Wednesday, October 17, 2018

It's Musician Inner State 81 And His Juice-Tastic Tune "Honey Eye"

It's Hip-Hop/Electronic groovy musician-producer Inner State 81 and his juice-tastic tune "Honey Eye." It's super far-out banger packed with a sour punch of soulful and rhythmic vibrations. Originally hailing from London. He is temporarily now residing in Pittsburgh, CA where he's getting his creative vibe on.

Here's the catch and interesting part of Inner State's musical story.  Inner State 81 has actually been cutting up a string of soul samples as of late. This number comes from none other than one of the Queens of Soul, Icon Patti Labelle, and her ginormous classic hit "Love, Need And Want You"

Inner State 81 does, however, emphasize on his profile that his, "*assorted styles may vary*. And there you have it, now let's all get into a collective state of mind with Inner State 81 and his stellar electric song "Honey Eye."

Courtney Love Jams Out Hole Hits With 1,500 Musicians!

Zephyring since September of 1998. Thee iconic album known as 'Celebrity Skin' turned 20. In a world full of trends, she is a rock trendsetter. Rule maker. Rule breaker. Cobain love maker. Guitar playing gift to the world. You know you that bitch when you cause all this conversation, since day one.

Miss Courtney Love strutted and performed her classic hit tune "Celebrity Skin"  performed live for the first time in history by the largest rock n roll band on earth. Known as, "Rockin’1000", via live from Florence Italy.

Rockin'1000 is basically an Italian amateur music group consisting of 1,500 members exactly on guitars, drum, and backing vocals. Now they're raising rock n roll hellfire by performing Hole's hits. Aside from thee already mentioned "Celebrity Skin", "Malibu" is also added to thee cauldron of yummy Hole covers. With Love roaring at the microphone, the end conclusion is super astounding!

The performance was also part of a benefit concert entitled, That's Live 2018. More than 20,000 folks attended the concert. Supporting a town called San Patrignano, it's a community program for drug addiction rehabilitation and social integration.

Rockin'1000 originally commenced  as a fan gathering back in 2015, when 1,000 musicians gathered in Cesena, Italy, in a park to play the Foo Fighters' "Learn to Fly." A video of that performance apparently went bobblehead viral and caught the attention of the boys. They traveled to Cesena for a gig.  Now expanded to 1,500 members, Rockin'1000 has stayed active and in locomotion since. Courtney said the following in a press statement on their website about the concert:

“The first time I saw the Rockin’1000 video, I thought, ‘I want to do that! The sight and sound of a thousand musicians connecting with their audience in this open, transcultural way was incredible. It reminded me of the early punk scene, with its community centered around diversity and acceptance. And after I learned about Rockin’1000’s and Only the Brave Foundation’s commitment to San Patrignano, a charity dedicated to fighting addiction and social exclusion, I knew I had to be a part of it.”

Wait no longer all you honey rockers, and dig out  Rockin'1000's just unleashed video of their "Celebrity Skin + Malibu" performance with the one and only Miss Courtney Love below!

Cardi B Shuts Down The House At The Hip Hop Awards 2018!!!

Cardi B just signed sealed delivered and shut down the 2018 Hip Hop Awards sending all the boys and girls in the rap yard back to school. With an undeniabley electrifying stage presence and stellar choreographed performance.

Cardi shined bight like a diamond as one of several ginormous names in the Urban game. Taking place at The Fillmore in Miami Beach at Jackie Gleason Theater, aired tonight, which was actually taped earlier this month will have you swayin' from left to right.

Scope out Cardi shattering the stage performing her album cuts 'Get Up 10' And 'Backin' It Up' featuring rapper Pardison Fontaine.

Cardi with Bad Bunny & J Balvin at her best yet performance of her monster hit  "I Like It" at thee 2018 American Music Awards.

Jimi Hendrix’s ‘Electric Ladyland’: 10 Things You Didn’t Know

In today's King of music news:

“We’ve been doing new tracks that are really fantastic and we’ve just been getting into them,” Jimi Hendrix told Rolling Stone in February 1968, right after he and the Experience had played San Francisco’s Fillmore West. “You have these songs in your mind. You want to hurry up and get back to the things you were doing in the studio, because that’s the way you gear your mind….We wanted to play [the Fillmore], quite naturally, but you’re thinking about all these tracks, which is completely different from what you’re doing now.”

No one knew it at the time, but the new tracks Hendrix was referring to — which he, bassist Noel Redding and drummer Mitch Mitchell had been working on intermittently since the previous summer — would form the nucleus of Electric Ladyland, the sprawling double album that would finally see the light of day October 16th, 1968. The final studio album ever recorded by the Jimi Hendrix Experience, and their only one to top the charts on both sides of the Atlantic, Electric Ladyland saw Hendrix moving light years beyond his two previous works, Are You Experienced? and Axis: Bold as Love, both of which had been released in 1967.

While the stomping “Crosstown Traffic” and the smoldering psych pop of “Burning of the Midnight Lamp” wouldn’t have sounded particularly out of place on either of those records, Electric Ladyland was full of bold new sonic colors, flavors and adventures, including “And the Gods Made Love,” a “sound painting” featuring vari-speeded drums, distorted vocals and backwards cymbals; the lilting Curtis Mayfield-influenced lullaby “Have You Ever Been (to Electric Ladyland)”; the angry protest of “House Burning Down”; “Voodoo Chile,” a 15-minute live blues jam with Steve Winwood and the Jefferson Airplane’s Jack Casady; the slinky soul-jazz groove of “Rainy Day, Dream Away”; and the epic psychedelic apocalypse of “1983 (A Merman I Should Turn to Be).” The album also contained two tracks that would forever loom large in the Hendrix legend — the megalithically heavy “Voodoo Child (Slight Return)” and his radical reworking of Bob Dylan’s “All Along the Watchtower.”

But while many Hendrix fans today regard Electric Ladyland as his true masterpiece, its birth was a profoundly difficult one. Recording sessions for the album, mostly split between London’s Olympic Studios and New York’s Record Plant, were regularly interrupted by touring commitments. Hendrix found himself frequently frustrated by trying to make the music on tape match the sounds in his head, while his drive for perfectionism and his endless fascination with sonic experimentation wound up alienating some of his most trusted colleagues. And even in its completed state, Electric Ladyland didn’t end up sounding (or looking) quite like Hendrix had envisioned.

On November 9th, Sony Legacy will offer additional insight into the multi-layered and -hued work with the release of a massive 50th-anniversary box set that includes outtakes, demos, a new 5.1 surround-sound mix by Electric Ladyland engineer Eddie Kramer and the 1987 documentary At Last … the Beginning: The Making of Electric Ladyland.

In honor of the album’s 50th anniversary, here are 10 things you might not know about Electric Ladyland.

1. Whitney Houston’s mom sang backing vocals on “Burning of the Midnight Lamp.”
The first song recorded for Electric Ladyland, the introspective “Burning of the Midnight Lamp,” was tracked at New York’s Mayfair Studios on July 6th and 7th, 1967, just three weeks after the Experience’s incendiary performance at the Monterey Pop Festival. Though written during the sessions for Axis: Bold as Love, it hadn’t been recorded in time to make the cut for that album.

The “Burning” sessions marked the first time that Hendrix worked with engineer Gary Kellgren; the two hit it off beautifully, and Kellgren would go on to play a major role in the making of Electric Ladyland. When Hendrix and producer Chas Chandler decided that the song needed female backing vocals, Kellgren’s wife, Marta, hired the Sweet Inspirations, an in-demand vocal quartet led by Emily “Cissy” Houston, whose young daughter, Whitney (just three years old at the time), would go on to become an immensely successful singer in her own right. Though Hendrix’s psychedelic music seemed a little unusual to Houston and her cohorts — who had already done sessions for the likes of Aretha Franklin, Wilson Pickett, Solomon Burke and Van Morrison — they were more than up for the challenge.

“They all thought it was quite strange,” Chandler recalled in At Last … the Beginning: The Making of Electric Ladyland. “ ‘Midnight Lamp’ sort of threw them a bit, but they liked it, and they did a great job.”

2. Hendrix played a homemade kazoo on “Crosstown Traffic.”
“The wah-wah pedal is great because it doesn’t have any notes,” Hendrix told Rolling Stone in 1968, waxing rhapsodic about the then-new invention, which was one of his favorite musical tools. But while Hendrix loved to experiment with the sonic possibilities of new guitar gear, he also wasn’t afraid to go the DIY route when the occasion called for it. On “All Along the Watchtower,” he used a cigarette lighter as a guitar slide — and to achieve the right buzzing effect on “Crosstown Traffic,” he doubled the guitar line by blowing through a kazoo constructed from a comb and cellophane.

“He was doing ‘Crosstown Traffic,’ and couldn’t seem to get the sound that he was trying to express across,” Hendrix’s friend and confidante Velvert Turner explained in At Last … the Beginning: The Making of Electric Ladyland. “Jimi said, ‘Do you have a comb on you, man? Give me a comb. Somebody get me some cellophane.’ If you take a comb and put cellophane across it and blow through it, it gives a kazoo sound. So the guitar solo on ‘Crosstown Traffic,’ the guitar is laced by the sound of a kazoo, and that’s Jimi with this particular comb. Which I just thought was amazingly brave for someone to do. Jimi would reach out and grab anything he possibly could get his hands on if he thought it could produce the desired sound for him.”

3. Brian Jones tried (and failed) to play piano on “All Along the Watchtower.”
Hendrix often encouraged other musicians to join in on his recording sessions, and Electric Ladyland featured several guest contributors, including Al Kooper, Buddy Miles and three members of Traffic (Dave Mason, Steve Winwood and Chris Wood). But when a certain member of the Rolling Stones showed up at Olympic Studios during the recording of “All Along the Watchtower,” his enthusiastic attempts to add a piano to the track were quickly foiled by his level of inebriation.

“None other than Brian Jones of the Rolling Stones stumbled by the session, decided to help out and play some piano,” Eddie Kramer recalled in At Last … the Beginning: The Making of Electric Ladyland. “I think he valiantly tried for a couple of takes, but it was abandoned, and they went back to cutting the basic track without him.” Not wanting to hurt his friend’s feelings, Hendrix moved Jones over to percussion; the rattling that punctuates the song’s intro is the sound of Jones hitting a vibra-slap.

4. Bob Dylan thought Hendrix’s version of “Watchtower” was an improvement on his original.
“I love Dylan,” Hendrix enthused to Rolling Stone in 1969. “I only met him once, about three years ago, back at the Kettle of Fish [a folk-rock-era hangout in New York] on MacDougal Street. That was before I went to England. I think both of us were pretty drunk at the time, so he probably doesn’t remember it.”

While Hendrix performed several Dylan covers before he died in 1970, including “Like a Rolling Stone,” “Can You Please Crawl Out Your Window?” and “Drifter’s Escape,” his masterful overhaul of “All Along the Watchtower” was his ultimate tribute to the singer-songwriter. Dylan himself has praised the Electric Ladyland version on several occasions, even incorporating Hendrix’s arrangement of the song into his live performances. “It overwhelmed me, really,” he told the Fort Lauderdale Sun Sentinel in 1995, when asked about Hendrix’s take on the song. “He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn’t think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day.”

5. The all-star jam “Voodoo Chile” was Hendrix’s attempt to re-create the atmosphere of his favorite NYC club on record.
“I like after-hour jams at a small place like a club,” Hendrix told journalist John Burks in February 1970. “Then you get another feeling. You get off in another way with all those people there. You get another feeling, and you mix it in with something else that you get. It’s not the spotlights, just the people.”

During the making of Electric Ladyland, Jimi’s favorite place in New York City for after-hour jams was the Scene, a popular nightclub located in a basement on West 46th Street, just around the corner from the Record Plant, a new recording studio built by Gary Kellgren with Hendrix in mind. The Scene was a magnet for touring musicians, and it was not unusual for Hendrix to spend a few hours jamming at the Scene with whoever was there, and then head back to the Record Plant for some late-night recording. On the night of May 2nd, 1968, after encountering Steve Winwood and Jack Casady at the Scene — both of their bands were in town for gigs at the Fillmore East — he brought them back to the studio and instructed Eddie Kramer to set up the microphones for a Scene-style jam session with Mitch Mitchell on drums.

“We had been over at the Scene all night when Jimi said, ‘Hey, man, let’s go over to the studio and do this,’” Kramer recalled in At Last … the Beginning: The Making of Electric Ladyland. “The idea was to make it sound as if it was a live gig.” Three takes later, the slow blues “Voodoo Chile” was committed to tape for posterity; audience sounds were subsequently overdubbed to give it more of a “club” vibe.

6. “Voodoo Child (Slight Return)” was recorded off-the-cuff while the band was being filmed for a TV documentary.
The day after “Voodoo Chile” was recorded, Hendrix returned to the studio with Noel Redding and Mitch Mitchell to be filmed for a possible ABC-TV documentary. Though the musicians were supposed to only pretend that they were recording, Hendrix seized the moment to teach his bandmates a new song — and three takes later, with the tapes rolling, “Voodoo Child (Slight Return)” was born.

“We learned that song in the studio,” Redding told author John McDermott. “They had the cameras rolling on us while we played it.” “We did that about three times because they wanted to film us in the studio, to make us [imitates a pompous voice] ‘Make it look like you’re recording boys,’ ” Hendrix told John Burks. “One of them scenes, you know, so ‘OK, let’s play this in E; now a-one and-a-two and-a-three,’ and then we went into ‘Voodoo Child.’ ” Though the studio footage was never used by ABC, and has since been sadly lost, “Voodoo Child (Slight Return)” remains one of the heaviest and most potent tracks ever recorded by Hendrix.

7. Hendrix’s studio perfectionism caused his manager/producer to quit during the making of the album.
While both “Voodoo Chile” and “Voodoo Child (Slight Return)” were recorded in three takes apiece, such spontaneity was in short supply during the making of Electric Ladyland, much to the chagrin of Chas Chandler, Hendrix’s manager and producer. Chandler, who far preferred the “hit it and quit it” method of record making, grew increasingly frustrated with Hendrix’s perfectionist tendencies — as exemplified by the four-dozen takes he required for the funky field holler “Gypsy Eyes” — and the party atmosphere that dominated many of the Record Plant sessions.

“I would go in there [to the Record Plant] and wait for Jimi,” Chandler told author John McDermott, “and he would show up with eight or nine hangers-on. When he finally did begin recording, Jimi would be playing for the benefit of his guests, not the machines….We’d be going over a number again and again and I would say over the talkback, ‘That was it. We got it.’ He would say, ‘No, no, no,’ and would record another and another and another. Finally I just threw my hands up and left.”

Experience bassist Noel Redding was also extremely unhappy about the festivities surrounding the sessions, as well as the fact that Hendrix — in his quest to get everything exactly like he heard it in his head — had decided to play bass on many of the album’s tracks, thus leaving Redding with little to do. “I took it out on Jimi,” Redding wrote in his autobiography, Are You Experienced?, “letting him know what I thought of the scene he was building around himself. There were tons of people in the studio, you couldn’t even move. It was a party, not a session. He just said, ‘Relax, man …’ I’d been relaxing for months, so I relaxed my way right out of the place, not caring if I ever saw him again.” Redding would eventually return to the sessions (even singing lead on “Little Miss Strange,” a track he’d penned that Hendrix dug enough to include on the album), but Chandler was gone for good.

8. Hendrix’s U.K. label neglected to inform him that they were putting naked women on the album’s cover.
In addition to being a musical perfectionist, Hendrix had very specific visual ideas for Electric Ladyland. Photographer Linda Eastman, who would marry Paul McCartney the following year, had taken a photo of the Jimi Hendrix Experience hanging out with some children on José de Creeft’s Alice in Wonderland sculpture in New York’s Central Park, and Hendrix thought it would be perfect for the cover of the album. “Please use color picture with us and the kids on the statue for front or back cover — OUTSIDE COVER,” he instructed Reprise Records, his U.S. label. For whatever reason, Reprise opted instead to use a solarized Karl Ferris photo from Hendrix’s 1967 performance at London’s Saville Theatre — while Track Records, Hendrix’s U.K. label, took a more provocative and controversial tack by using a David Montgomery photo of 19 nude women.

According to a December 7th, 1968, news article in Rolling Stone, the Track release of the album “met resistance and censorship in many record shops and outlying provinces in the British Isles,” while London wholesalers were only selling the record with a nudity-obscuring brown wrapper. Hendrix, for his part, claimed he hadn’t been informed about Track’s plans for the album cover.

“I didn’t know a thing about the English sleeve,” he told Melody Maker in November 1968. “Still, you know me, I dug it anyway. Except I think it’s sad the way the photographer made the girls look ugly. Some of them are nice looking chicks, but the photographer distorted the photograph with a fish-eye lens or something. That’s mean. It made the girls look bad. But it’s not my fault.”

9. Hendrix was unhappy with the way the finished album sounded.
While Hendrix spent long hours in the studio recording Electric Ladyland — running up a $60,000 bill at the Record Plant and $10,000 at Olympic (or more than half a million dollars in 2018 terms) with his round-the-clock work — he, unfortunately, had no such luxury when it came to the final mix. Pressured by Reprise for a finished product, he was forced to mix the record while out on tour with the Experience.

“It’s very hard to concentrate on both,” he lamented to Hullabaloo magazine, shortly after the album’s release. “So some of the mix came out muddy — not exactly muddy but with too much bass. We mixed it and produced it and all that mess, but when it came time for them to press it, quite naturally they screwed it up, because they didn’t know what we wanted. There’s 3D sound being used on there that you can’t even appreciate because they didn’t know how to cut it properly. They thought it was out of phase.”

10. Rolling Stone gave the album a mixed review upon its release.
Electric Ladyland sounded like nothing else when it was released in October 1968, so it’s not entirely surprising that many contemporary reviewers were unable to fully get their heads and ears around its 75 minutes of sheer awesomeness. Tony Glover — writing about the album for Rolling Stone’s November 9th, 1968, issue — gave Electric Ladyland a decidedly mixed review, one which praised the album’s more straight-ahead blues excursions (as well as “All Along the Watchtower”) but he seemed unsure about its heavier moments, and specifically bemoaned the way Hendrix’s wailing guitar upset “the beautiful undersea mood” of “1983.” “My first reaction was, why did he have to do that?” Glover wrote. “Then I thought that he created a beautiful thing, but lost faith in it, and so destroyed it before anybody else could — in several ways, a bummer.

Thirty-five years later, however, the album achieved its rightful due in Rolling Stone, landing at number 55 on the magazine’s list of the 500 Greatest Albums of All Time.”" -

Kim Petras Talks Halloween-Themed Mixtape 'Turn Off the Light' & Touring With Troye Sivan

We first broke the news on Kim Petras epic hypnotizing  Halloween first ever mixtape 2 weeks ago.
Like we previously stated Kim just came for all the musical boys and girls in the pop yard. This is officially Kim Petras town of Halloween. And we don't want to be in anyone else's' neck of the woods! And wouldn't you like to hear something innovative and strange?

As we've historically grown customary to our signature traditions of always breaking new underground music over the past 15 years, come with us and read below cause we now have behind the scenes info of how this iconic project came to manifest.

Kim opens up her musical coffin causing an earth-shattering earthquake with all her Transylvania spooky secrets and details spilled below!

"Kim Petras is turning heads as one of the most interesting newcomers in pop music. Last month, she stunned New York Fashion Week, sitting front row at Marc Jacobs, Anna Sui, Christian Siriano and more with a meticulously crafted wardrobe. In the time since, she’s been touring North America as a supporting act for Troye Sivan on The Bloom Tour.

“We're having a blast every single night and his fans are amazing,” Petras tells Billboard en route to the tour’s NYC stop at the historic Radio City Music Hall.

Despite what is sure to be a draining schedule, the singer delighted her ever-expanding fanbase by conjuring up eight new tracks for Turn Off The Light, Vol. 1, a mixtape designed to bring witches, zombies and other devilish creatures to the dancefloor.

With 30 minutes until soundcheck, Petras talked to Billboard about her spooky new project, her quest to win over radio with “Heart to Break” (it’s been bopping around right outside the Mainstream Top 40 radio chart all month) and what it’s like to inspire young transgender fans: “I'm so happy that little girls that are just like me have a pop star in like a crystal castle singing about heartbreak. That's such a beautiful thought to me.”

Billboard: Where did you come up with this idea to release a Halloween-themed mixtape?

Kim Petras: It all happened after we wrote “Close Your Eyes.” Sarah Hudson, Jesse Saint John and my friend, Aaron Joseph, we write all the stuff together, and we just came up with that song and it just felt so good that I wanted to make a whole project in this sonic world. There's a lot of people who put out Christmas albums and Christmas songs and we were like, “why are there no Halloween albums?” So we just wanted to make a dark-pop project and it just organically happened.

Mariah Carey has Christmas on lockdown, but this could solidify you as the Queen of Halloween.

Yeah, I hope so. I'm so happy Elvira jumped in. She's the legit Queen of Halloween. That kind of lifted this whole record, to have a Halloween legend on it. But I love Halloween, it's my favorite holiday.

Sonically and lyrically, it reminds me of some of Lady Gaga's darker stuff, like "Bloody Mary" and "Monster." Was she on your mood board?

Always. Of course, I listened to the Fame Monster. There's a lot of Kavinsky on there and the Drive soundtrack. I'm inspired by horror movie themes, the Jeepers Creepers theme, It Follows, you know. Rihanna's “Disturbia,” obviously.

It was very, very freeing — the dark side. It was very much the perspective of being taken over by a demon and accepting that you're like evil and you kill guys, you know? [laughs]

It felt really cool to break free a little bit, because people definitely categorize me. Of course, all I've put out so far is very bubblegum, very happy, very shiny, very girly. This is still very, very pop and shiny but, I'm wanna experiment with all kinds of pop. I have a million different sides to me. It just felt really great to show a different side. I think a lot of people will be pleasantly surprised.

Speaking on your different sides, some of your songs paint you as a party girl. Is that something that you identify with, or is that a persona created for your music?

It's based on both of those things. I spend most of my time in the studio, but when I party, I party hard. I love partying.

When I was writing "I Don't Want it At All," I was sleeping on a futon. I write about how I want my life to be — the ideal, fun version of myself, because a lot of times I write to get myself out of sadness or sad thoughts.

I always wanted people to forget about reality and come into my little pop universe. That's my goal. I think reality can be so depressing sometimes, and all the bad in the world, and all the shit that's going on can be really sad. Music always got me out of funks, and pushed me to keep going and keep moving.

So it's a little bit of pop escapism. “Heart to Break" is catching on with radio.

Yes! Oh my god, finally.

Have you heard it while you were out, unexpectedly?

I heard it in a Sephora, which was sick. My favorite place; it seemed like surreal. I’ve also heard it in clubs a bunch, and on the radio. It’s a weird, amazing feeling. I've been on a radio promo tour for almost six months now, so it's taking longer than ever to get a song on the radio. It's a whole different game -- I had no idea. It's been a hustle, but it's so worth it.

You tweeted that a 7-year-old trans girl told you that you inspire her. Does that happen often?

It usually happens on the Internet. People on the Internet write that I inspired them to come out as transgender. That's happened to me since I was 12 years old, after that first documentary. It’s still touching and amazing. I just wanna keep fighting for trans rights and I care so much. And meeting beautiful little trans girls, they inspire me to be who I am.

She's freakin' seven and she reminded me so much of myself. I was always, like, “I’m a girl, bitch,” my whole life [laughs]. I'm so happy that little girls that are just like me have a pop star in like a crystal castle singing about heartbreak. That's such a beautiful thought to me.

For sure! And in that same tweet, you mentioned that people don't want to give you credit for fighting for trans rights, but obviously, you've been doing this since you were an adolescent. Why do you think people aren’t giving you credit?

I spent my entire childhood and my teen years only fighting for trans rights and putting my artist career behind that, and not advertising that. Even though I was always writing music, I was fighting for the cause. Then, I was just like, “Okay, now I want to be an artist and be taken seriously.” I don't want people to just see me as transgender.

That's the thing with being transgender: people just see that and nothing else. So, yeah, when I put out new music, I wasn't advertising myself as, “I’m the trans artist.” I think a lot of people take that as not supporting the trans community. But it's like the opposite. To me, it's like, if I can be taken seriously for my music and me being trans is a sidenote, then that's such a step closer towards equality. I just want trans women [to be celebrated] for what they do and being amazing people. I don't want them to just be known as, “Oh, you got a sex change.”

Right. And your music speaks for itself. I mean, obviously, I think that.

Thank you so much! But, I've worked so hard on it, and I'm so proud of my music and then a lot of times, it's just like, “do you miss being a dude?” and it's like well, “Fuck off!” I worked too hard to answer that stupid-ass question. [laughs]

Some people take that as not supporting the trans community, which is crazy to me. I'm openly trans and I love being trans and I love the trans community. I just want to normalize being trans. I want people to stop making it this crazy label.

Totally. I know you have to get to soundcheck, so one last question: you're on the road with Troye Sivan. Have you gotten to spend any time with him?

We've hung out a bunch backstage, we've had a couple drinks together, we go out to dinners. I love him. He's so cute and adorable.

People are coming out and singing every single song with him and it's a party every night. It's been so dreamy.

Check out Turn Off the Light, Vol. 1 below." -\

The Number Ones: The Doors’ “Light My Fire”

According to one of our preferred musical sources:

"The Doors – “Light My Fire”

HIT #1: July 29, 1967

STAYED AT #1: 3 weeks

They’ve been a favorite critical target for generations, but the Doors were, at the very least, an important band. They taught people. Prog and metal learned from the band’s self-important sprawl. Goth learned from Jim Morrison’s romantic hedonism and theatrical darkness. Punk learned from his negate-everything nihilism. And the band’s dank dread helped usher out the era of flowery psychedelia — one that had just taken root when the band first found its way to #1.

From a certain perspective, though, the Doors’ greatest feat wasn’t in all the people they influenced or in the tides they changed. It was in how they became pop stars in the first place. This was not a foregone conclusion. Consider, for example, the Stooges, another Elektra Records hard-rock band with an experimental bent, a guttural fuck-everything point of view, an apocalyptic sense of doom, and a photogenic desperado out front. Both bands were out there on the roads, with their brains squirming like toads, around the same time. Both were hugely influential. But the Doors were almost instantly huge, and the Stooges couldn’t get arrested.

Now: Iggy Stooge didn’t have Jim Morrison’s whole lip/cheekbone situation to work with. That didn’t help. But more to the point, the Stooges didn’t have songs like “Light My Fire.” (They had better songs. They just didn’t have songs like that one.)

The Doors had started out when Morrison and his old film-school classmate Ray Manzarek ran into each other on Venice Beach and got to talking one day. They started out playing LA dives and eventually moved onto the Whiskey A Go Go, where they served as house band before getting banned after Morrison cussed during “The End.” Elektra signed them up after label boss Jac Holzman went to see them, at the urging of Love’s Arthur Lee. But “Break On Through (To The Other Side)” — the band’s debut album and a pretty succinct and catchy summation of their whole outlook — failed to break on through, stalling out at #126. “Light My Fire,” a more atypical song for the band, turned out to be the hit.

“Light My Fire” wasn’t even Jim Morrison’s song, and Morrison came to hate singing it. Guitarist Robbie Krieger had written most of it, with some input from his bandmates. (Morrison wrote the second verse, the “our love becomes a funeral pyre” bit.) It was the first song Krieger ever wrote. The Doors didn’t have a bass player, but there’s bass on the song, and the Wrecking Crew’s Carol Kaye says that she played it. On the album, the song was a seven-minute mess of noodley organ solos. But radio liked it, so Elektra chopped it down to a cool three minutes.

A lot of people hate that single edit, but Elektra did the Doors a favor. The Doors’ giddily endless soloing might be a key part of their mystique, but to my ears, it sounds dinky and indulgent more often than not. In its edited version, “Light My Fire,” at the very least, sounds like a song. Morrison’s horny baritone has room to dig in, and you can still hear bits and pieces of the band’s zoned-out excursions. They say what they need to say, and they get out.

But “Light My Fire” is, let’s be honest, a pretty corny song. Morrison sings about sex with a deathly sincerity, oozing concern when he tells some girl that they can only find true transcendence by bumping uglies. And when Morrison tries to turn it into something literary with his “no time to wallow in the mire” stuff, he only makes it sillier.

So: a pretty catchy sex song from a band with godlike aspirations. But the Doors legend owes more to what they did with “Light My Fire” — refusing to license it for a Buick ad, refusing to change the verboten “higher” line on Ed Sullivan — than with the song itself. The song itself is fine. It’s not anything more than that."

GRADE: 6/10

BONUS BEATS: Here’s the Beastie Boys doing a knowingly cheesy bossa nova cover of “Light My Fire,” with Cibo Matto’s Miho Hatori on vocals, on the 1995 only-out-in-Australia EP Aglio E Olio:

BONUS BONUS BEATS: Massive Attack included a cover of “Light My Fire,” with reggae great Horace Andy on vocals, as a bonus track on their 1994 album Protection. Here’s that:

THE NUMBER TWOS: Stevie Wonder’s “I Was Made To Love Her” stalled out at #2 behind “Light My Fire.” It would’ve been a 9. Here it is

Alejandro Vallina

"Alejandro Vallina at Uno Models shot by Jose Martinez and styled by Apolonio, in exclusive for Fucking Young! Online.

Make-up: Edd Lopez." -

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