October 25th, 2014 · Guitar
Atlanta spitfire OG Maco, the young crunkmaster behind minimalist viral hits like “U Guessed It” and “Fuckemx3″ is dropping his latest mixtape, Live Life 2. The sequel to last year’s Live Life, its seven tracks are full of screamed ad-libs and sinister bouts of AutoTune. What else would expect from an EP with a song called “Unleash the Kraken”?
Maco recently signed to Quality Control, the booming Atlanta record label who’s leading the charge in young, energetic, experimentally minded musicians, joining a roster that includes Migos and Skippa Da Flippa. Will Maco’s explosive shouts — “Yeah, yeah!” “Hwah!” “Fuckemfuckemfuckem!” — signal a new era of crunktastic ATL rap? Will he prove to be the Death Grips of the Dirty South? Stream Love Life 2 and see.
Article source: http://www.rollingstone.com/music/premieres/hear-og-macos-live-life-2-the-furious-mixtape-from-viral-u-guessed-it-star-20141024
Tags: Atlanta·Rolling Stone News
October 25th, 2014 · Guitar
Liz Rose doesn’t play an instrument. That hasn’t stopped her from co-writing some of the biggest country songs of the 21st century, though, including nearly two dozen Taylor Swift tunes and a handful of hits for Little Big Town, Eli Young Band, Gary Allan, Tim McGraw and Bonnie Raitt, among others. She’s won Grammys. She’s topped the charts. Her songs — several of which were co-penned with “The Love Junkies,” a songwriting trio comprised of Rose, Hillary Lindsey and Lori McKenna — have sold more than 20 million copies combined.
When you’ve got stats like that, who needs a guitar?
“I got into songwriting as a lyricist,” she explains. “Some people have said to me, ‘Don’t learn an instrument. Never learn an instrument. You’re only going to ruin your process.’ And I think they’re right, because I don’t need it. I just need someone to start playing a beat or some chords, and the ideas immediately flow.”
These days, while Taylor Swift turns to more pop-friendly collaborators like Max Martin for help on her crossover records, Rose remains as busy as ever. She contributed three songs to Little Big Town’s Pain Killer and runs her own music publishing company from a cozy, two-story walk-up on Nashville’s Music Row. That’s where Rolling Stone Country caught up with the lauded hitmaker to get the stories behind her songs, from chart-toppers to personal favorites.
Taylor Swift, “All Too Well” and “You Belong With Me”
“My strength with Taylor isn’t writing lyrics. It’s whittling things down and pulling out the important pieces. She’ll talk a lot and mumble and say lines, and I’ll write them down really fast and keep them stored away. Then I’ll take her back to those lines and say, ‘What about this?’ I don’t mess with her style, lyrically. I let her say what she wants to say. People used to tell me, ‘You’re more like an editor with Taylor,’ and it used to frustrate me, because I can write lyrics, too. But those people were right. Taylor is good because she has lyrics that work for her age. I just help her grab the ones that are great.
‘You Belong With Me’ was written at the very end of the recording sessions for Fearless. She said, ‘I’m finishing the record on Monday. Let’s write an uptempo song.’ We wrote ‘You Belong With Me’ in one or two hours. It’s amazing to go back to the work tape and listen to it, because you wouldn’t believe the nuances that show up in the album version, too. When she’s writing something, she’s already producing in her head. She hears it all.
When we did ‘All Too Well,’ I hadn’t heard from her in awhile. She hadn’t really been writing. I was in Nashville one day, slowly moving the last bits of junk out of my garage so I could move to Dallas. My house had already sold, so I had to come back and clean it out. I had a trailer and four guys helping me, and I was sick with some kind of sinus infection. It was just the worst day. I was in my driveway and my phone rings, and it’s Taylor saying, ‘Man, I’ve got this thing and I really need you to help me with it. Can you write today? What are you doing today?’ So I gave those guys the keys to my storage place, told them to put all my stuff into storage and drove over to Taylor’s.
It was the first song she wrote for that record, I think. She had a story and she wanted to say something specific. She had a lot of information. I just let her go. She already had a melody and she started singing some words, and I started writing things down, saying, ‘Ok, let’s use this, let’s use that.’ She mentioned a plaid shirt, and I wrote that down in a corner, and when we got to the end, I said, ‘Let’s put the plaid shirt in there.’ That turned into one of the best lines: ‘After plaid shirt days and nights when you made me your own/Now you mail back my things and I walk home alone/But you keep my old scarf from that very first week/’Cause it reminds you of innocence and it smells like me.’ It was the most emotional, in-depth song we’ve ever written.
She’s such a force. You remember the songs you write with Taylor, because the emotion that goes into them is so palpable. One of my daughters is her age, so I understood that I needed to stand back a bit and make sure we wrote Taylor songs, not Liz songs. I didn’t mess with her. The writers that did try to mess with her lyrics? She didn’t write with them a second time.”
Eli Young Band, “Crazy Girl”
“Lee Brice and I wrote that, and it was real easy. We were talking about how females look for problems. And we just do! We’re the emotional ones. Lee and I were talking about that, saying things like, ‘Why are girls always waiting for you to leave them?’ That’s where it came from. It took a couple hours. If I don’t finish a song during a session, it’ll be a miracle if I go back and finish it later. I respect and commend people who can work on something forever and ever, like the guys who did “The House That Built Me.” But for me, a song is an emotional moment. I get into the emotion rather than the craft, so it needs to come out pretty fast.
Right after Lee and I wrote that song, he put out a single — something he hadn’t written — called “Love Like Crazy.” He wanted to keep “Crazy Girl” for himself, but the record label said, ‘You just released something with the word ‘crazy’ in it. Why would you release another song with the same word?’ And he said, ‘Yeah, why would I do that?’ So the Eli Young Band got it instead.”
Little Big Town, “Tumble and Fall” and “Girl Crush”
“I get together with the Love Junkies every three months, and we’ll write as much as we can in three days. We got three songs on the new Little Big Town album, and we wrote ‘Sober’ for their last album,Tornado. Karen and Kimberly came over one day to help us write ‘Tumble and Fall,’ and when they got there, we’d just finished writing a song called ‘Girl Crush.’ We played it for them, and they were like, ‘Oh, my God.’ Then we all wrote ‘Tumble and Fall’ together, which is like an answer-back-and-forth between the guys and the girls in the band. It was very hard to write, because you have to write the guy parts and the girl parts, and there’s a lot of harmony going on. But we had a bit of wine, and it worked out. They’re so good. When you write with them, they’re already singing the harmonies. They know exactly where they’re gonna go.”
Gary Allan, “Songs About Rain”
“That song was written with Pat McLaughlin. I was at my publishing company one day, and I looked down at a desk and saw that someone had written a song with ‘rain’ in the title. I said, ‘Man, somebody else has written a song about rain? God. No more songs about rain!’ Then I thought, ‘Hey, I can write something about being tired about all these songs about rain.’ So Pat came over and we did. We had a different chorus originally, and he left and then called me from the car and said, ‘Hey, what if we do this other thing instead?’ We changed the chorus around, and it saved the song. He made it a hit.”
Bonnie Raitt, “I Don’t Want Anything to Change”
“That was with Stephanie Chapman and Maia Sharp. Maia is a AAA artist who wrote the song ‘Home’ for the Dixie Chicks record. She’s so great; Bonnie was very enamored with her songs. We were all writing, and Stephanie came in with the first verse. That was a hard song to write. It took all day. If you go back and listen to that song, you can hear how intricate is. We’d each offer up a line, then we’d all massage it and make it better and better and better. It was fun after that session to go to Bonnie’s shows, because she’d make us stand up or tell people we were there. No artists do that! And I don’t want them to do it, really. But she’s the exception. If someone’s gonna do it, you want Bonnie Raitt to be that person.”
Article source: http://www.rollingstone.com/music/features/liz-rose-songs-taylor-swift-little-big-town-20141024
Tags: Gary Allan·Karen·Kimberly·Lee Brice·Lori McKenna·Maia Sharp·Max Martin·Pat McLaughlin·Rolling Stone News·Stephanie Chapman·Taylor Swift
October 25th, 2014 · Guitar
Less than a year before he suffered a stroke while hospitalized for a heart infection in July 2013, Randy Travis looked fit and healthy onstage for an October 24th taping of CMT’s Crossroads. Paired with fellow North Carolinians the Avett Brothers, the country traditionalist and Americana darlings performed some of their best-known recordings.
Among the highlights were Avett songs like “I and Love and You,” “Murder in the City” and “January Wedding”; while Travis offered such hits as “Three Wooden Crosses,” “Diggin’ Up Bones” and “Deeper Than the Holler.”
The standout, however, was Travis’s timeless love note “Forever and Ever, Amen.” Scott and Seth Avett each handled a verse, and all four — including Avett bassist Bob Crawford — harmonized on the chorus. But Travis owned the song with just one word. As he sang the “forever and ever, amen” refrain, the six-time Grammy winner stretched the final “amen” to a nearly absurd length. A friend of late country legend George Jones, Travis’s run brought to mind the Possum’s vocals tics and high-low range. All the Avetts could do was watch and smile.
Since his medical issues in summer of 2013, Travis has been steadily recovering. He recently attended an alcohol and drug abuse benefit in his adopted home state of Texas and is reportedly working with therapists to regain his speech. Earlier this year, Travis released Influence Vol. 2: The Man I Am, a collection of songs that shaped him as an artist, recorded prior to his stroke.
CMT’s next installment of Crossroads pairs Jason Aldean with Bob Seger. It’s set to air November 28th.
Article source: http://www.rollingstone.com/music/videos/randy-travis-the-avett-brothers-crossroads-forever-and-ever-amen-20141024
Tags: artist·bassist·Bob Crawford·Bob Seger·Diggin' Up Bones·Grammy·Jason Aldean·Randy Travis·Rolling Stone News·Scott Avett·Seth Avett
October 24th, 2014 · Guitar
If there’s one thing you can say about the woman painted in Kristy Lee Cook’s new single, “Lookin’ for a Cowgirl,” it’s that she isn’t the least bit shy. “I heard you’re on the prowl for a good-hearted woman, wanting real bad to get into somethin’,” the former American Idol contestant sings on this upbeat track, which is cut with equal parts twangy plucks and power guitars — even a little near-rap interlude. “Well baby, that somethin’ somethin’ just might be me.” Cover your ears, Mom.
“Lookin’ For A Cowgirl’ describes me to a T,” she tells Rolling Stone Country on break from a hunting trip about the song co-written with Bridgette Tatum, the mastermind behind Jason Aldean’s massive hit “She’s Country.” In fact, Cook is working with production team New Voice (consisting of members of Aldean’s band — Kurt Allison, Tully Kennedy, Rich Redmond and David Fanning) on a forthcoming album. “We wanted to write a song that was for country girls, and this one pretty much describes me perfectly. I’m just happy that I get the chance to really be me as an artist.”
Originally from Selma, Oregon, a small town that once hosted some of John Wayne’s stallions, Cook is known for her skills on horseback as well as the microphone — she’s a barrel racer and a deft hunter, all talents that would certainly classify one as, well, a cowgirl. But this song is a bit more about female empowerment than cow-roping — she’s “camo” and “ammo,” showing up in jeans a baseball cap, the one doing the fishing, not taking the bait.
“Being a female in the country music world right now is tough,” she says. “Aside from just a few women, the men seem to own it.” So on “Lookin’ for a Cowgirl,” there’s no sweet pining, no submissive cooing — this is a picture of a woman who isn’t planning on laying seductively in the back of her bro-country boyfriend’s pickup truck. She’s going to drive the thing herself, full-throttle.
American Idol certainly has a stellar track record when it comes to turning out country’s future stars (Ms. Underwood, anyone?), and now Cook, an alumnus of Season Seven, is looking to take another stab at super stardom by grabbing the reigns and the creative control. While her first post-Idol LP, Why Wait, included nary a self-penned song, Cook’s been writing actively — partnering particularly with Tatum frequently over the past three years. “She is one of my favorite people to write with because we are like two peas in a pod,” says Cook. “And when we get together we can really write some fun country songs, because we are both true country girls.”
Country, all right — Cook often rides around in her custom camo Camaro, complete with a Browning Buckmar firearm logo on the hood. “It’s pretty funny to see people’s faces when a chick steps out of the car instead of a man. You can’t really take it anywhere without a photo shoot. I almost thought about selling it just because it takes up so much time to run a quick errand.” So what if that defeats the point of camouflage?
“Lookin’ for a Cowgirl” will be available for download on iTunes on Monday.
Article source: http://www.rollingstone.com/music/premieres/kristy-lee-cook-lookin-for-a-cowgirl-20141024
Tags: artist·barrel racer and a deft hunter·Bridgette Tatum·David Fanning·Jason Aldean·John Wayne·Kristy Lee Cook·Kurt Allison·Rich Redmond·Rolling Stone News·Tully Kennedy
October 24th, 2014 · Guitar
One night last winter, Jessie Ware and Miguel decided to get drunk. They had been writing some songs for Ware’s second album, Tough Love, at New York’s Record Plant studio, and after a long day of work, they had completed the fun, flirtatious “Kind of… Sometimes… Maybe.” “We both really like whiskey,” Ware says with a laugh. “The first line of the song is, ‘Do I get lonely at all?/No, ’cause Jamie and Johnny and Jack keep me warm.’ So that night we were like, ‘Fuck yeah, let’s celebrate, let’s have whiskeys!’”
The next morning, she says, “I had the worst hangover. Literally, I had Gatorade in one hand and salty fries in the other. I couldn’t even speak. Head was pounding. And I had to write a song.” She and Miguel ended up with “You I (Forever),” a song about Ware’s then-fiancé, whom she went on to marry in the Greek isles this August. “I’m speaking the vocal because I was so hung over,” Ware adds. “But I think it kind of worked.”
A few weeks before the release of Tough Love, the British RB star is at a brunch spot on New York’s Lower East Side, fully recovered – and justifiably proud of her work on the LP, a subtle set of jams about the joys and complications of long-term romance. “It felt really fun to make this record,” she says. “I hope that comes through when people listen to it. Maybe it’s because I feel more comfortable as a singer now.”
Until recently, Ware had no serious intention of pursuing a career in music. After earning an undergrad degree in English literature from the University of Sussex, she won a place at law school. “I felt really happy to go and train as a lawyer,” she says. “I’d done loads of work with family law, and I was very passionate about it. I was well up for working hard. And I just didn’t think [music] was a realistic thing.”
Even so, Ware chose to defer her law school entry for a year while she gave her dreams a shot. She began singing background vocals for singer-songwriter Jack Penãte and took a day job in Selfridges department store in London. “They were really lenient to me,” she recalls. “I’d be like, ‘Sorry, I’m going to do Glastonbury this weekend.’”
By the end of that first year, she had a record deal of her own. Her debut LP, Devotion, arrived in the U.K. in the summer of 2012, and crossed the Atlantic to the States the following spring, earning rave reviews and growing crowds at shows. “It felt like we’d made it very intimately, so I was really amazed at how well-received it was,” she says. “That was a really bubbly, exciting time.”
Still, singing under the spotlight didn’t always come naturally, Ware says: “I was really inexperienced. You have this inner battle with yourself while you’re trying to perform – in my head, I’d be like, ‘Why are you doing that? Smile, why are you getting so nervous?’ Things like that. It definitely eased up,” she adds. “But dude, it was iffy at the beginning, I’ll tell you. I was like, ‘Oh, shit, maybe I should just be a backing singer.’”
This reminds her of 20 Feet From Stardom, the Academy Award-winning documentary about the great unsung backing vocalists of rock roll, which Ware recently watched. “It was fucking amazing,” she says. “It really resonated, hearing Sting talk about how it can be such luck with who makes it and who doesn’t. I agree.” She pauses for a moment. “Don’t get me wrong, of course there’s talent that shines through. But I got lucky.”
As if on cue, a waitress comes by, shyly introducing herself: “Are you Jessie Ware?”
“Yeah,” Ware says, pleased and a little incredulous. “Have you been paid to say this because I’m having an interview?”
“No, I absolutely love you!” the waitress insists. “‘Wildest Moments’ is one of my jams. Oh my gosh!”
“That’s sweet,” Ware says, and she smiles. “Thank you.”
Article source: http://www.rollingstone.com/music/features/jessie-wares-ride-from-law-school-to-drunk-nights-with-miguel-20141024
Tags: family law·Jack Penãte·Jamie·Jessie Ware·Johnny·law school·law school entry·New York's Record Plant studio·Rolling Stone News·Selfridges department store·University of Sussex
October 24th, 2014 · Guitar
Johnny Marr brought out Noel Gallagher to play a couple of songs during the encore of a recent concert at London’s O2 Academy Brixton. When Marr introduced the former Oasis guitarist, he called him “one of the great songwriters for this country” and cheekily said, “he’s got a bright future ahead of him.” First, Gallagher joined Marr’s band for a bouncy rendition of Iggy Pop‘s 1977 Bowie collaboration “Lust for Life,” and then the ensemble mounted an ambient rendition of the Smiths‘ 1985 alt-rock anthem “How Soon Is Now?”
Marr recently joined Noel Gallagher’s High Flying Birds in the studio to record guitar on “Ballad of the Mighty I,” the closing track on the group’s upcoming new record, Chasing Yesterday, which is slated to come out in March 2015. “He’s a very enthusiastic artist and I tried to get him to play on ‘What a Life,’” Gallagher said, referring to a single on the group’s 2011 self-titled debut. “He’s a truly great guitarist and he has something that nobody else has. He’s amazing; a top man.”
Marr recently issued his own second solo album, Playland. The former Smiths guitarist – who put out The Messenger, the first solo album under his own name, in 2013 – told Rolling Stone that he enjoyed the experience of being a bandleader so much that he was writing songs for Playland while on tour for The Messenger. “I didn’t want to change up what I was doing,” he said. “I just wanted it to be more of it.”
Article source: http://www.rollingstone.com/music/videos/see-noel-gallagher-join-johnny-marr-for-electric-iggy-pop-and-smiths-covers-20141024
Tags: enthusiastic artist·great guitarist·guitarist·messenger·Noel Gallagher·Playland·Rolling Stone News·Smiths
October 24th, 2014 · Guitar
Album sales are down 14 percent and track sales are down 13 percent but who cares because FIVE MORE DAYS UNTIL TAYLOR SWIFT!
A MONTH OF SPUTTERING COUNTRY BLOCKBUSTERS: The good news for Florida Georgia Line is the country duo’s first-ever Number One album — Anything Goes sold 197,000 copies in its first week and beat Jason Aldean‘s Old Boots, New Dirt (which sold 91,000, a drop of 67 percent); Bob Seger‘s first album in eight years, Ride Out (which made its debut with 59,000); You + Me’s debut Rose Ave. (50,000); and Barbra Streisand’s surprisingly resilient Partners (which dropped from Number Three to Number Five, slipping 18 percent in sales to 40,000). The bad news is, according to a source at a major label, Anything Goes sold about 100,000 fewer copies than record execs expected.
IT’S HARD TO COMPETE WITH FREE: Finally, after releasing Songs of Innocence last month as a free iTunes download, U2‘s latest album arrived last week as a CD and vinyl LP including bonus track “Lucifer’s Hands” and acoustic versions of many of Innocence‘s tracks. Given that 26 million people already listened to the album for free, Innocence sold a relatively modest 28,000 copies in its first saleable week to debut at Number Nine. Presumably realizing that this could add to some of the band’s recent PR problems, U2′s manager Guy Oseary released a statement noting, ”We’re heading for Top 10 all over the world with Songs Of Innocence in our sixth week after release, which is a great result.”
COMEBACK OF THE WEEK: Thanks to a barrage of TV appearances, including The Tonight Show Starring Jimmy Fallon last week, Sam Smith is willing himself back to the top of the charts — In the Lonely Hour, which could be a strong holiday-gift-type album for those seeking the next Frank Sinatra, rose 53 percent in sales, racking up 57,000 copies and jumping from Number 10 to Number Six. Plus, his latest single “I’m Not the Only One” sold 73,000, an increase of 24 percent, rising from Number 13 to Number Nine.
Article source: http://www.rollingstone.com/music/news/florida-georgia-line-score-first-number-one-album-20141023
Tags: Anything Goes·Barbra Streisand·Bob Seger·Florida Georgia Line·Frank Sinatra·Guy Oseary·Jason Aldean·manager·Rolling Stone News·Sam Smith·Taylor Swift
October 24th, 2014 · Guitar
For Bassnectar‘s latest track, released only months after June’s Noise vs. Beauty LP, the cult DJ worked with a new artist who had reached him by e-mail. “A lot of fans send me music, either tipping me off to songs they want me to remix, asking for production tips or to see if I want to collaborate,” he tells Rolling Stone. “An up-and-coming producer named Craz sent over a bunch of tracks, and one of them caught my ear immediately. It had ‘that thing’ going on in it, made me feel absolutely bonkers.”
Bassnectar offered to add some work of his own, Craz responded enthusiastically and together they made “Thursty,” the chopped, heavy, dubstep vs. club music cut we’re debuting here.
“I’m obsessed with getting music to sound cleaner, thicker, heavier and ‘as perfect as possible,’” Bassnectar continues. “I could hear a lot of ways that his ideas could be more explosive and complete and asked if he wanted to team up on that song.”
He explained that his habit of physically feeling music he’s listening to actually impacted the track: “I have this thing I do whenever I listen to music where I’m snapping my fingers and slapping my hands on the surface of a table or chair or whatever is nearby, drumming on my surroundings,” he says. “I wanted to use this silly kind of snapping sample to build up into the most insane explosion, coming out of some kind of chopped-and-screwed hip-hop vocal.”
Article source: http://www.rollingstone.com/music/premieres/bassnectar-thursty-new-20141023
Tags: artist·Beauty LP·chair·producer·Rolling Stone News
October 24th, 2014 · Guitar
American Horror Story: Freak Show‘s anachronistic use of contemporary songs continued last night with a cover of Lana Del Rey‘s “Gods Monsters.” It’s weird to hear Jessica Lange’s Marlene Dietrich wannabe Elsa sing the name “Jim Morrison” on a show based in 1952 Jupiter, Florida, but the Born to Die – Paradise Edition track does fit the overall theme.
Elsa croons, “Me and God, we don’t get along so now I sing,” which is the “Gods Monsters” lyric that resonates the most with these characters and ties in with the overall plot: Many of these “freaks” hold an inextinguishable grudge and blame a higher power for their deformity.
The “Gods Monsters” scene also marks a turning point in the series: For all its killer clowns, conjoined twins and other haunting visuals, Freak Show had so far been bound to reality, never really indulging in the world of spirits and unseen gods. That changes here: That green mist that drifts into the freak show during “Gods Monsters” summons the ghost of Edward Mordrake, a (possibly real) British aristocrat with two faces (a smaller, demonic one on the back of his head) who’s also a serial freak killer. Mordrake is the bogeyman of the freak show community – you don’t perform on Halloween because his ghost will rise to claim another victim – and Elsa’s Del Rey performance on October 31st does just that.
Prior to the season starting, American Horror Story creator Ryan Murphy revealed four of the acts whose music pops up on Freak Show. “We’re only doing songs by artists who have self-identified as freaks,” Murphy said. “That they felt different. David Bowie said yes to that, Lana Del Rey said yes to that, Kurt Cobain’s daughter said yes to that, Fiona Apple approved that. That for me was the theme of the season, so we went for it.”
So it seems a Nirvana song will pop up on an upcoming episode, but after that, it’s unclear whether Murphy has more surprise covers planned or if things get so insanely murderous at the freak show that the music dies, too.
Article source: http://www.rollingstone.com/tv/videos/watch-american-horror-story-tackle-lana-del-reys-gods-monsters-20141023
Tags: David Bowie·Edward Mordrake·Halloween·Jessica Lange·Kurt Cobain·Lana Del Rey·Marlene Dietrich·Nirvana·Rey 's "Gods Monsters·Rolling Stone News·Ryan Murphy
October 23rd, 2014 · Guitar
British boy-band singer Harry Styles can check “inspiring a work of literature” off his bucket list: the One Directioner star has allowed a 25-year-old writer to go from fan fiction scribe to six-figure published author.
Styles stars as a barely-disguised version of himself in 25-year-old novelist Anna Todd’s debut erotic novel, After, which hit stores this week. Todd began writing the sexy fan fiction – which involves a college freshman who falls for and has kinky times with a guy named Harry Styles – on free writing site Wattpad last year. But what started as a few chapters has grown into a 2,500-page epic novel that earned the Ohio native a six-figure publishing deal from Simon and Shuster imprint Gallery Books.
The first of four installments will be around 500 pages and will feature more cleaned-up prose and longer sex scenes than After’s online incarnation, plus a name-change from Harry Styles to Hardin Scott. Each subsequent book in the series will come out quickly thereafter, with novels expected in November, December and February, according to the New York Times. It’s safe to discern that Gallery is making a run at the rabid masses that made E.L. James’ thinly-veiled Twilight fan fiction 50 Shades of Grey a worldwide literary smash.
But not everyone in One Direction’s fanbase is keen on Todd’s idea. According to the Times, many fans are lashing out at Todd on social media, accusing the first-time novelist of using 1D’s fame to cash in. Still, it’s hard to argue with numbers: the original Wattpad story has received over a billion hits since its initial publication.
Todd decided to ignore her detractors, having quit her job with the full (albeit somewhat surprising) support of her husband in order to write a new chapter daily to keep up with her site’s demands. Her hard work has obviously paid off: Paramount Pictures acquired the stories’ screen rights, though still no word on whether Harry Styles will agree to play himself.
Article source: http://www.rollingstone.com/culture/news/one-direction-fan-fiction-writer-gets-six-figure-book-deal-20141023
Tags: boy-band singer·Gallery Books·novelist·Paramount Pictures·published author·Rolling Stone News·Social Media·the New York Times·the Times·writer