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Tag: Glory

  • The Narcissistic Culture of “Image” and Excessive Self-Monitoring

    The Narcissistic Culture of “Image” and Excessive Self-Monitoring

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    In a world obsessed with public image and attention-seeking, learn about the cultural forces propelling society to become more narcissistic – and how this influences us to be in a constant state of self-scrutiny.



    The idea that our culture is becoming more narcissistic and self-centered is not new.

    Historian and social critic Christopher Lasch’s book The Culture of Narcissism was first published in 1979. By that time, the 1970s were already dubbed the “Me-generation.” Americans were increasingly shifting focus to concepts like “self-liberation,” “self-expression,” and “self-actualization,” while untethering themselves from past traditions and social responsibilities.

    Interestingly, Lasch traces the narcissistic roots in America back way further, starting with the early days of the Protestant work ethic and its singular focus on labor, money, and wealth-building, including the old “pull yourself up by your bootstraps” mantra.

    This early thread of American hyper-individualism continues into the New Age movement at the turn of the 20th century with its focus on personal happiness and spiritual fulfillment, as well as the popularity of Ayn Rand’s “virtue of selfishness,” and the rise of celebrity-worship and fame-seeking that still characterizes much of American life today whether it be in politics, sports, art, or entertainment.

    Things appear to be getting worse. The book was written over 40 years ago, but a lot of the observations in it seem strangely prophetic when looking at the world today. Lasch accurately describes how narcissistic trends have evolved on a societal and cultural level, and you can perfectly extend his theories to explain our modern culture.

    Before you continue reading, remember this is a cultural analysis of narcissistic tendencies and it isn’t focused on clinical or psychological definitions of Narcissistic Personality Disorder (NPD).

    Many people act more narcissistic because that’s what our society rewards and that’s how people think they need to act to get ahead in today’s world.

    One can even look at certain narcissistic tendencies as a survival strategy in an otherwise competitive, atomized, isolated – “every man for himself” – world.

    Now let’s dive into how our modern culture amplifies and rewards narcissism.

    The narcissist craves an audience

    First, the most defining characteristic of a narcissist is that they depend on the attention and validation of others to feel good about themselves.

    Contrary to the popular myth that the narcissist suffers from excessive self-love, the truth is they are deeply insecure and lack true confidence and self-esteem. The main reason they brag, show off, or puff-up-their-chests is only to appear strong when deep down they feel weak.

    As a result the narcissist is obsessed with their image and appearance. They feel they need to “win people over” to be accepted and liked by others, and this requires a carefully manufactured persona they create for the public.

    This deeply rooted “need for attention” plays a central theme in Lasch’s analysis:

      “Narcissism represents a psychological dimension of dependence. Notwithstanding his occasional illusions of omnipotence, the narcissist depends on others to validate his self-esteem. He cannot live without an admiring audience. His apparent freedom from family ties and institutional constraints does not free him to stand alone or to glory in his individuality. On the contrary, it contributes to his insecurity, which he can overcome only by seeing his ‘grandiose self’ reflected in the attention of others, or by attaching himself to those who radiate celebrity, power, and charisma.”

    Without an audience to appreciate them, the narcissist struggles to find their self-worth. They don’t believe in themselves – they need “proof” they are a good or important person through the eyes of others.

    To the narcissist, any attention is better than none at all; even negative attention like gossip, drama, and criticism feeds into their egos by letting them know they are still front and center.

    In a society that rewards attention for the sake of attention (including fame and notoriety), the narcissist grows and thrives. Who knows, that next scandal with a famous celebrity may be their big breakthrough – whatever gets them into the limelight!

    Image-centrism: The society of the spectacle

    One major contributor to the rise of narcissistic tendencies is that our culture is becoming more image-centric.

    Popular ideas on what true “happiness,” “success,” “fame,” “beauty,” and “achievement” look like are based on outward images and appearances increasingly fed into our culture through photographs, movies, television, and advertising:

      “[One] influence is the mechanical reproduction of culture, the proliferation of visual and audial images in the ‘society of the spectacle.’ We live in a swirl of images and echoes that arrest experience and play it back in slow motion. Cameras and recording machines not only transcribe experience but alter its quality, giving to much of modern life the character of an enormous echo chamber, a hall of mirrors. Life presents itself as a succession of images or electronic signals, of impressions recorded and reproduced by means of photography, motion pictures, television, and sophisticated recording devices.”

    This book was written before the internet and social media which have only increased our “image-centrism” tenfold. Selfies, avatars, memes, filters, photoshop, and AI have all continued to add more layers to this hyper-reality between manipulated images and how we choose to present ourselves.

    This constant barrage of cultural images shapes our beliefs and map of reality. It subconsciously puts ideas in our heads about what “happiness,” “success,” and “beauty” are supposed to look like.

    Once these social images are set in our minds, we naturally feel the desire to live up to them.

    Narcissists can often be the most sensitive to these social images because they fear their true self isn’t good enough, so they take society’s picture of “success” and try to mirror that image back to others.

    On the surface, the narcissist is a crowd-pleaser. They don’t trust their own judgement, so if society says this is what “happiness” or “success” looks like, then they will try to mimic it the best they can.

    Everyone has an audience now

    Technology, internet, social media, cameras, and recording devices have created a world where everyone feels like they have an audience all-the-time.

    Family photo albums and home videos were early stages in turning “private moments” into “public consumption,” but now we have people over-sharing every meal, date, and shopping spree on their social media feeds.

    Lasch correctly identifies this trend back in the 1960s-70s, including a mention of the popular show Candid Camera, which was one of the first “hidden camera” TV shows:

      “Modern life is so thoroughly mediated by electronic images that we cannot help responding to others as if their actions – and our own – were being recorded and simultaneously transmitted to an unseen audience or stored up for close scrutiny at some later time. ‘Smile you’re on candid camera!’ The intrusion into everyday life of this all-seeing eye no longer takes us by surprise or catches us with our defenses down. We need no reminder to smile, a smile is permanently graven on our features, and we already know from which of several angles it photographs to best advantage.”

    Life is recorded and shared now more than ever before. Today everyone has an audience and many people can’t help but see themselves as the “main character” of their own carefully edited movie.

    Unfortunately, we have this audience whether we like it or not. Every time we are out in public, someone may whip out their phones, capture an embarrassing moment, and upload it to the internet for millions to watch. You never know when you may go “viral” for the wrong reasons. The rise of online shaming, doxing, and harassment puts people in a perpetual state of high alert.

    That’s a stressful thought, but it perfectly represents this state of hyper-surveillance we are all in, where there’s always a potential audience and you feel constant pressure to showcase the “best version of yourself” in every waking moment, because you never know who is watching.

    Self-image and excessive self-monitoring

    In a world that rewards people solely based on the “image” they present, we naturally become more self-conscious of the image we are projecting to others.

    This leads to a state of endless self-monitoring and self-surveillance. We see ourselves through the eyes of others and try to fit their image of what we are supposed to be. No matter what we choose to do with our lives, the most pressing questions become, “How will this make me look?” or “What will people think of me?”

    While people naturally want to present themselves in the best way possible and form strong first impressions, an excessive degree of self-filtering and self-management can cause us to lose our sense of identity for the sake of superficial acceptance, internet fame, or corporate climbing.

    At worst, we increasingly depend on this these manufactured images to understand ourselves and reality:

      “The proliferation of recorded images undermines our sense of reality. As Susan Sontag observes in her study of photography, ‘Reality has come to seem more and more like what we are shown by cameras.’ We distrust our perceptions until the camera verifies them. Photographic images provide us with the proof of our existence, without which we would find it difficult even to reconstruct a personal history…

      Among the ‘many narcissistic uses’ that Sontag attributes to the camera, ‘’self-surveillance’ ranks among the most important, not only because it provides the technical means of ceaseless self-scrutiny but because it renders the sense of selfhood dependent on the consumption of images of the self, at the same time calling into question the reality of the external world.”

    If you didn’t share your meal on social media, did you really eat it? If you didn’t update your relationship status online, are you really dating someone?

    For many people, the internet world has become “more real” than the real world. People don’t go out and do adventurous things to live their lives, but to “create content” for their following.

    Who looks like their living their best life? Who is experiencing the most FOMO on the internet? In a narcissistic world, we start seeing our “digital self” in competition with everyone else – and the only thing that matters is that it looks like we are having a good time.

    More and more, we consume and understand ourselves through these technologies and images. We depend on photo galleries, reel clips, and social media posts to chronicle our life story and present the best version of ourselves to the world. If the internet didn’t exist, then neither would we.

    In the sci-fi movie The Final Cut people have their entire lives recorded through their eyes; then after they die, their happy memories are spliced together to give a “final edit” of the person’s life. Many of us are perpetually scrutinizing and editing this “final cut” of our own lives.

    The invention of new insecurities

    Everything is being observed, recorded, and measured, so we have more tools than ever to compare ourselves against others.

    This leads to the invention of all types of new insecurities. We are more aware of the ways we’re different from others, whether it’s our jobs, homes, relationships, health, appearances, or lifestyles. We can always find new ways we don’t “measure up” to the ideal.

    New technologies create new ways to compare. Before you know it, you have people in heated competitions over who can do the most steps on their Fitbit, or consume the least amount of calories in a week, or receives the most likes on their gym posts. The internet becomes a never-ending competition.

    Of course, measuring your progress can be a valuable tool for motivation and reaching goals. The problem is when we use these numbers to measure up against others vs. measure up against our past self. Always remember that everyone is on a completely different path.

    It’s well-known that social comparison is one of the ultimate traps when it comes to happiness and well-being. You’ll always be able to find someone who has it better than you in some area of life, and with the internet that’s usually an easy search.

    These endless comparisons touch on all aspects of life and heighten self-scrutiny and self-criticism. Finding and dwelling on even “minor differences” can spiral into a cycle of self-pity and self-hate. If we don’t remove ourselves from these comparisons, then we have no choice but to try to live up to them and beat ourselves up when we fail.

    Conclusion

    The goal of this article was to describe some of the key forces that are making society more narcissistic and self-centered.

    Different cultural beliefs and attitudes incentive certain personality traits over others. Our current world seems to continue moving down a more narcissistic path, especially with the increased focus on “image” (or “personal brand”) that we build for ourselves through the internet and social media.

    Most of the ideas in this article are based on the book The Culture of Narcissism which, despite being written over 40 years, is an insightful look into how these social forces continue to grow and evolve.

    Do you feel like our current society is getting more narcissistic? How have these social forces influenced the way you live?


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    Steven Handel

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  • 'Homicide' Actor Andre Braugher, Who Played Cops With Humility, Dead At 61

    'Homicide' Actor Andre Braugher, Who Played Cops With Humility, Dead At 61

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    Opinion

    Source: Brooklyn Nine-Nine YouTube

    The Hollywood star Andre Braugher, who was best known for his work playing police officers on television shows like “Homicide: Life On The Street” and “Brooklyn Nine-Nine,” died on Monday at the age of 61.

    Braugher’s Life And Career

    Braugher’s death was confirmed to Variety by his publicist, who said that he died after a “brief illness.”

    Born in Chicago in 1962, Braugher graduated from Stanford University before attending Juilliard School to study drama. He made his big screen debut in the 1989 Denzel Washington movie Glory, with Braugher portraying the Union soldier Thomas Searles, a free Black man who joins the first Black regiment. From there, he went on to play Kojak’s sidekick in the television movie revival of “Kojak.”

    Braugher’s big break, however, came when he was cast as Detective Frank Pembleton on NBC’s “Homicide: Life On The Street” in 1993. He starred on the series until 1998, when Braugher won the lead actor Emmy for his work on the gripping police drama series.

    “Homicide” showrunner Tom Fontana said in 2014 that the show had originally began “as an ensemble piece. And it became The Andre Braugher Show. All the writers wanted to write for him because he was great and because they wanted to see if they could screw him up, throw him off his game.”

    “He could say so much with his eyes,” Fontana added, according to The Hollywood Reporter. “We’d write these incredibly glorious speeches for him, and then you would see him just look at someone, and we’d sometimes go: ‘Drop the monologue. He’s already sold it.’”

    Related: Norman Lear Dead At 101

    Braugher’s Later Years

    Braugher continued acting consistently after leaving “Homicide” in 1998, taking home a second Emmy for his work in the 2006 FX miniseries “Heist.” It wasn’t until 2013, however, that he returned to mainstream television success with another hit police show, this time playing the uptight Captain Raymond Holt on the police procedural comedy series “Brooklyn Nine-Nine” from 2013 until 2021. 

    “Brooklyn Nine-Nine” introduced Braugher to a whole new generation of fans, and it showed that he was just as capable of being a comedic actor as he had always been in dramas. The show brought Braugher four more Emmy nominations, this time for Best Supporting Actor in a Comedy Series, with the most recent nod coming in 2020.

    “Brooklyn Nine-Nine” ended the next year, but Braugher continued acting right up until his death, with IMDB saying he has two projects that are yet be released.

    Related: Former ‘CSI Miami’ Star Evan Ellingson Found Dead At 35

    Braugher Was A Family Man

    Braugher is survived by his wife Ami Brabson, who played his wife on “Homicide,” and their three sons. A few years before his death, Braugher told reporters that he’d always prioritized time with his family over pursuing bigger roles that could have made him an A-list Hollywood star.

    “I’ve got three boys, and I want them to know me as someone other than the guy who takes them to the circus every once in a while,” he said in 2020, according to US Weekly. “I wanted to be there through the course of their life because I know how important fathers are.”

    “It’s been an interesting career, but I think it could have been larger,” he added. “I think it could have spanned more disciplines: directing, producing, all these other different things. But it would have been at the expense of my own life.”

    Please join us in saying a prayer for Braugher’s family and friends during this tragic time.

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    James Conrad

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  • ‘60 Songs That Explain the ’90s’: Portishead, “Glory Box”

    ‘60 Songs That Explain the ’90s’: Portishead, “Glory Box”

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    60 Songs That Explain the ’90s is back for its final stretch run. (And a brand-new book!) Join The Ringer’s Rob Harvilla as he treks through the soundtrack of his youth, one song (and embarrassing anecdote) at a time. Follow and listen for free on Spotify. In Episode 108 of 60 Songs That Explain the ’90s—yep, you read that right—we’re covering Portishead’s “Glory Box.” Read an excerpt below. And if you’re in Los Angeles on November 16, check out the 60 Songs and Bandsplain crossover event celebrating Rob’s new book.


    What is this voice? What is the deal with Beth Gibbons? How would you describe Beth’s diction here? Playful? Caustic? Bright? Malicious? Theatrical? All of ’em? None of ’em? Who do you hear? You hear Billie Holiday? You hear Dusty Springfield? You hear a Disney villain? You hear a Bond girl? You hear a Bond villain? No, Mr. Cupid, I expect you to die!

    What does Beth Gibbons think about Beth Gibbons? “I’m not technically a very good singer. If anyone says I am, I know they don’t know what they’re talking about. If I wanted to be, I’d have to give up smoking and have lessons.” That’s Beth in a 1998 book called Seven Years of Plenty: A Handbook of Irrefutable Pop Greatness 1991-1998, by Ben Thompson. 1991 to 1998 is eight years, but OK. Portishead consists primarily of three people. You got Beth. You got Geoff Barrow, on lots of stuff but primarily on turntables. And you got Adrian Utley, primarily on guitar. Beth and Geoff meet while participating in an Enterprise Allowance Scheme. I’m going to be honest with you and say that I got really excited by the word Scheme. I pictured Beth and Geoff meeting while devising, y’know, an Ocean’s Eleven–style audacious crime spree. Right? I pictured a stylish caper. I pictured Beth and Geoff hanging upside down and stealing the Pink Panther diamond or whatever. Right? How appropriate, given this band’s flagrant old spy movie vibe, the Mission: Impossible of it all.

    But, no. No. The Enterprise Allowance Scheme was an ’80s Margaret Thatcher–era British political thing that gave young people extra government money if they set up a small business. That’s boring. That’s so boring. But Beth and Geoff meet, and they do set up, in a manner of speaking, a small business called Portishead, a band named after the town near Bristol where Geoff grew up. A town that Geoff once described to SPIN magazine by saying, “I really don’t like the place. It’s a place you can go to and die.” And then Beth says, “That’s why we named ourselves after it.” That’s funny. C’mon. She’s a little playful. The first song they work on together is called “It Could Be Sweet.” Dig the feature-length, majestic, tragic arc of the word nothing here.

    Perhaps you’re like me, and you can close your eyes and clearly picture the cover of Portishead’s 1994 debut album, Dummy: It’s a quite striking, almost nauseating blue, with a blurry photo of Beth sitting in a chair in a fancy dress with blood on her face and hooked up to an IV, looking disconcertingly dazed. Perhaps you’re like me and you were not previously aware that this cover photo of Beth is a still from a short film Portishead devised and, perhaps to their chagrin, starred in called To Kill a Dead Man. Adrian plays an oily businessman type, Geoff plays a dirtbag assassin type, Beth plays a femme fatale type. They’re all not great actors, necessarily—Beth, maybe, though, if she took lessons and smoked more—but they’re all extremely well cast. Let’s leave it at that, actually.

    The drums on “It Could Be Sweet,” though. The precise and bone-dry psh psh psh psh of the cymbals, the dollhouse-tea-set delicacy of it all. It’s a minor technical marvel; it’s a marvelous major triumph of vibe. Looking back on this song while talking to BBC 6 in 2010, Geoff says, “It wasn’t soul, but then, it kind of was. And it wasn’t overtly jazzy. And it wasn’t folk. But she brought this adultness to the track. And all of a sudden it was—this is actually real. And she’s singing about things that she obviously cares about.” You can find that quote in a cool Trash Theory video about “Glory Box” as well.

    So this is real. Geoff is somewhat of a studio veteran by the time Portishead kicks off; in fact he was a tape operator at Coach House Studio in Bristol when Massive Attack was making Blue Lines. Geoff has said that he was a lousy tape op, but he made great tea. That’s gonna about do it for Geoff and self-deprecation. Geoff once told Melody Maker, “Ambient music has never particularly appealed to me. Push ‘Go’ on a synthesizer. Make some noise. Put some delay on it, and put a couple sheep noises on it. I’m not into it.” Rude! I believe Geoff’s got some specific targets in mind, there. The KLF would like a word, Geoff. But let’s leave that at that, as well, actually. Sheep noises will not suffice, then, in terms of a hook.

    And this is how Dummy, this is how Portishead first reaches me in 1994, an alt-rockin’ midwestern teenager with no ambient sheep music experience, only a little Massive Attack experience, and for that matter very little cool old spy movie experience. Portishead first reaches me via the single “Sour Times,” which has a recognizable retro-futuristic cool old junk drawer feel that makes a lot of sense if you’ve spent 1994 getting heavy into Beck, or Stereolab, or, like, “A Girl Like You” by Edwyn Collins. You remember that shit? Is that a sacrilegious comparison from Portishead’s perspective? Too bad.

    [Rob hums guitar solo.] That’s right. That’s exactly how that guitar solo sounds. Too many poor-ass singers! Not enough poor-ass songs! That’s what he says there, right? Listen. There was a subset of 1994 alternative rock popular enough to sneak on the radio and MTV and yet ultra-cool and wily enough that I’d hear it and go, I don’t know how old this is. This is not the most sophisticated initial framework through which to receive Portishead, but, well, the statute of limitations expired on that, too. What elevates Dummy, what enshrines Dummy, is that you get all these warped old samples, you get that disorienting sense of timelessness, you get all these wonderful dusty old machines, but you get all the ghosts in those machines, too. All the ghosts are played by Beth Gibbons.

    I dig the beat here, right? The alarm clock boom bap of it all. Adrian Utley’s less-is-more fuzzed-out guitar: bwwwwooowwww. But you also get Beth singing, wailing, moaning, declaiming whatever it is she’s saying there, on the song “Strangers.” I can’t think of another album that delivers quite the same sort of delightful whiplash pivot between cool detached post-human sounds and bone-chillingly extreme human frailty. This song is called “Numb.” You ever heard a cooler snare drum sound in your life? No, you have not.

    However. Does the coolest snare drum sound she’s ever heard in her life make Beth Gibbons feel less lonely? No, it does not.

    In my California years, my Bay Area years, one time I went to this super-cool San Francisco apartment open-mic night sorta living room concert deal, and this dude had just a microphone and a loop pedal—he was a beatboxer, right—and he did a full looped beatboxed version of Portishead’s “Wandering Star.” It is difficult, perhaps, to convey the exquisite desolation of Beth Gibbons’s vocal approach while beatboxing; I don’t know if I would recommend getting romantically involved with a Portishead-covering beatboxer. You’re living on the edge there, emotionally. You’re gonna end up living a Portishead song. I’m generalizing, but come on. But on the other hand, this dude did a great job this time, and thereafter, every time I go back to Dummy, “Wandering Star” sounds ever so slightly more human to me.

    “Wandering Star” sounds more human to me now, but it also remains, like, wildly depressing, right? “The blackness / The darkness / Forever.” I have always heard Portishead primarily as primo moping music. Moping, whining, sulking, pouting. Being a grumpus. Not calling ladies on the phone. Feeling extravagantly sorry for oneself. Over-romanticizing one’s solitude, et cetera. This does not appear to be the way most people heard Dummy. The moping approach does not appear to be either of the top two approaches most people took to Dummy. Generally, you hear two things about this record. One: It is apparently stupendous background music. You’d hear it in restaurants, you’d hear it in both high- and not-as-high-end clothing boutiques, you’d hear it at the parties where all the girls were so they wouldn’t have been home even if I had tried to call them, which I didn’t. Dummy became not ambient music, exactly—not Lo-Fi Beats to Study To—but this record did prove compatible with a wide variety of activities and social situations. Put it that way.

    Or! Or, put it the other way. People thought it was makeout music. Music for … smooching. Amorousness. Et cetera. On YouTube you can find footage of Geoff and Beth, on camera, in a church, being asked by a cheerful Canadian interviewer how they feel about Dummy being described as “the greatest shagging record of 1994.” That’s another way to put the other way to put it. That’s apparently the Canadian way to put it. They don’t shag in Canada. Do they? Don’t answer that. Do you find this music appropriate for, uh, smooching? Don’t answer that, either. I just have a very hard time imagining some suave Canadian dude being like, Hold on, baby, we need some music, yeah, let me put on some, yeah, all right, check this out, baby.

    That song’s called “Biscuit.” I just googled “Do they shag in Canada,” and I got what I deserved. That’s all I have to say about that. “Biscuit” is the second-to-last song on Dummy. The last song is “Glory Box.”

    Dig that slow-motion gnarly guitar, man. Phenomenal. Adrian Utley on guitar. The chopped-and-screwed Jimi Hendrix, they call him. Nobody calls him that. That is also dumb. That is Cheeto chamber–caliber dumb. Now, that line’s got makeout music overtones for some of you, perhaps, not unreasonably, but Beth’s focus, not surprisingly, is elsewhere.

    Talking to The Independent on Sunday in 1994, Beth says, “The key line in the song really is Move over and give us some room, because I do think women are very much taken for granted. I’m more an easygoing than a rabid feminist, but women in general are very supportive to me. History has made them like that. And this is not something that is always reciprocated.” She elaborates on this theme after Adrian’s extra-rad guitar solo.

    In 1995 Dummy won the prestigious Mercury Prize, awarded to the best album of the year from the United Kingdom or Ireland, beating out Oasis’s Definitely Maybe, Tricky’s Maxinquaye, PJ Harvey’s To Bring You My Love, and many other fine records, including a Van Morrison album I was unfamiliar with. I wouldn’t say Portishead recoiled from the spotlight, precisely, but Portishead put out a second album, self-titled, in 1997, in a vein similar to Dummy’s but just a little harsher, sharper, less … what’s the word? Warm. It’s not as warm. It’s still pretty great, though. What it doesn’t have is a “Glory Box.”

    To hear the full episode, click here. Subscribe here and check back every Wednesday for new episodes. And to preorder Rob’s new book, Songs That Explain the ’90s, visit the Hachette Book Group website.

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    Rob Harvilla

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  • It’s a “GLORY”-OUS Day  for David St. Romain

    It’s a “GLORY”-OUS Day for David St. Romain

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    Press Release



    updated: Oct 20, 2015

    ​​​On October 23rd DSR Entertainment will release David St. Romain’s first album of new material in 2 years, GLORY.  David will be available for phone interviews prior to and following its release.

    David will celebrate the launch with an album release party on Friday, October 23rd at Hollywood Casino in Baton Rouge, LA with a live performance at Center Stage. Doors open at 8pm and concert begins at 9pm. Tickets are $20 at the door and includes a copy of the newly released CD.

    David continues to delight audiences with his talent and vocal range. With the release of his previous two successful albums, David has proven he is so versatile, people just can’t pigeon-hole this amazing voice. Whether he’s singing country, or rock, or R&B, David connects with his audience because he delivers every song with passion and heart.

    The next stop on David’s musical journey is GLORY, a passionate and soul-searching collection of songs that will establish David as the king of Blue Eyed Soul. GLORY is a musical journey that incorporates all the music that has influenced him over the years.

    “This record is the next step to finding my true sound.  A mixture of soul, country, and rock & roll is what you’ll hear when you’re listening and I’m hoping to capture a new broader audience that will appreciate the music that comes from my heart” says St. Romain.

    David’s early influences ranged from pop and rock, such as Boys II Men and Metallica.

    Van Morrison’s Tupelo Honey, along with great singers from all genres like Ray Charles and Travis Tritt gave David a wide scope in his musical direction. His soul-drenched voice loaned a unique quality to his interpretations of that music, and added many fans to his burgeoning popularity.

    Glory’s inception came in the spring of 2014 with the completion of DSR Entertainment’s studio in Baton Rouge.  “Being able to record my own band in my own studio allowed me full artistic control. That type of satisfaction only comes when you create the music that truly resonates in your heart” explains St. Romain. His previously released material includes the self-produced EP, “Dealing with the Man” (2013) and two full-length albums, “DSR” and “All I Really Wanted to Say.”

    The first single to drop from the album will be “Glory,” co-written with Tommy Tutone, who also performed the huge 1982 pop hit single, “867-5309/Jenny.” 

    The album will release on David’s own DSR Entertainment record label, and will be available on Amazon, iTunes, as well as others.  Fans can pre-order the album on iTunes here: https://itunes.apple.com/us/album/glory/id1048825394

    The new album will be registered with Gracenote and will be added to his Pandora channel.

    GLORY Produced by David St. Romain

    1.    If You Want It

    2.    Even the Bad Times Are Good

    3.    It’s Gone

    4.    Subtleties of Rain

    5.    Glory

    6.    Hold On

    7.    There’s A Lot of Room in This Love

    8.    Every Little Thing

    9.   Trouble

     10. She Can’t Remember

     11. Glad That I’m the One

     12. I’m Not Just Anybody’s Fool

    www.DavidStRomain.com

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