ItsNotYouItsMe Blog: 2019

Thursday, September 19, 2019

Dig Out Meghan Trainor's Electrifying New Single 'Genetics'!

Meghan Trainor is once again demonstrating her razor-sharp pop writing skills along with even edgier dance-pop beats and melodies. Following in the same authentic vein of such previous sizzling singles "Me Too", "Let You Be Right", and "Can't Dance", Meghan has got all the right stuff and them some with her latest scorching tune entitled "'Genetics".

Produced by Mike Sabath, "Genetics," is a whole lotta electronic dance-pop yumminess. The lyrical thesis itself tells it all. “How you get that bod?/ Is it from god? / Did you work real hard? / G-E-N-E-T-I-C-S / How you get that bass? / Is it all fake? / Made in LA / G-E-N-E-T-I-C-S.”

We comprehend the entire sentiment of it all. Having always been proponents of self- authentic love in all its originality and born-with talent supreme.

Her upcoming record tentatively named "Treat Myself", has only revved up our anticipation with “Genetics” being her next single.

So get ready to shake a tailfeather and dip it low right below with Meghan Trainor's supa groovy new single “Genetics”!

OG Icon Cher Delivered A Super-Stellar Performance Of Her Cover Of Abba's 'Waterloo' On 'America's Got Talent' 2019 Finale!

Dig Out Cher's Super-Stellar Performance Of 'Waterloo' On 'America's Got Talent' 2019 Finale!

Dig out OG icon Cher's super-stellar performance of our preferred track off her latest record of Abba covers, 'Waterloo' on America's Got Talent 2019 Finale!

Looking hotter than ever, Cher smashed the stage during the season 14 finale at the Dolby Theater in our neck of the woods of Los Angeles.

Cher left the mic on the floor with her cover of ABBA‘s “Waterloo” She was accompanied by her always s'wonderful dance crew. Press play on all thee razzle-dazzle right below!

ItsNotYouItsMe Woman Crush Wednesday Celebrates Shakira's Inspiring And Powerful Trailer For Her ‘El Dorado’ Concert Film!

ItsNotYouItsMe Woman Crush Wednesday celebrates Shakira's awe-inspiring and powerful trailer for her ‘El Dorado’ concert film!

Shakira bounces back after a brutal vocal injury in the new trailer for her upcoming concert film, Shakira in Concert: El Dorado World Tour, which will premiere in theaters as a one-night event on November 13th.

Shakira in Concert captures the Colombian pop singer’s tour in support of her 2017 album El Dorado, which, at the time, marked her first U.S. trek in seven years. The run, however, was delayed for several months after Shakira suffered a vocal cord hemorrhage, and the new 30-second trailer opens with shots that capture the singer’s difficult recovery. But the rest of the trailer is packed with shots teasing Shakira’s triumphant return as she bounds across the stage, plays guitar, beats the drums and belts hits like “Hips Don’t Lie” and “Whenever, Wherever.”

Shakira co-directed Shakira in Concert with James Merryman, and much of the movie was filmed at the pop star’s August 2018 concert in Los Angeles. The film will also feature behind-the-scenes clips and narration from Shakira.

Tickets for Shakira in concert are available on the film’s website. The movie will be screened in more than 2000 theaters across 60 countries, with encore screenings in select locations.

The Number Ones: Wild Cherry’s “Play That Funky Music”

According to one of our musique sources:

Wild Cherry – “Play That Funky Music”

HIT #1: September 18, 1976

STAYED AT #1: 3 weeks

For years, I heard “Play That Funky Music” as some kind of statement of racial solidarity. The white boy singing the song, Wild Cherry frontman Rob Parissi, knew that nobody would expect a white boy like him to play that funky music. But he’d had his mind blown after deciding to disco down and check out the show. He’d seen people dancing, and singing, and moving to the groove. He’d had a personal epiphany, and just when it had hit him, somebody had turned around and shouted, “Play that funky music, white boy.” You can’t go back to playing rock ‘n’ roll after that.

I have since learned that, by the second half of 1976, every white boy who wanted to find any level of commercial success was playing that funky music. “Funky music” had become the default setting. The two songs that immediately preceded “Play That Funky Music” at #1 had both been funky music, and they’d both been sung by white boys, Barry Gibb and Henry Wayne Casey. Both of those songs, the Bee Gees’ “You Should Be Dancing” and KC & The Sunshine Band’s “(Shake, Shake, Shake) Shake Your Booty” had been specifically about discoing down. There was nothing special about Wild Cherry frontman Rob Parissi. He was merely adapting to a new world — a funky world.

Parissi came from the mining town of Mingo Junction, Ohio, and he formed Wild Cherry as a hard rock band in nearby Steubenville in 1970. Parissi named the band after the best cough drop flavor. (If Wild Cherry weren’t as good, they would’ve had to call themselves Honey Lemon or Mentho-Lyptus.) For a few years, Wild Cherry were a regional club band, playing working-class towns from Pittsburgh to West Virginia. They put out a couple of records on Grand Funk Railroad member Terry Knight’s Brown Bag label, but they had no national profile. For a few years, Wild Cherry broke up; Parissi had quit the band to manage a pair of steakhouses. But Parissi put together a new version of the band when he realized that he wanted to play that funky music.

“Play That Funky Music” is its own kind of origin story, and the song itself has a couple of different origin stories. In the more romantic version, the band was playing its hard rock at Pittsburgh venues, and people wanted to hear disco. At one point, drummer Ron Beitle urged the rest of the band to give the crowd what it wanted, telling Parissi to “play that funky music, white boy.” (Beitle was also a white boy.) Parissi, in this version of the story, scrambled for a pen and wrote the phrase down on a drink-order slip, and then he wrote a song about it.

Some version of that story is probably true, but it makes it sound like “Play That Funky Music” owed its existence to a moment of lightning-bolt inspiration. It didn’t. Parissi wanted to make hits, and he was a canny operator. He was adapting sounds that were already in the air. “Play That Funky Music” sounds a whole lot like the Ohio Players’ “Fire,” from the monster bassline to the cartoonishly nasal Snagglepuss growl that Parissi adapts. It can’t be a total coincidence. Still, Parissi originally intended “Play That Funky Music” to be a B-side to Wild Cherry’s cover of the Commodores’ “I Feel Sanctified.” (The Commodores will eventually appear in this column.) Parissi’s label, the Cleveland indie Sweet City, convinced him that the B-side was the hit.

So there’s nothing original or daring about “Play That Funky Music.” But that’s how popular music works. People hear sounds that they like, and they figure out how to make those things their own. On “Play That Funky Music,” Parissi basically admits that that’s what he’s doing. He hears funky music, somebody shouts at him to play that funky music, and he plays that funky music. Around the time the song was hitting, Parissi told Billboard that Wild Cherry were “an electric funk people’s band… We’re trying to do a white thing to R&B music, adding some heaviness to it.”

There was, of course, plenty of heaviness already there in R&B. (“A white thing.” Jesus.) Even the most hard-rock touch on “Play That Funky Music” — the screaming, wheedling guitar solo on the bridge — was the kind of thing that was already showing up on Funkadelic and Ohio Players records. But “Play That Funky Music” is an exceptional piece of heavy R&B. The bassline is a tremendous strut, and Parissi builds the entire song around it. Every new element that shows up on the song — the downstroke guitars, the merciless cowbell, the horn stabs — serves and accentuates the bassline. Even on the hook, Parissi is practically just singing along to that riff. So that riff never lets up; it just travels deeper and deeper into your brain.

Parissi clearly enjoys the hell out of his pinched, absurdist singing style. He’s doing a bit, adapting a persona, but he knows how to use it. He throws ad-libs everywhere he can, and he vamps like a pro. The story he tells is ridiculous. He never had no problems burning down the one-night stands, but everything around him still got to feeling so low. He heard something in that funky music, but he resisted it, too. When, at first, people had advised him to play that funky music, he couldn’t understand this; he thought that they were out of their minds. Eventually, though, he has his second epiphany: How could he be so foolish to not see that he was the one behind? But now it’s so much better. He’s funking out in every way.

Maybe that’s not much of a story, but it still is a story, a commendable tale of shedding prejudices. Rob Parissi frees his ass, and his mind follows. The song builds the same way the story does. And by the time Parissi hits the chorus — the kind of tremendous, indelible hook that might only occur to a songwriter once in a lifetime — the entire band sings along, like it’s a Slade song. It’s a perfect moment of mass-catharsis silliness.

Story time: When I was in high school, I spent my summers working at a camp in Western Maryland, literally across the street from Camp David. It was a residential camp for people with disabilities. (I wrote about it a bit in the “Lean On Me” entry.) We’d have sessions for kids early in the summer, and then we’d have sessions for adults later on. One of my favorite adults was a guy named Gus, a big white guy with some severe developmental disabilities. Gus looked and dressed like a car salesman playing golf on the weekend, and he loved to party. Gus wasn’t allowed under any circumstances to have sugar or caffeine, but he still snuck it all the time. And whenever he snuck it, he would bellow the hook from “Play That Funky Music.”

Gus loved “Play That Funky Music.” He thought it was hilarious. His favorite twist on it was to yell for some specific staff member to play that funky music. He’d think it was especially funny if the person he was yelling at was not a white boy: “Play that funky mewww-sic, white boy Yolanda!” Somewhere, I’ve got a photo of Gus mid-shout — hands cupped over mouth, face beet-red, eyes alight with excitement. Gus was a man with a fine appreciation for unabashed silliness. “Play That Funky Music” was perfect for him.

In Jonathan Lethem’s 2003 novel The Fortress Of Solitude, there’s a virtuoso stretch — presumably autobiographical — where Lethem’s protagonist remembers “Play That Funky Music” as an instrument of torture. Growing up as a white kid in a black Brooklyn neighborhood, Lethem’s hero would have to endure constant demands to play that funky music, often just before getting beat up. Jonathan Lethem, I’m guessing, has his own reasons for disliking “Play That Funky Music.” For me, it’s the opposite. I’ve got my own connections to the song, and they’re positive. When I hear “Play That Funky Music,” I think of Gus, and I smile.

So Rob Parissi was not the only white boy playing that funky music in 1976 — far from it. But he was still the one who discovered how much fun it was to yell about it. That’s its own kind of innovation. Wild Cherry never had another top-40 hit after “Play That Funky Music”; America evidently decided that it had heard enough funky music from this particular white boy. But the song still goes hard. And wherever Gus is now, I hope he is still loudly demanding for someone to play that funky music.

GRADE: 8/10

BONUS BEATS: On a 1989 self-produced track also titled “Play That Funky Music,” Vanilla Ice, a man who will eventually appear in this column, sampled “Play That Funky Music.” Ice’s “Play That Funky Music” eventually became a big hit in its own right. Ice didn’t clear the sample, so he eventually had to pay a big settlement to Rob Parissi. Here’s Ice’s “Play That Funky Music” video:

(Vanilla Ice’s “Play That Funky Music” peaked at #4 in 1990. It’s a 4.)

BONUS BONUS BEATS: Here’s the memorable Daft Punk-biting 1997 Intel Pentium ad that was set to “Play That Funky Music”:

BONUS BONUS BONUS BEATS: Here’s Sheldon analyzing the self-reflexive properties of “Play That Funky Music” in a 2015 episode of The Big Bang Theory:" -

Essential Homme #48 (part 2) João Knorr (part 7)

"Return" is the title of this editorial by Terry Lu featuring Brazilian model João Knorr in Versace groomed by Ayana Awata & Kabuto Okuzawa and photographed in New York City by Go Minami for the latest issue of American fashion magazine Essential Homme.
Bonus : the video

MMSCENE STYLE STORIES: Will Schmacker by Magdalena Haddock

"Fashion photographer Magdalena Haddock captured Character Development Study story exclusively for MMSCENE STYLE STORIES featuring the handsome Will Schmacker at Red Models. In charge of styling was Jisu Lim, with art direction from Kristina Varaksina. Photo assistance by En Lin.

For the session Will is wearing selected pieces from Burberry, Converse, Randy Wong, Theory, Guoshuai Wang, Delfina Balda, Zara, COS, Liquid, Alessandro Gherardeschi, Cali Cali, and Coach.

Discover more of the story below:" -

Natasha Zinko x Duo Spring/Summer 2020

"Spring/Summer 2020 finds Natasha Zinko x DUO addressing the urgent issue of sustainability in her both her womenswear and menswear collections. SS20 marks the third outing for the DUO menswear label. Growing in confidence, Natasha and Ivan continue to explore the idea of gender fluidity, with pieces translating across both collections. Rip up the ‘rules’ and wear what you want, how you want.

This season’s unifying message is about taking the old, the discarded and the excess and conjuring up something new and fresh. Multicoloured vintage bandanas, for instance, are given a new lease of life – tied together to become maxi shirtdresses, relaxed shirts, and baggy pants. Piles of second-hand clothes, meanwhile, are deconstructed and then reconstructed as dresses and jackets. Nothing is at it seems: an extravagant, explosive standout dress is created from deadstock fabric gathered in her studio over six years. Even old drink cans are given a second chance, flattened and transformed into pockets. Instead of seeing garbage, Natasha and Ivan see an opportunity.

While the issue of sustainability might be a serious one, as ever Natasha executes it with her signature light touch. A peppy palette of candy pink, lime and lilac are offset with shots of black. There’s sky blue linen suiting for women and taupe wool tailoring for men; white denim for both.

Contrast is key, peeps of lace lingerie and sexy suspender belts are offset with tough leather, loose silhouettes underpinned by structured bodices. And comfort is a non-negotiable. Oversized cargo pockets punctuate the collection, adding to a utilitarian, up-for-anything vibe. Natasha and Ivan also revive some of Zinko’s own design history: the cute animal motifs of her jewelry designs are now reinterpreted as prints that pop up throughout the collection.
The playful approach continues to accessories. Acidic slides and bucket hats are fashioned from towels. Spiky heels are decorated with adorable gold bunny hardware. Lightweight structured wicker bags and backpacks include pockets for a smartphone and, naturally, a reusable water bottle.

Inspiration for the collection comes from growing up in the Soviet Union and the make-do-and-mend attitude that defined Natasha’s own childhood. Wanting to give something back, she has joined forces with local authorities in her hometown of Odessa to establish plastic recycling facilities in the city. For her, sustainability means taking a 360 approach." -


"The technical boom in the fashion industry is undeniable and the ASICS GEL-KINSEI OG are one of those sneakers that have come to steal the prominence of everything present in terms of Y2K. Its shape, its colors, and its ultra-technical design make it challenge directly to any current proposal. First launched in 2006, the design of the ASICS GEL-KINSEI OG was instantly praised as advanced. One of the most technical running shoes on the market that has arrived to position itself as the most fashionable of the moment. Recognized as a high mileage shoe with superior comfort and a bold look, ASICS recovers its iconic GEL-KINSEI ™ shoe after more than 10 years.

To celebrate this new must, ASICS and Foot District present a video campaign filmed by Laura Vifer in which the GEL-KINSEI OG and the most psychedelic high-end coexist with the talent of ANTIFAN – project led by Jerv.agz (Agorazein) that promises to shake the music scene, ALVVA – The Basque DJ has recently gone through Sónar Festival or Boiler Room making it clear that it is a talent on the rise and JENNY TRAN, one of those responsible for one of the movements that are stirring Barcelona: Vodoo Club.

GEL-KINSEI OG is now available through selected retailers as FOOT DISTRICT.

Follow @asicstiger for more.
#KINSEI #StructuredToMove

Photography by Amanda Adász
Video director: Laura Vifer
VFX: Marta Fuentes
Talents: Antifan & Alvva & Jenny Tran
Make-up: Regina Khanipova
Edition: Clara Monera
Producer: Regina Khanipova
Music: Antifan
Stylist: Highxtar
Layout: Angel Corral
Produced: Highxtar.Lab." -

Wednesday, September 18, 2019

Allow Us To Introduce You To Super-Stellar Group Demob Happy & Their Groovy Tune "Autoportrait"!

Allow us to introduce you to super-stellar group Demob Happy & their smashing tune "Autoportrait". Thee groovetastic-trio hailing from Brighton via Newcastle have unleashed a dance floor ready pulsating hypnotizing jam. “Autoportrait” is full of adrenaline and filled with pure future rock-electronic sonics.

Demob Happy have surely conjured up a bonafide highspeed hit. “Autoportrait” is an undeniable dance head-banger. Signed to SO Recordings / Silva Screen Records, their one yummy group to watch out for!

Frontman Matt Marcantonio had thee following to share about the far-out tune: “I had the title before I'd written a word, but it forced my hand into writing something more honest than I ever would, like coercing a confession out of myself over insecurities I'd rather deny”.

Without further ado get into the "Demob Happy" groove with ItsNotYouItsMe latest hit parade song, "Autoportrait"!

Demob Happy is currently on tour with Band Of Skulls for tour dates visit

After A Decade Long Break From Musique, Mandy Moore Is Officially Back With New Single “When I Wasn’t Watching”!

After a decade long break from musique, Mandy Moore is officially back with new single “When I Wasn’t Watching”!

"Mandy Moore went out in search of herself and came back with her first new song in a decade.

The singer released the midtempo track "When I Wasn't Watching" on Monday (Sept. 16), giving her fans a preview of her first new music since 2009. The chilled-out pop ballad with a rocking edge finds Moore taking a deep look inside to figure out what kind of person she's become. "Where was I when this was going down? / Maybe sleeping in, maybe outta town?/ I spent my whole life waiting patiently / Convinced it all would come to me," she sings over a chugging beat and a chorus of backing vocals.

With the exception of a cover of Little Feat's "Willin'" in 2017 for the soundtrack to her hit NBC drama This is Us, Moore hasn't released new original material since her 2009 album Amanda Leigh. After revealing the allegedly heavy-handed role former husband Ryan Adams played in her musical career during their troubled marriage, Moore wrote in an Instagram post last summer that she was getting back to her first love with no strings attached. "I'm not scared anymore. No more excuses," she said. "No more allowing someone's else insecurities to dictate my relationship to music and singing."

Moore revealed in June that she's working on the album with the aid of her husband, Dawes singer/guitarist Taylor Goldsmith, and his influence can be felt on the song's warm California pop vibe and dreamy chorus. "To who we are/ When no one is looking / What I became / When I wasn't watching / When I wasn't watching," she sings in a husky voice on the tune, produced by her longtime collaborator Mike Viola. Her as-yet-untitled album is due out on Verve Forecast early next year.

In a statement accompanying the song, Moore explained the depth of feeling she shares in the lyrics. "The idea of diving back into music after so much time and personal change was really intimidating to me for a while," she said. "But then I finally realized: I'm the only person who can make this move. It all has to start with me...I think everyone's had the experience of feeling lost and not quite understanding how you've found yourself at a certain point in your life. And I think the key is not to judge yourself for that. I'm a big believer in the idea that what you've journeyed through is ultimately going to factor into the person you become, and how you'll greet whatever big challenge you face next.

The statement also notes that the new album is a "purposeful departure" from the high-gloss pop of her past, with a focus on a full band playing live in the studio. "No one's playing to a click track. It's all happening live on the floor, which gives everything a magic and spontaneity that's so different from what I've done on any other record," Moore says. "And on top of that we're recording to tape, so there's no reworking or editing: a take is a take. At first that was scary, but now it's become a fun sort of pressure that really fuels me."

Another single is due out before the end of the year, and Moore says her new sense of control is empowering. "I very much feel like I'm at the helm of the ship now, where I'm stepping back into music completely on my own terms," she says. "Everything that's happened up until this point has gotten me to where I am today, and I'm so excited to just keep moving forward."

As she preps her seventh studio album, Moore will take to the big screen in November when she joins Nick Jonas, Ed Skrein, Patrick Wilson, Luke Evans and Woody Harrelson in the WWII epic Midway.

Click here to watch the "Watching" lyric video, and stream the song below." -

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