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creativity

Music

A-ha's 'Take on Me' gets a delightfully epic facelift in metal band's 'on the spot' cover

There are plenty of surprises—and, yes, some incredible high notes.

Photo credit: screenshot from Musora YouTube video (left) / Yaffa Phillips via Wikimedia Commons, Creative Commons Attribution-Share Alike 2.0, cropped (right)

A progressive-metal band created an epic "on the spot" cover of a-ha's synth-pop classic "Take on Me."

If you were to compile a short list of "pop songs you should never, under any circumstances," attempt to cover, a-ha’s 1985 synth-pop classic "Take on Me" would surely make the cut. And there are multiple reasons for that. One, it’s difficult to imagine that song without its era-specific keyboard sparkle. Plus, there are few humans who can recreate Morten Harket’s impressively high falsetto on the chorus ("I’ll be gone / In a day or twoooooooo")—even just physically, without even factoring in emotion or originality.

But Leprous, the massively underrated prog-metal band from Norway, absolutely crushed that musical assignment, reimagining the track from top to bottom. It’s all part of Musora’s YouTube series Covers on the Spot, where bands are presented with songs and asked to quickly remake them in their own style. Many of the most fascinating experiments—like the folk duo who tackled System of a Down’s nu-metal anthem "Toxicity"—have relied on contrasting styles. This is no exception.

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Ron Jackson, the show’s host and the platform’s content director, outlined the process early in the video: "It’s going to be your challenge to transform that song into a Leprous track. You can do whatever you want—change rhythms, chords, lyrics tempos—but at the end of the day, it has to be uniquely yours." He even asked the band which genre would "scare" them the most, and singer Einar Solberg replied, "Something too close to home." Ironically, that’s exactly what they got—just not in the way they expected. A-ha are also Norwegian—a fact that Jackson didn’t even realize before filming the piece. (Leprous drummer Baard Kolstad even noted that "some of the [a-ha] guys" were his dad’s neighbor.)

Did Norway factor into the success of their cover? Who knows? But Leprous certainly put their stamp on "Take on Me," and the video offers a fascinating behind-the-curtain glimpse into their band dynamic. Each member of the sextet tosses out rhythmic variation, structural ideas, options for how to amplify the song’s core drama and make it fit their own aesthetic. In a bizarre way, it shows how much DNA their own genre shares with classic synth-pop—both are aiming for the grandiose.

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Their biggest dilemma is how to tackle the "happy"-sounding synthesizer hook from the verses, which they translate over to a muted, more melancholy electric guitar line. "I love watching bands work," says Jackson, observing how they play off each other and how Solberg plays a role of big-picture organizer. The final product is stunning—a bit more menacing than a-ha, certainly way more complex, but capturing the essential cathartic spirit that drives the original tune. And, spoiler alert: Solberg nails all of those intimidating high notes, adding some operatic melisma and vibrato here and there. "I loved it," the frontman says after they finish playing. "It was intense but amazing." (For what it’s worth, he’s technically not a newcomer to a-ha world, having covered the band’s "Manhattan Skyline" with musician Ihsahn in 2020.)

Existing fans were enchanted: "It’s settled [then], Leprous needs to put out an 80's cover album," someone wrote in the comments. And they even made plenty of new ones: "Well NOW I have to listen to everything Leprous has ever done," added another. Luckily, the band officially released the song to streaming platforms, helping spread the word—even beyond the 356,000 (and counting) YouTube views. Another beautiful element to Leprous’s cover: It’s an incredible salute to Harket, who revealed in June that he’s been diagnosed with Parkinson’s disease.

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Art

It took 14 years and 380 global embroiders to make one stunningly meaningful dress

A truly multicultural art project with style touches from 51 different countries.

Photos courtesy of The Red Dress project
Embroiderer Lekazia Turner wearing The Red Dress.

Few things bring people together more beautifully than art. Whether it's music, sculpture, paint or fabric, the arts are a way for us to express ourselves, our cultures and our common humanity. But rarely do we witness one singular piece of art truly encapsulating the creativity of our human family.

At first glance, the dress created for the Red Dress project is quite obviously stunning. It looks as though it could be worn by a royal—though a royal from where? The style, colors and patterns of the dress don't shout any particular country or culture; in fact, we can point to different elements of it and say it looks like it belongs on any continent.

There's a reason for that. The dress is made out of 84 pieces of burgundy silk dupion, which spent 14 years being sent around the world to be embroidered by 380 people from 51 countries—a truly global, multicultural creation.

Of those 380 embroiderers, about a third were commissioned artisans who were paid for their work and receive a portion of all ongoing exhibition fees. The rest were volunteers who contributed their stitches at events in various countries. Approximately 97% of the embroiderers were female.

British textile artist Kirstie Macleod conceived the project in 2009 as "an investigation into identity, with a desire to connect with women from the around without borders and boundaries." The basic design started as a sketch on the back of a napkin and has grown into a tangible garment that is not only a gorgeous work of art but a platform for women around the world and from all walks of life to express themselves and have their voices heard.

As shared on the project's website:

"Embroiderers include female refugees from Palestine and Syria, women seeking asylum in the UK from Iraq, China, Nigeria and Namibia, victims of war in Kosovo, Rwanda, and DR Congo; impoverished women in South Africa, Mexico, and Egypt; individuals in Kenya, Japan, Turkey, Sweden, Peru, Czech Republic, Dubai, Afghanistan, Australia, Argentina, Switzerland, Canada, Tobago, Vietnam, Estonia, USA, Russia, Pakistan, Wales, Colombia and England, students from Montenegro, Brazil, Malta, Singapore, Eritrea, Norway, Poland, Finland, Ireland, Romania and Hong Kong as well as upmarket embroidery studios in India and Saudi Arabia."

On Instagram, Kirstie Macleod shared a panel of the dress that was embroidered by two women in Kosovo, who shared some of their reflections on their experiences in the war there.

They stitched words into the birds they embroidered:

"Better one winter in your own country than a hundred springs away."

"The greatest wealth is to live content with little."

"Freedom has come. Love yourself first."

"Love all. Trust some. Hate none."

"A winter is a winter. Be nice, everyone."

"We live in peace now."

The creation of the dress began in 2009 and was completed in 2023. Each woman embroidered a piece of her own story into the dress, which contains millions of stitches. From established professional artisans to first-time embroiderers, the women were encouraged to share something that expressed their personal identities as well as their cultures. Some used traditional embroidery styles that had been practiced for hundreds of years where they are from. Others stitched in meaningful elements of their life stories. Some of the women are also using textile work to rebuild their lives and earn a consistent living.

The dress is on tour, being displayed in museums and galleries around the world. The photos showing women of various ages and ethnicities wearing the dress are made all the more moving knowing the history of how and by whom it was made.

In May 2025, a book detailing the dress's creation and journey around the world was published and can be found here.

Absolutely stunning. What a wonderful idea to connect women in a way that lets them share their stories and showcases and beautifully honors them.

This article first appeared three years ago and has been updated.

Oscar-winning director Guillermo del Toro recounts the lengths he went through to finance his first movie.

In a video from 2001 that’s resurfaced and is warming hearts across social media, Oscar-winning writer-director Guillermo del Toro recounts the extraordinary, almost comical lengths he went to finance his debut 1993 feature, Cronos—including what he refers to as “one of the most pathetic hot pursuits in the history of mankind.”

The clip, shared by the Toronto International Film Festival, shows del Toro explaining the non-traditional methods he had to resort to in order to finance Cronos, a quirky vampire flick which Roger Ebert described as “the stuff of classic horror films… [combined] with colorful Latin magic realism.” At the time, no one but the then 29-year-old director believed in the project, forcing del Toro to mortgage his house and sell his beloved car to scrape together the rest of the budget for the film, which totaled roughly $2 million.

“I was so broke,” del Toro recounts with a laugh.



“I was on the way to deliver my van to the car dealership where they were going to put it up for sale. And, for anyone who saw that movie, [I had] the giant gears from inside the clock in my van... and I was driving, I realized that I didn’t have the money to bribe a policeman. I had just passed a red light, and the cop was chasing me, and I said, 'I don’t have the money to bribe him, I’m going to have to escape.” - Guillermo del Toro


In Guadalajara, where del Toro was, and in Mexico at large, there’s a culture of “la mordida,” which translates to “the bite.” Colloquially, it's a term that refers to the common practice of bribing police officers, which is widely recognized as an aspect of daily life and as an informal way to resolve minor infractions, such as traffic violations. In a survey from 2023, over 20% of respondents in Mexico said that they were asked or required to pay a bribe to police officers.

“So, in comes one of the most pathetic hot pursuits in history of mankind,” continues del Toro. “A guy with an old van and huge gears, and a cop in a very crappy police car.” He goes on to explain that, despite these extreme sacrifices, he never recovered the money. “I mean, I did get a career, I did get to do other movies, but I lost a quarter of a million dollars out of my own pocket,” he describes. “And back then, the interest [at] the bank was 110%.”


Health

Researchers have pinpointed the reason why creative people often come from broken homes

There's a long list of creative geniuses who had hard childhoods.

A woman painting.

Why do some people feel they are devoid of creativity, while others are bursting at the seams? A new study published by The Conversation has found that creativity is closely related to how people were raised and that there are two wildly different upbringings that produce creative adults.

The first type of creative person is raised in stable circumstances and has support from their parents to pursue their craft. They are given lessons and have ample resources to learn more about what they love. The other type of creative person is someone who endured trauma at a very young age and developed a deep inner world to help them combat persistent anxiety.

Does trauma result in creativity?

It makes sense that many of the creative giants of our time, Vincent van Gogh, Charles Dickens, John Lennon, Oprah Winfrey, Beethoven, Michael Jackson, and Frida Kahlo, all endured difficult childhoods, and it may be the catalyst for their incredible creativity. In Donald Winnicott’s 1971 book Play and Reality, the famed psychoanalyst notes that when children are young and have separation anxiety from their parents, they cling to “transitional objects” and specific behaviors. When the absence is prolonged and difficult, the behaviors transform into creativity.

“Some academics have proposed a model to explain this phenomenon,” Carlo Valerio Bellieni, Professor of Pediatrics, Università di Siena, writes at The Conversation. “Up to a certain level of separation or neglect from parents, the capacity to develop talents grows, but beyond a certain limit this decreases and alterations in social behaviour become more acute.”

Bellieni says that when young people experience trauma, it causes them to create a “parallel mental world” to shield themselves from the outside world. “The conclusion is that, paradoxically, children raised in an unfavourable environment can develop their own inner creative world to survive the stress, but in several cases, at the cost of producing mental health disorders,” Bellieni writes.

imagination, childhood trauma, creativity, airplanes, kid playing, flight, luggageA child pretending to be a pilot.via Canva/Photos

How does childhood adversity result in creativity?

To put it simply, when young children experience trauma, they develop a more robust imagination than those who do not, which gives them a fertile ground for the creative process.

Bellieni’s findings are echoed in a 2018 study by California State University, Northridge that analyzed 234 professional performers. The study found that the performers experienced a higher rate of childhood trauma and neglect than those who were not in the performing arts. The performers who experienced adverse childhood experiences were found to be more absorbed by the creative process and more receptive to art.

danging, performers, mental health, trauma, creativity, woman dancing, performing artsA woman dancing.via Canva/Photos

"Lastly, [this] group identified greater appreciation for the transformational quality of creativity, in particular, how the creative process enabled a deeper engagement with the self and world. They recognised that it operated as a powerful force in their life," the researchers wrote, "So many participants in our sample have experienced poly-traumatization and yet they also embrace their passion for performance and creativity. They are embracing ways to express all that is human."

Ultimately, creativity can stem from two very different places: support or neglect. But whether it is shaped by love or loss, creativity helps propel our world forward and is a wonderful gift that helps us all better connect to the world around us. Let’s hope that as these wounded creatives share their gifts, they also find healing along the way.