Adele: I Know I’ve Written a Good Song When I ”Break Out in [Expletive] Tears”

13 Nov 2015 | Author: | No comments yet »

Adele Reveals Why She Retreated from Her Fame and the Public Eye: ‘I Refused to Accept a Life That was Not Real’.

Adele contemplated giving up on music after the huge success of her second album, fearing that she could not produce something equally popular and bruised by the emotional turmoil of writing the songs. “It was horrible.

“If I wanted to just be famous, like be a celebrity, then I wouldn’t do music,” she explained, adding that she only wanted to be known for her music career. “Commercials, nail (polishes), shoes, bags, fashion lines … hair products, being in movies, being the face of a car,” Adele listed off, revealing she had turned down many of the kinds of deals embraced by pop stars such as Beyoncé and Taylor Swift.The British singer, 27, guest-edited the first edition of the re-launched Observer Music magazine, which will hit stands with the U.K. newspaper The Guardian on Sunday. You can be having a normal day, driving to your next destination, and then “Hello” hits the radio and you’re suddenly reminiscing on that short-lived romance from two summers ago. That “one thing” is making music, and the British singer became a best-selling artist because of her ability to craft heartbreaking ballads that often drive listeners to tears. “That’s how I know that I’ve written a good song for myself — it’s when I start crying,” she said about writing material for her new album. Rumors circulated last year about its imminent release, but the time has finally come for the incredible vocalist and songwriter’s highly-anticipated new collection of material.

And in her interview with the magazine, she revealed how she coped with the fame that came with her super-successful sophomore album 21, a period in her life that she says felt “almost like an out-of-body experience.” She added: “It’s very easy to give in to being famous. Adele said that she found inspiration for “25” from motherhood — she has a 3-year-old son Angelo with boyfriend Simon Konecki — and from her insistence on living a non-glamorous life. “I just went back to real life, because I had to write an album about real life, because otherwise how can you be relatable?

It’s when I just break out in [expletive] tears in the vocal booth or in the studio, and I’ll need a moment to myself.” While fans have no doubt in the singer’s talents, Adele confessed that she wasn’t sure about getting back into the music scene after 21’s major success. Here are the results. 2015 may not bring everything that Back to the Future II promised it would: flying cars, self-lacing shoes, we don’t see ’em happening over the next 12 months. (Then again, don’t bet against Nike.) But this year will definitely pack plenty of punch when it comes to cultural happenings.

Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again. Maybe I should bow out on a high.’” The 27-year-old said the success of 21 – which sold 30 million copies worldwide – was “out of control” and left her “a little bit frightened”. “I haven’t got time to fall apart,” she added. “I’m the backbone for my kid, and I want to be there for him. These days, though, she’s been busy reintroducing herself to the world with her record-breaking new single “Hello,” the first track off her upcoming album 25.

If I wrote about being famous — that’s f—— boring.” On the new, eagerly-anticipated album she collaborated with producers and artists including Bruno Mars, Sia and Danger Mouse. In a perfect world, “the ability to be funny and mesh with the cast” should be number one, but let’s face it: That doesn’t always happen, even when someone as controversial as Donald Trump hosts. And while she’s got some high-profile appearances booked – she’ll perform her first U.S. concert in four years at Radio City Music Hall in New York on Nov. 17 and then will hit up Saturday Night Live the day after her album drops – she doesn’t have a typical rockstar routine. Hosts that guarantee ratings rather than laughs have been part of the show’s DNA since its inception: Someone like Justin Bieber might not have comedy scholars preemptively jumping for joy, but will definitely boost the show’s ratings. That being said, this was still a massive miscalculation on the part of SNL, not because it went with a host that wasn’t going to help the show be funny (although that was sure part of it), but because it seemed like a ratings grab that didn’t understand the potential (and maybe inevitable) downside of its decision.

At various points tonight, the show tried to have its controversial cake and eat it too, occasionally portraying its host in less-than-flattering lights. But more often than not, these weren’t savage attacks so much as weak attempts at satire, designed to make Trump look good for being a decent sport rather than making legitimate points.

In the end, no one came out looking good: Trump looked lifeless and disinterested when actually onscreen (which, let’s be honest, was not much), and the show as a whole seemed depressed and lifeless thanks to his presence. This episode felt like a really smart, funny group of writers and performers going through the motions because the show must go on, even if they all would rather have been doing something, anything, else. A few seasons ago, SNL scored big when Bruce Willis hosted with “Boy Dance Party”, which mined a lot of comedy from less-than-stellar moves perpetrated by men with more enthusiasm than skill. This is a sketch that is slightly dated due to the show’s long break between episodes, but it actually works to have Trump hosted when they finally did it. It’s the best comedic use of him all night, with his appearance serving as a punchline that got genuine laughter (something in short supply all night) from the audience.

The initial gaffe between Colin Jost and Michael Che seemed indicative of two guys already distracted by the week’s media circus and the audience’s lack of laughter. But the two guests that appeared on “Update” salvaged the hosts’ lack of enthusiasm, and managed to get the overall segment more or less back on track. Leslie Jones’ “Update” appearances have been almost uniformly solid since the show realized this was the best place to use her, and her constant flirtation with Jost is always funny. (Her insistence that Jost not play along was smart on multiple levels, and Jost nailed his half of the interaction.) For its part, Bobby Moynihan’s Drunk Uncle was best example of in-show Trump mockery, only because having a character like this so closely identify with Trump does more than any single joke could.

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