and said, “DON’T YOU EVER DO THAT AGAIN!”

anonymous asked:

What is your honest opinion on bbtm now that you have heard it?

There are no words to describe the feeling it gives me when I just shut the world out, put my earphones, and just feel
It’s the same feeling that I got when I first discovered Abel. This excitement and anxiousness would bubble up inside of me and my stomach would tighten up and I feel all tingly and just aroused. Not sexually aroused, but aroused. I wanna have sex with his music, not with another being, but with his music.
The first couple of verses are foreplay, the hook is the actual intercourse, and when he hits those notes at the bridge the song, I just, I orgasm over and over again. 
When I first heard BBTM, I cried. Actually bawled my eyes out and was a fucking mess and I had to pause it when it got to As You Are. I’m actually tearing up right now just remembering. I cried because Abel is like a reincarnation of Michael Jackson; In The Night, that was Michael. My household is MJ all the way, so I grew up listening to Michael Jackson. Abel’s voice touched me. It went inside of my chest and patted my heart a couple of times. 
I managed to stop the tears at some point, and I listened with an open mind. I can’t imagine myself ever getting bored of Beauty Behind The Madness. I was so excited to listen to the next song, but I couldn’t bring myself to skip the current song because it was so fucking good.  
Truth be told, I wasn’t feeling his new shit. I still don’t like Often and Earned It, and I’m starting to get annoyed with The Hills and Can’t Feel My Face. They’re great songs, they really are, but the radio ruined them for me. I think I didn’t get bored of Trilogy because he wasn’t really known then.
My honest opinion on Beauty Behind The Madness is that it’s award-winning, unique, and magical. It deserves to be Album of the Year, if not, then it should be nominated. No one in the music industry has what Abel has, nobody. This nigga stole his mother’s mattress, bed hopped when he got evicted, contributed to one of 6 God’s greatest masterpieces, refused to get signed, then when he got signed, he made an underrated album that didn’t sell well when it should have went platinum, and now he has mastered pop without losing his spot in R&B. He has one foot in each genre. After Beauty Behind The Madness, The Weeknd is officially King of R&B and Prince of Pop.
These artists better watch out for their careers. 

A picture is worth... nothing in the digital age, apparently.

I suppose at this point, with this whole RedJumpsuit mess, there’s no use in pulling punches anymore with my own reasoning for stopping my little run as a music photographer. I’ve touched on it before in past blogs, but with this new situation, I may as well go into more detail… let’s take a ride.

(and just for the record before I get started: all band names & other photographers names will not be mentioned in this, as to not drag them into anything, since these are my opinions) Music photographers, with the rare exceptions out there, get no respect from bands, crew, venue staff, fans, and so on. This isn’t really something up for debate, so much as it’s a fact, as proven by thousands of music photographers yearly. We catch abuse in many different forms to get ‘the shot’ that not only we, as professionals, will be proud of, but also one the band will be stoked on having to represent them to their fans; photographers have JUST as much of an opportunity to make you look like an absolute jackass as they do to make you look iconic. Iconic, that’s something you DO want your band to be, right? That’s a little bit better than 'world wide known’, I’d safely assume. Now getting back to my reasoning for leaving: I was sick of it. I was sick of the disrespect, sick of the theft, sick of the 'friends’ that would try to take advantage of our friendship for their personal gain, and REALLY sick of management/labels/publications trying to strongarm myself, and others, for our images. It was outrageous the stuff I put up with. On one occasion, I received word that a management group that I was to meet with about images of their client passed an email from their label around the office that said something along the lines of 'do everything in your power to get him to sign over the rights to all of the images, but under no circumstances do you pay him’. That was the last straw that really showed me where on the totem pole I was as a photographer, and there was no way I was going to continue to bust my ass to get nowhere. While I was involved in the music industry, I had the following happen: An artist purposely walking over and kicking my lens while I was tucked away in the photo pit, not in anyone’s way. Bands using my images on merchandise without my consent and then giving me the run around when I asked for payment. Magazines running my photos for months at a time with no credit, no payment, no response to any emails/phone calls. A record label hiring me for several shoots back to back that were 'needed super last minute’ and delivering everything on time only to never receive pay. Being dragged out of venues by my camera strap by pissed off security for no reason. And the list can go on and on and on. The unfortunate truth of the music industry for photographers was told to me by a very popular manager of several high profile bands. We were speaking on a friendly level, and he said to me straight up 'you need to get out of the music industry. We, as management and the teams behind the bands, we LOVE all the great images we get of our artists, both as press and live shots, but we never pay for them and we are never going to pay for them. We know how much it’s worth, but we just have other places to spend our money and so many people offering to do it for the exposure.’ It’s awful that it’s gotten to this point, but if you ask just about any music photographer out there that I am friends with on a very personal basis, I have told ALL of them to get out of the music industry as quick as possible. Get into fashion, get into commercial/advertising, get into ANYTHING other than the music industry. I know, I know, you want all the super cool sticky passes and you want to go on tour and etc etc… I get it. I was the same way for the better part of a decade. I didn’t care about anything but getting on the road, and believe me I am paying for it now. Life on the road is definitely fun IF you’re making money, but when you’re going into debt to help line other peoples pockets, it’s time to realize you’re making a huge mistake that you’re absolutely going to regret.  With all of that negativity about the music industry having just been said: There are a FEW bands out there who know the value of good photography and employ photographers to document their lives. They understand that a visual representation of the band is as important, if not MORE important, than the audio representation of them in the digital age. I understand that without the music, there would be know band, but without the photographs, the bands would have no 'image’. That image comes from different press photos at the beginning of their rise. The dark, moody lighting represents a certain style of band. The bright, sunny, bubbly photos represent a certain genre of music. The in between lighting with girls in bikinis and bottles being popped and girls named Molly dancing around in their Twerk jeans and their Apples with the Fur Boots or whathaveyou, are also there to represent a specific genre of music. All of these images (the good ones, at least) are created using light to shape the scene. Using light to direct the viewer to know what mood they should be in when they see an image. (< sorry about that rant) Anywho, there are a few bands out there that understand that, and those are the bands that are absolutely thriving right now, because the images bring their fans THAT MUCH CLOSER to the 'action’, so they say. As for music photographers, there are a few out there doing extremely big things right now and doing an INCREDIBLE job at documenting stuff for their employers as well as the fans. The stuff that a few people out there are doing is mind blowing and very exciting to watch. It’s great to see the heights to which certain photographers are taking things to get these absolutely iconic images. And in conclusion to this disaster of a blog, I will address, directly, Red Jumpsuit Apparatus, as well as the TM from Three Days Grace: There’s a reason your bands are irrelevant now. There’s a reason that your 15 seconds of fame weren’t very relevant in the first place: you have the attitudes of entitled little kids that didn’t get their way. Music photographers understand that without the bands, they’d have no job. What you, as bands/crew need to know, is that without the photographers/videographers/graphic designers, YOU WOULD HAVE NO JOB. How much money are you making without merch to sell? How much money are you making on VIP with no photographs to autograph? What’s the artwork on your latest album? Not everyone can put out an album with artwork like 'Smell The Glove’, so you need the OTHER ARTISTS that are WORKING in your industry to assist you in sustaining your career. It’s ok, boys, you’ll grow up some day and understand the way the real world works. You know, the real world, the one you are known 'world wide’ in. The one where you don’t have yes men shoveling cocaine into your nose, the one where you don’t have a TM waking you up in the morning to wipe your little tushy for you, and the one where working professionals need to be compensated for their hard work. Red Jumpsuit, don’t bother putting your new record or your discography out for free, or for any price, on July 4th because absolutely no one is interested in hearing the absolute garbage that you unfortunately recorded for your 22 fans to hear. Get bent, forever. As for all the aspiring music photographers out there: If you’re staying on your grind and pushing as hard as you can, good for you, respect. Just know it’s a mess out there and you’re throwing yourself to the wolves if you’re just getting started in this age. Know your rights, and stop letting people take advantage of you; do it for me! Signing out, .mB.

I think Lane Boy is about how top stands out. 

In the music industry it is thought that one band must have one genre, one thing they are known for. Because top does so many different things like music styles the music industry tells them to try to stay in one genre or “lane.” But because Tyler and Josh are Tyler and Josh, they go where they want to and play what they want to. 

Lane Boy also talks about how life is sucked out of music usually. You can listen to a song and you find no true meaning or connection for the people who played it, you can tell they just wanted money. But Tyler writes to save himself, Josh plays to save himself, and because of that we listen to save ourselves. The music industry sometimes makes him think that his music needs to be just there because it sounds cool instead of have a true emotional connection. 

When he says “Forget sanity, forget salary, forget vanity, my morality” he’s saying forget about the money, the popularity, and remember your connection to the music. 

Without any of top’s music, most of the clique wouldn’t be here, and Tyler and Josh may not be here either. Lane Boy is like a letter to the music industry explaining all of those s and truth behind what music is really about. That is what Lane Boy means, plus a lot more. 

An interpretation of ‘Dimension’

This may be entirely wrong and it’s long.

The film begins with barren landscapes that contain a singular portal in sight. The portals are positioned to accentuate the exquisite beauty that is observed beyond them – representing the seemingly beautiful life of a successful artist.

We are taken into the reality behind the portal. We see the boys furiously running across an arid desert plane (0:23), desperate to achieve their dreams and passions. However, this horizon is littered with dead bodies and landmines, symbolising other individuals who have had the same dreams but lost themselves on the way to success. Behind the boys, masked men are relentlessly chasing them – representing the overbearing forces of the music industry that strip their artists of their freedom and individuality.

An array of screens is shown throughout the progression of the film. They broadcast identical mass media and commercial productions (1:15). We see Seunghoon performing in front of this display of screens, suggesting the public façade that he presents to the outside world, strongly contradicting his actual personality and identity. This concept is emphasised as Mino sits at a table surrounded by masked men who busily stamp away (0:47). This represents the dominant occurrence of commercialism and uniformity that occurs in the Korean music industry, as entertainment companies are busy packaging their artists in a way that removes any originality or individual uniqueness from them. 

Mino contemplates upon an apple (0:48). The apple is symbolic of the boys’ dreams and pursuit for self-expression and individuality. It is also a biblical allusion to the forbidden fruit, in that the chase for their dreams inevitably turns into an emotionally and psychologically destructive act once the truth behind the advertised images of perfection, wealth, fame and happiness are revealed.

Hence, it becomes a paradox, where in seeking their dreams, the boys risk losing the essence of their identity. As Mino bites into the apple – representing his final attainment of his dream – the video is flipped and the apple begins to slip away from his grasp (0:56), symbolising the control of entertainment companies over their artists’ dreams and passions. 

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