when we walk in the place
Millennium: From A Slow ‘Walk’ To A Sprint
By Glen Rupert
Millennium, the pop rock group from Los Angeles, has certainly proved that their debut single ‘When We Walk in the Place’ can persevere. Whether it’s pop, rock or dance audiences, there is something in the vibe of their first single that is gaining traction, according to companies tracking national and international radio play worldwide.
It didn’t hurt that the group took the time to create two additional remixes of the radio version since the song’s release in January 2014. The first remix of ‘When We Walk in the Place’, appropriately referred to as the ‘Swagging Remix’, is the EDM version complete with cutting edge sounds over a slick, sexy beat. Swagging, though not yet officially listed in the Oxford Dictionary, is defined as pimp walking with swagger. However, a broader interpretation of swagging is the celebration of individuality, personal style and self-confidence, as evident in the ‘Swagging Remix’ music video.
The ‘Rock Remix’ that followed opened our eyes to a surprising fact – that the members of Millennium are all classically trained musicians. The rock remix video shows Millennium with their instruments rocking out to a stripped down, funky version of their debut single. Stryker is on bass guitar and vocals, Sapphire on keys and vocals, Gaku Murata on guitar and Brad Dawson on drums. In an era of studio produced beats, this sort of live musicianship is nothing short of refreshing. The ‘Rock Remix’ will be hitting the airwaves this June.
From the original pop version, to the ‘Swagging Remix’ and finally the ‘Rock Remix’, Millennium displays the sort of range, musicianship and defiance to easy classification characteristic of some of the most enduring artists. Only time will tell whether these traits, coupled with excellent songwriting, and tight production will lift the group to eminence. Read the full article at: http://www.whoismillennium.com/press_room/millennium_from_a_slow_walk_to_a_sprint/
Rock Is Back. Rediscovering The Art Of Making Music.
By Daniel Parker
Reprinted with permission from NewsWire
The world is familiar with the celebrity musical icons of the day, so much in fact that they don’t even need to be named here. Even a five-year-old Indonesian girl living in nipa hut on a remote island can tell you exactly who is dating who and trivial information such as what their last relationship fallout was all about. The difference between the musical icons of today, and those of twenty years or so ago, is the reason for their celebrity status, which does not necessarily have to do with songwriting ability or musicianship. Back in the day, a popular artist would write songs, record albums, perform in front of thousands of fans and, of course, host notorious backstage parties that sometimes leaked to the tabloids. But they also had private lives and were able to take vacations away from the public eye. Although the paparazzi have existed since the birth of Hollywood, the power of the media has grown exponentially with the advent of the Internet, social media, smart phones and entertainment programs that cater to people’s vicarious instincts. The result is that the lives of these ‘artists’ are often continuously on display for the public to see, observe and judge. Yet, aside from technological advances, there is a darker reason for this trend.
However, before we go there, there is another phenomenon worth examining: The average age of music performers has dropped considerably over the past few decades. No doubt, record companies have found it far easier to exploit young performers in the 15 – 21 age group. And why not? They have not lived long enough to cultivate a strong artistic drive, experiential base or standard of reference for what constitutes a healthy adult life. That also explains why most popular performers behave like such oddballs in their private life. They react similar to toddlers who do things that they know are wrong, blatantly in front of their parents, in order to test their boundaries. They want to be free from the confines of people’s expectations of what they should do and, as a result, they behave recklessly. Up until now, the public has remained plugged into to the lives of music celebrities much like one would follow their favorite soap opera or sports team. Furthermore, it appears that the people were more interested in news regarding club altercations or DUI’s rather than the actual music, a telling acknowledgement that the person lacked any lasting artisitc merits worth discussing.
Now, let’s get to the heart of the matter. There are a growing number of people who recognize that something is missing from the modern music performer. Most people are now aware of the hidden assembly behind a commercial singer, including songwriters, artist & repertoire staff (A&R), producers, engineers, marketers and others who work together to create the commercial product. Independent songwriters write the songs, A&R managers find those songs by posting notices in industry trades, the producers pick the best ones (often out of thousands) and together with an engineer, record the singer’s version. If the instrumentation of a song is out of date, they throw in some slick new electronic sounds and make sure the vocal tracks are pitch-corrected to perfection. Many commercial artists refuse to allow anyone except the engineer in their recording sessions. It’s little wonder why. The whole machinery depends upon the illusion that this ‘artist’ somehow lived the experiences, passionately wrote about them, sat with a piano or guitar to compose the song and then sang it. The precise opposite is now true. Some unknown songwriter out there lived the experience, wrote about it, composed the music and even sang it first. But that unknown songwriter, daunted by the risk of failure and the overt corruption of the industry, decided they were too unattractive, too poor a singer, too obese, too remote, too something to ever be liked by people. So they sold their song and their life experiences to someone they had never met in exchange for rent money.
The modern record company originated in the 1970’s as middle men between real artists and the public. In that era, before modern recording technology, the integrity and musicianship of these artists was self-evident. While the companies brought some business acumen to the table, the artist’s vision was, for the most part, respected and protected. In the decades that ensued, as profit became the main objective, corporations mistakenly began to think of themselves as the creative ‘tastemakers’ of modern music. In reality, they scrambled to chase down and capitalize on each musical trend, becoming little more than glorified banks, They muscled in on artists’ careers and demanded an ever-increasing percentage of returns. By the turn of the century, they had completely seized control of the production process from start to finish and the product quality began to suffer noticeably. Real songwriting and musicianship has all but vanished from commercial music. Judging by the decline in music sales and the declining interest in commercial radio, the pendulum is now beginning to swing back. People are taking back their music, realizing that corporations were never, and never will be, well-suited to creating art.
An increasing number of people are shunning the roster of corporate artists in favor of high-quality, independent artists who write, produce and perform their own music. Though the number of these musician/songwriters has shrunk, thanks to nearly two decades of artistic decline, they do still exist. And they are uniquely positioned after years of songwriting and musical training to give people what they now seek- great songs played with live instruments. Fans of these songs are not interested in perfection – they are merely asking for something real.
We caught up with Stryker, one such songwriter/musician from the group Millennium to get his thoughts:
Tell us a little about yourself and Millennium.
We’re a four-person band (bass, keyboards, guitar and drums). Our music is pop rock with both acoustic and electronic influences.
Let’s get right to it. Do you have a bone of contention with some of today’s pop artists?
Well, I wouldn’t say that. I’m just not personally interested in listening to music that doesn’t come directly from the artist. I think that connection is everything in music. The Japanese have a word for everything else. Karaoke.
What do you do differently from the other artists?
Nowadays, it seems like everything we do is different. For starters, we write, sing, record and produce all of our own songs. I can’t name a single major label artist that does that. Also, we’ve never sold our songs to major label artists, even though we’ve had some offers.
But you do admit to using electronic software to enhance the sound of your music?
Absolutely. There have been some great advances in sound and recording technology. We love rock, but none of us are interested in recreating the rock era exactly as we remember it. We’ve changed and the world has changed too. Rock is coming back, but it’s not going to look and sound the same as we all remember it.
Is that what made you and Sapphire shift from the wireless mic’s and dancing to picking up instruments?
Oh, you’re gonna call us out like that! (laughing) Well, we’re both classically trained musicians. Sapphire played piano and I grew up playing piano, cello and bass. As Millennium, we explored the electronic pop element out of genuine artistic curiosity. But because we produce our own music, we had the freedom to shift gears when that approach was no longer hitting the mark in terms of our desired sound. Lately, with me returning to bass and Sapphire returning to piano, it just feels better musically.
Who are the other members of Millennium?
We’re fortunate to work with two other very talented and hard working musicians, drummer Brad Dawson and guitarist Gaku Murata. Brad is the sort of drummer every group wants- impeccable timing and an impressive command of different musical styles. Gaku is a quiet guy who let’s his guitar do the talking and he can solo forever. Both of these musicians have the type of raw talent and technical ability that sets a high bar for all of us. Damn them (laughing).
How can we get a taste of how you might sound live and completely acoustic?
That’s easy. We just released a video of us performing our new single ‘When We Walk In The Place’ live. Considering we recorded one live take (and a second pass for vocal harmonies only), I’m surprised it sounded half-decent. This is the simplest song on the album, as it is built around a single concept or feeling. Interestingly, when we translated it live with fewer instruments, it achieved more sonic complexity than the dance version. There’s something to that.
What do you think is the future of modern music?
I can’t say for sure. I just know that music is something we do purely for the love of it. I’m sure modern music will continue to change and evolve and, hopefully, we’ll continue to evolve with it. If we’re lucky, what we’re working on will resonate with people at the time. If not, I’m okay with that too. I’m not interested in fame for its own sake. I just want to be able to look in the mirror at night before I go to bed and know that I’m being true to myself.
Millennium Releases ‘When We Walk in the Place’ Official Music Video
By Werner Caspar
I must have impressed Stryker and Sapphire with my mad swagging skills during our last interview because shortly after, I was invited to the Millennium music video shoot to watch them in action. Swagging, I learned, is pimp walking with a swagger and is a heavily used theme in the video for their debut single ‘When We Walk in the Place’, a slightly narcissistic dance song about the importance of embracing one’s own personal style. This was going to be a two-day video shoot and they had a lot on the agenda.
Day One: The first day of the shoot was set in an intimate Hollywood club where roughly a hundred crew and cast members gathered shortly after sunrise. In the midst of all the commotion, it felt like being at a casting call for Moulin Rouge. This outlandish circus included a black opera carriage driven by a rather buxom brunette on a sleek motorcycle, a gold-suited pimp, an Asian dominatrix with her muscular man-slaves, an alien, a toddler with her bottle, a drummer boy, an astonishingly rotund woman, Iron Man and more. Wave after wave of extras filed in and while helping themselves to coffee, were met by an affable and efficient woman with a clipboard who quickly signed them in as club dancer, VIP patron, skeleton gang, etc. I swear to you that the pizza we ate during lunch break did not have any special mushrooms in it and this was all actually happening.
The gold-suited pimp was Stryker, who brandished a leopard print cane and matching leopard print shoes. His pimp hat precariously held a three-foot long black feather that poked everyone in the eyes every time he turned around. The Asian dominatrix was none other than the blue-haired Sapphire dressed in a black leather dress and gloves. Her ‘pets’ were scripted as two male models whom she kept close by her side in spiked collars and heavy chained leashes. Earlier that day, we discovered that the two burly Olympians that she had previously auditioned had cancelled at the last possible minute. Upon learning this, the woman with the clipboard began sizing up the current pool of men to see who could play the part. Strangely, I was not even in the running. In the end, it was the drummer and one of the camera men who were chosen, de-shirted, oiled up and collared. A second later, I saw the anxious camera man fervently doing pushups in the corner as a last ditch effort to beef up his pecks. Meanwhile, Stryker and Sapphire took the matter in stride- literally. They were relentlessly swagging to the beat of the music. When asked why all the practice, Stryker looked at me with a sober expression, ‘I’ve got goldfish in my shoes, bro.’ Point taken.
The crew and the actors took their places and the cameras began to roll. Scene after scene unfolded and needless to say there was a lot of swagging and a lot of dancing. It was not even noon and the set looked like a very happening nightclub. After a quick costume change, they shot a performance scene of Stryker and Sapphire on stage. He was still dressed as a pimp, but this time in red velvet with zebra print and an oversized wide-rimmed hat. She was dressed in silver sequins with shiny silver tennis shoes. Suddenly, they broke into an extremely cheesy 70’s dance routine and the crowd went wild with laughter (think Saturday Night Fever meets Carlton from Fresh Prince of Bel Air). After ninety minutes of filming the performance scene, the duo was still on stage having the time of their lives. Judging by the liquor flowing on set, so were the cast and crew.
The rest of the day proceeded smoothly as they filmed one VIP table scene after another, each having its own unique set of characters including the Blues Brothers, LA gangsters, Virgil Farley and his entourage. Virgil was the original pimp who, despite his notoriety in the 1980’s, was widely respected by both cons and cops alike. The table that received the most attention had a petite blond with the word ‘Millennium’ painted across her otherwise pristine body from her voluptuous chest all the way down to her thighs, compliments of body artist Lasco. At the end of the day, approximately fourteen hours after gathering the cast and crew together, the set was now littered with coffee cups, half-eaten danishes, pizza crusts and upside down shot glasses. The crew began to break down their gear, and people began exchanging numbers, Instagraming photos of themselves and each other, and saying their farewells. Everyone was utterly exhausted, except for Milennium who appeared even more energetic than ever as they eagerly talked about the upcoming shoot the next day.
Day Two: Millennium and crew were now going mobile and virtually every scene would consist of Stryker and Sapphire swagging around town. The game plan was a bit fluid. When a particular location struck their collective fancy, Millennium and crew would hop out of their vehicles and film a scene. For example, if Sapphire needed a peppermint mocha, off we went to the nearest coffee shop to film Millennium swagging with their coffee and newspaper in hand. They visited a vintage record store, picked up their dry cleaning, and came out of a drugstore with what looked like a pack of Magnum condoms (we won’t ask). After driving all over town, the crew nonchalantly decided to film a scene of Millennium pumping gas, in a pretty scandalous manner I might add. I may never look at a pump the same way again. Needless to say, wherever they walked they drew attention, stopped traffic, and were approached by onlookers. When a crowd gathered in one location, Millennium took time out to give swagging lessons and the crew obliged by filming these Los Angeles residents strutting their stuff.
After a long day of filming around LA, we headed back to the studio just before sunset. It was a wrap! Everyone began to relax and talk about dinner options. Sapphire removed her thigh high boots and gave a sigh of relief. Stryker, on the other hand, sat pensive, deep in thought. Just as someone was about to make a run for burritos and burgers, Stryker said in a steady voice, ‘We need a shot on Hollywood Boulevard.’ After a brief period of stunned silence, protest erupted on all sides. But after thirty minutes, Stryker convinced the group that it would be the perfect scene for the climax of the song. As we filmed the final scene of Millennium belting out their last line of ‘When We Walk in the Place’ right in the thick of Hollywood Boulevard, an onlooker cried out, ‘Aw hell no! He got the goldfish shoes!’ Yes, the better to swag with, bro. Everyone smiled knowing that indeed it was the perfect ending to one amazing and crazy ride.
The music video for ‘When We Walk In The Place’ is now live at: http://www.youtube.com/watch?v=yNNPbub7ZO4
You can learn more about Millennium and what they’ve got in the works at www.WhoIsMillennium.com
Sexuality vs. Sensuality, By Theodora Conrad
Let me let you in on a secret. Being attractive has less to do with how you actually look and more to do with how you act. That ‘it’ factor, that special something that leaves us breathlessly attracted to someone is…sensuality. The ability to be sensual is within each of us. It is a higher order art form that is practiced and crafted to perfection over a period of years. Unfortunately, in modern times the art of sensuality has largely been lost and replaced by its vulgar distant cousin twice removed- sexuality. The words sensuality and sexuality may appear to be similar but in actuality, they cannot be any more different. In an attempt to describe this lost art form, we must in fact argue semantics and there is no way around it. To understand the essence of sensuality, we need to understand sexuality and via comparison and contrast, identify and develop this latent power inside us.
In sexuality, what you see is what you get. There is no mystery or intrigue. Once the other has seen and perhaps experienced what you have to offer, there is a law of diminishing gratification and he or she will look for something else to catch their attention. Both the journey and the destination are all about (meaningless) sex, as indicated in the word sexuality. A person with amped sexuality is a firecracker that fades as quickly as it goes off- a bonfire that is big and bright in one moment, and a pile of embers the next. What is probably off-putting about sexuality is that it is a very masculine type of trait. It is an aggressive, sometimes intimidating, impetuous, in-your-face display that stamps you with an expiration date in the eyes of so-called admirers. Ouch, but true.
On the other more refined hand, sensuality is mysterious and intriguing. It will keep those of both sexes fascinated and wondering what you do to make yourself so damn appealing. Sensual individuals take their time enjoying their movement, radiating a palpable energy. Being sensual is a soundless intimate conversation with another. It is a dance, a duet. And when a sensual being decides to be intimate with someone, it is incredibly pleasurable to both parties and can almost be considered to be a divine act. As opposed to sexuality, sensuality is a feminine trait. It is a warm, inviting, attractive energy that makes others feel privileged to be in your presence.
The issue with today’s single population who bemoan the fact that they are still single is that they are either too sexual or not sexual at all. They do not realize that there is a broader and more pleasing alternative. For decades now, the concept of true sensuality has been lost to the individual. This is probably because its dominant and blatant cousin was more useful in raking in the dollars. Hence the expression ‘sex sells’. Sexuality is connected to almost every product in the market, from video games to cars to cigarettes.
Even pop icons today are notorious for lewd, crass, unapologetic behavior in an attempt to be so-called sex symbols. You have Justin ‘I-can’t-take-my-hand-off-my-crotch’ Bieber, the S & M Queen Rihanna and the twerking, tongue-wagging Miley. Unfortunately there are some things that you cannot un-see. It is all a pathetic attempt to create shock value through explicit sexual suggestion. Their examples of overt sexuality are fostering a generation of both young, awkward nymphomaniacs and young, withdrawn asexuals. Perhaps that is a slight exaggeration but it might not be too far from the truth. In fairness, there are pop artists out there who demonstrate more polish and sophistication without waiving originality and edginess. Whether they possess a higher degree of maturity, self-honesty, or are simply willing to reveal more vulnerability, the net effect is greater sensuality. For example, I came across an up and coming pop duo from Los Angeles called Millennium who is actually a husband and wife team. Looking through their website, it is difficult to find any explicit sexuality in their songs, photos or music videos. And yet, the couple oozes swagness and sensuality and you will not find their music lacking either.
What makes sensuality special is that it focuses on the beauty of one’s inner self, whereas sexuality is focused almost solely on the outer self and is truly superficial. Now that we have extensively defined the two terms, which type of person would you rather be, a sexual or a sensual person? I thought so. While sex does in fact sell, it is cheap and inferior to priceless sensuality.
New Year’s Resolutions, By Tameka Gaillard
Welcome to a new year and welcome to a new you. You have got to love the start of a new year, brimming with hope and excitement and ripe with potential. Amazing change is right at your doorstep and it all begins with your New Year’s resolutions, your blueprint to an exciting, new life. I cannot overemphasize the importance of writing down your resolutions. It is the necessary act of articulating what you want and what is important to you. Perhaps you believe that your resolutions are pretty much standard and do not require a lot of thought- lose ten pounds, make more money, find the perfect relationship, etc… Well, if you wrote out your resolutions in such a general way e.g. ‘lose x pounds’ then yes, it is probably on everybody’s list. But what makes written resolutions unique to the individual and an incredibly effective tool in creating life changes are the details. How do you want to lose that extra weight? At the gym, running outdoors or learning to play tennis? How do you want to better your financial situation? Finding a higher paying job, getting a second job or starting your own business? And how are you going to find ‘the one?’ Going out to more social events, getting set-up by one of your friends or online? These choices and all the fine yummy details are staggering and only you can answer them. The more specific the resolution, the greater the chance the resolution will materialize and thus, a happier new you.
I would venture to guess that your response would be along the lines of ‘Well, if resolutions were so important, then why don’t more people change for the better year after year?’ Good question. My answer would be that as people grow older, they become more comfortable with their daily routine, i.e. where they go, what they do and who they see, making change difficult. Interestingly, the people around them are also comfortable with seeing them the same way and may inadvertently keep them stuck in a rut. Even though on the inside they are earnestly searching for something new, different and better, there is a fear of change that keeps them from exploring the world and living up to their full potential. I truly understand the routine mentality. I like knowing what the schedule is days beforehand. Anything less would make me anxious. I do not do well with uncertainty, surprises and spontaneity. But these are the conditions where change thrives. My ninety-year old violin teacher, the sweetest most wholesome woman with fiery Lucille Ball hair once told me that ‘A life without change is a life full of regrets.’ Through the years, I have taken that wisdom to heart and have been less resistant to change. I have come to think of change not as an intruder but more as a welcome visitor.
How does one invite change into their lives, without leaving it all behind to go backpacking in Tibet or riding a motorcycle all over South America? Perhaps the key is allowing a little of the extraordinary to enter your everyday ordinary. I came across an interesting music video the other day where a handsome couple was doing normal everyday errands together such as going to the drugstore, the cleaners and even pumping gas. Seems pretty mundane, however he was dressed as a pimp with a gold silk suit wielding a leopard cane and she had thigh high silver boots and electric blue hair. With their smiles and laughter, they looked like they were having the time of their lives at a space-aged party instead of running around doing chores. The well-chosen title of this video was ‘When We Walk In The Place,’ by Millennium. I am not suggesting that you run to the nearest thrift shop or dye your hair some funky color, although if those actions call to you for some reason, then maybe you should try it. The point is that change first begins with the mind. We can learn something from these ‘Sultans of Swag’ about opening our minds to the multitude of possibilities and realizing that we have some control over our life and happiness. Whether your life is mundane or magical, it is all up to you. I admit I felt a little bit liberated after watching this video.
It is not too late to write down your New Year’s resolutions. Take your time with it and enjoy flushing in the details. Call me old-fashioned but I think keeping that list visible every single day will actually ensure that those resolutions will manifest and not get swept under the rug again this year. It is your personal letter to the universe saying ‘this year is the year that I will make things happen’ and the universe responds with a helping hand or a nudge in the right direction along the way. I wish you all an eventful and extraordinary year!
FOCAL POINT 