Where To
Lites Lyrics
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Look at where i came from
Look at where i came from
Look at where i came from
Look at where i came from
I made puddles out my tears
I see my idol in the mirror
I'd tell you my problems but you won't care
I done watched my mom cry when the ends didn't meet
Same clothes for some weeks
Man that shit made me weak
Man it made me cry to hear my little sister speak
Man it made me cry
And it's weighing on me
When my grandma died she was praying for me
I ain't had no tide, no detergent, or cleaner
Look inside my eyes
And you'll see what I seen
When I wake up I gotta stay true to my vision
And i cry for my family because you know I miss them
I would die for my family because that's what I live for
I had roaches and empty cabinets in my kitchen
And I'm trying to escape this shit with a prescription
I done slept on the floor lil nigga I'm not kidding
I got feelings but I was taught to keep them hidden
Now all these niggas wanna hear how i'm living
Now everyday I got Alyx on my stitching
Like everyday I hit the beach with some women
Etiquette proper I might Thom Browne my linen
I get flyer than ever
Little boy i'm not kidding
Man I got the fastest cars
And I got the baddest broads
Man I want the Audemars
And I want Aventadors
Man I used to sleep in cars
Thinking about just living large
Thinking about my grandma
Trying to get this feeling gone
Look where I came from
Look at where I came from
Look at where I came from
Look at where I came from
Look at where I came from
Look at where I came from
Look at where I came from
Look at where I came from
In the song "Where To" by Lites, the lyrics delve into the artist's personal journey and the struggles they have faced. The repetition of "Look at where I came from" serves as a reflection point, highlighting the artist's growth and progress from a difficult past. The lyrics touch upon themes of poverty, family, perseverance, and ambition.
The opening lines, "I made puddles out my tears, I see my idol in the mirror," suggest a sense of resilience and determination. Despite facing hardships and shedding tears, the artist finds inspiration within themselves, perhaps looking up to their own reflection as a source of motivation.
The verse continues to describe the artist's impoverished past and the emotional toll it took on them and their family. Sleeping on the floor without sheets and witnessing their mother's tears due to financial struggles highlights the impoverished conditions they grew up in. The mention of their little sister's voice brings forth a vulnerability, as the artist openly admits how hearing her speak made them cry.
The lyrics also touch upon the loss of their grandmother, who seemed to offer both support and prayers. The absence of basic necessities, like tide, detergent, and cleaner, denotes the artist's lack of material resources. Looking into their eyes, one can glimpse the hardships they have endured and the strength they have developed.
The second half of the song shifts towards the artist's aspirations and ambitions. They express a desire to stay true to their vision and cry for their family, emphasizing the importance of their loved ones. The lyrics convey a determination to succeed and escape their current situation, possibly referring to seeking solace in prescription medication. The artist also acknowledges the attention they now receive, with people interested in hearing about their life.
The concluding lines paint a picture of the artist's newfound success. They boast about their "fastest cars" and "baddest broads," indicating a shift into a more luxurious lifestyle. However, there is still an underlying longing for their grandmother and a desire to distance themselves from their difficult past.
Overall, "Where To" presents a deeply personal narrative of struggle, resilience, and ambition, highlighting the artist's growth and journey from adversity to success.
Lyrics © DistroKid
Written by: Lite Fortunato
Lyrics Licensed & Provided by LyricFind
@KumaBean
Back when I was in the industry, it was all trial and error at first.
We need to be flexible and learn to configure our rigs in different ways, in order to better suit each individual venue and event.
If you’re only playing one type of music, such as EDM, this simplifies things somewhat, but if you decide to go out on the road and cater for private events such as wedding and birthdays and such, or corporate events, then we need to look at things like softer lighting, more colour washing, and decor (depending on size and scope of event, this may be supplied by another contractor, as well as lighting, but I digress).
The best piece of advice I could give you, despite what I’ve written above, is not to turn your passion and joy into a job, a chore, because something you used to do for fun on your own terms and in your own time, becomes no longer fun, it has to be done on other peoples terms, and it has to be done when they say it has to be done.
I was given this exact piece of advice after I did my first school disco at fourteen, when I told an adult mate of mine (he had motorbikes, lol) that I wanted to be a professional DJ ‘when I grew up’ (still working on that, hitting forty soon, lol).
I left the industry some years back after I became disillusioned with it all; the more money I was making, the bigger the a**holes the clients (and their guests) were.
So, I sold my rig, all of it, and moved on with my life.
I’m currently in the process of designing a new rig for the first time in about fifteen years and the passion is back, in a big way, lol.
We’ve move house since I sold-off the business so we now have a pretty large back garden with little to no light pollution, I’m already at the stage where I’m drawing 3D animations on clouds, it took some years but the neighbours are going to figure me out real soon, 40th, fck yah! 🤪
All the best mate 🙂 🤝
@stevosteve
@KumaBean Wow we seem so alike.
The manual implementation of using a lighting desk is the best part for me. It is the difference between a LIVE performing artist and a RECORDED/PLAYBACK artist, the LIVE method always has more feel and vibrance. The downside is that if working with popular artists/groups they themselves like to know in advance what they want, they dont like surpises or spontaneity, which means the show scenes need to be preset and then played back as a 'lighting recording' set.Yeah it means the next show is the same as the last and the last etc etc , but still not as good as LIVE operator input. The balance is to use the DMX presets for moving head targeting/colour/fade time/gobo etc, and also as you say laser sequences, then the floods and washes can be manually operator controlled (or over-ridden) for a more 'on the night' feel. Additionally controlling the desk over MiDi and using a keyboard to trigger the lighting makes the light desk operator feel as though they almost a part of the band . . . . and it is fun. Specifc joystick controlled moving head spots/washes reserved for only manual use give the operator great flexibility for when artists are not stnading where they said they would be ha ha ha.
Coming back to your statement about DMX, yes I agree. Once you get the DMX addressing understood (esp the starting address chanel and the number of channels used by the specific ficture) then you are sorted. Now I am no longer restricted by using stage mounted racked power panels to feed individual light fixtures, the ease of power always to a fixture and then daisy linked MDX control makes eerything so flexible. Then using DMX WiFi for the odd located fictures just makes it even easier.
I am defo still on the learning curve but for me it is fun, not work, and I do what feels best as the weeks arrive. All very lo key 🙂
Oh and just before I go, there are many varied YT vids and ideas out there, some are superb, some are downright fantasy, but they all help you learn. Just because you hear someone tell you 'this or that' is the best method, try it yourself, if it fails then do not always think it is something YOU have done wrong. Leave it and try another method etc etc and in the end YOU learn what works for you. ENJOY !
@mikkalbreeden956
I use back spot lights for FX patterns which is different than the old par can days. I use washes for set color. I aim the front lights on my band members and manage to keep the color off their faces. So far it’s been real effective. A lot of outside shows without much of a back drop so the spots angle has been the “curtain”.
There was a big debate on the colour of front lights. I use a some blue/white on slow songs and amber/white on most songs. It was a 3 month debate, some members wanted straight white, others wanted warmth. I fought for amber/white cause LED white seems washes out colour. Could be a great discussion video.
@chibude4350
Could be a very good vid !!
@gabriellau123
This video is a very useful video. I am a Uni student and also a light designer in the Drama club in Hong Kong. This maybe the foundation of lighting, but the variation of lighting mostly base on these techniques. Thank you for the guidance!
@kwamesha3477
I like this simplistick approach. Thanks for the gear guide too!
@sixsentsoldiers
100% correct. Front lights are critical.
@tracycain3745
We are deciding on lighting for our school stage, which is in a gym. What are the recommendations for front lighting when we can not have a permanent structure for front lighting?
@LearnStageLighting
Hi Tracy! Please send us a email to gear@learnstagelighting.com then we can help with the correct system to suit your venue and situation. Thanks.
@djstevieo
Great video. I’m a DJ. Basic small setup. Small DJ booth 2 tops over 2 subs. Minimal lights but effective. 4 chauvet wash fx hex. Amazing lights especially for my application. And I have a few battery powered pars to light the booth. What is the optimal way to aim all these lights. Every gig I’m using trial And error to find the sweet spot. Thanks
@KumaBean
Back when I was in the industry, it was all trial and error at first.
We need to be flexible and learn to configure our rigs in different ways, in order to better suit each individual venue and event.
If you’re only playing one type of music, such as EDM, this simplifies things somewhat, but if you decide to go out on the road and cater for private events such as wedding and birthdays and such, or corporate events, then we need to look at things like softer lighting, more colour washing, and decor (depending on size and scope of event, this may be supplied by another contractor, as well as lighting, but I digress).
The best piece of advice I could give you, despite what I’ve written above, is not to turn your passion and joy into a job, a chore, because something you used to do for fun on your own terms and in your own time, becomes no longer fun, it has to be done on other peoples terms, and it has to be done when they say it has to be done.
I was given this exact piece of advice after I did my first school disco at fourteen, when I told an adult mate of mine (he had motorbikes, lol) that I wanted to be a professional DJ ‘when I grew up’ (still working on that, hitting forty soon, lol).
I left the industry some years back after I became disillusioned with it all; the more money I was making, the bigger the a**holes the clients (and their guests) were.
So, I sold my rig, all of it, and moved on with my life.
I’m currently in the process of designing a new rig for the first time in about fifteen years and the passion is back, in a big way, lol.
We’ve move house since I sold-off the business so we now have a pretty large back garden with little to no light pollution, I’m already at the stage where I’m drawing 3D animations on clouds, it took some years but the neighbours are going to figure me out real soon, 40th, fck yah! 🤪
All the best mate 🙂 🤝
@stevosteve
@KumaBean You words were like reading my own life. I started back, way back, with my Sirius 24 desk and rack mounted 240v dimmable packs. Work and divorce and county move stopped all. But now I am helping setup the local small venue lightning. Indeed I am reinvigorated ... . getting well versed in DMX rigs, DMX WiFi networks, etc. and LOVING IT.