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#louis label
frodolives · 1 year
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idontwikeit · 1 year
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(Part 1) Lestat de Lioncourt // Ethel Cain - Ptolemaea
Heard you, saw you, felt you, gave you Need you, love you, love you, love you
[Youtube] [Part 2] [Part 3]
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yxngspider · 3 months
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cancerian-woman · 8 months
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Maybe there will be a day where people understand clementine is bisexual, not straight and not a lesbian either.
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m66g · 3 months
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CARTI AT LV SHOW😍🤞🏼🤞🏼
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dreamings-free · 8 months
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The West Lothian band's new label venture Happy Artist Records seeks to do away with punishing demands for musicians to "milk fans" and make endless TikTok videos. As they return with a new song – and a Reading & Leeds appearance – the band tell NME why now was the time for change.
By Tilly Foulkes 23rd August 2023
Emerging from West Lothian back in 2015, The Snuts were set to be guitar music’s freshest triumph from the beginning. A string of successful singles and their self-produced EP ‘The Matador’ caught the eyes of major label Parlophone (The Beatles, Lily Allen, Babyshambles), who signed them in 2018. After two releases – both rated 4-stars by NME – they decided to walk away and form their own label: Happy Artist Records.
“When we got signed, we were young, and the landscape of music was completely different,” bassist Callum Wilson explains to NME ahead of their sold-out homecoming shows in Glasgow’s SWG3. Joined by vocalist and guitarist Jack Cochrane, they tell us of the pressure they were under to adapt their marketing strategies to gain success.
“The way the label worked was that they had a marketing team, a digital team… they had all these people to help you to get your music out there. Then as TikTok started to rise, all these things got stripped away from us.”
TikTok – and the demands that comes with maintaining a profile there – is a recurring issue artists have confronted since the app’s boom in popularity.
“Your life needs to be marketed, basically, and we were struggling with that for a while,” Wilson continues. “We went to a meeting to talk about [our upcoming] record and we got promptly told that the music doesn’t matter. It was strictly a TikTok planning session. Which is quite hard as an artist, when you put so much into what you’ve created… and [then] it needs to get stripped down to a one minute sound bite for a social media platform that, chances are, is gonna die in ten years.”
please read the full article at nme.com
I'll add the full text here later..
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savebylou · 26 days
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Carlos from Big Time Rush talking about when One Direction were openers for their tour and the impact they had with the fans [the unplanned podcast, 27.03.24].
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jazzplusplus · 8 months
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1949 - Decca Records - Louis Jordan
youtube
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lhrry · 2 years
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anyway thinking about how i’m very open about my sexuality with my friends is decidedly not a straight thing to say and something that so so so many of us are intimately familiar with and i want to say harry’s brave for having that line included
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indelicateink · 5 months
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Do you personally see show lestat and claudia as 'mother/daughter' as other ppl in fandom describe them? In your opinion, do you see that kind of dynamic between them or do you see it more with louis/claudia? Also, do you see show lestat and louis as the 'husband/wife' dynamic that the fandom has assigned them or do you view them as something else?
what a terrifying incendiary question in this fandom lol. ey it's a monday and my irl is on fire let's do it
to me, parents louis and lestat are beyond the binary and i am smitten with that. each with a bit of both, breaking definitions. the lines blur, i love it.
I see them both as "masculine" in a way we don't get to see much in media--blended with unapologetic "feminine."
louis portrays himself as the affectionate, protective, tender parent. louis brings claudia home, claudia is "born" on his side of the bed. I think he can still be a father and be gentle and vulnerable. I respect that in dealing with stereotypes we need a way to talk about that role and historically it may get labeled mother. but I still question the label for him. personally I often lean away from calling louis "mother" because it's maybe too easy and I'm contrary, and him getting to be all those things and still be father is much more fascinating to me. but I'm cool with both.
louis portrays lestat as insensitive, jealous, domineering, and reckless in his parenting. lestat "births" claudia on their bed, literal life-giving blood and all. in his retelling louis focuses on lestat as intensely jealous of louis's love of/attention to claudia, and centralizes his cruel bitchery. lestat is such a trope mix: I think jealousy of a daughter is often seen as something a mother would have, but louis also describes him as violent, controlling, and physically intimidating, things we could associate with a father. i love that he defies neat categorization, and I embrace the thoughtful meta i've read that firmly believe one or the other.
side note: something that makes me a little deranged is that we don't know lestat's side of the story yet lol. how he saw the family roles. beyond iwtv, book!lestat loved claudia, so if they go there...i mean, whole new layers in play.
so you can probably guess how i roll on the husband/wife labels.
there are so many interesting angles to explore, I don't want to be limited! i.e., yeah I want that tasty wife!louis/husband!lestat fic and then i want to click over to the delicious husband!louis/wife!lestat story. and I want stories of them beyond the binary. and i want their roles all mixed up and opening our eyes and questioning our assumptions. and i want all the meta.
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faith--in-the-future · 3 months
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ppl on Twitter demanding louis to drop bmg is kind of wild to me lol
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johnlockdynamic · 2 years
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/s
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a-dowryofblood · 4 months
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What did Shawn Mendes do to Taylor Swift? that man can't breathe without having his sexuality questioned and now her team seemingly put the spotlight on it again. He's so tired of telling people he's straight.
I see no issue with Taylor or her team telling people that she hates having her private relationships dissected and her sexuality questioned. I just don't get the need to drag other artists into the conversation? and make it about sexism when there's so many cases of men in the industry going through the same thing (including multiple of her exes).
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For a long time I've been thinking that he gave bearding for the kid, why have a girlfriend when the existence of the kid proves he's definitely not gay, right? So when he mentioned the kid the first time I knew this wasn't going to end well and I was right. This is like his version of a pap walk with pda, he promotes the LATAM tour and reminds everyone that he's in fact straight and everything else is conspiracies and childish
Maybe. The silly part is gay men have biological children all the time so that really does very little to convince me that Louis is the straightest straight to ever straight. But bg was clearly concocted by the biggest idiots imaginable that completely underestimated a fandom full of women, quite a few of them mothers.
As soon as he announced a Twitter “chat” I knew there would be kid content so I wasn’t interested from the jump. But a good ol’ throwback Larry denial? Beyond my wildest.
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dreamings-free · 4 months
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"Taylor-made deals: how artists are following Swift’s rights example"
- The Guardian 9/1/24 [excerpt]
Prince and George Michael are bleak warnings from history, but the moves by Swift, Rodrigo and others can stand as roadmaps for the future. It also means the music industry has had to adapt away from contracts based on ownership. There are two kinds of rights at stake here: the rights to the master recordings of an artist’s work, and songwriting rights, known as publishing. One senior music publishing executive says their part of the business was ahead of the curve, explaining that publishing deals tend to work on exclusive licensing terms or retention periods. “Publishers pivoted from a rights-ownership business to the servicing of rights,” they say. Those retention periods are getting shorter, they add, down from about 25 years three decades ago to between 12 and 15 years today.
David Martin, CEO of the Featured Artists Coalition, says there is “a propensity towards owning rights” for artists, but some acts are still prepared to sign away ownership for what they think might be their only shot at the big time. “We have members who are still signing major label deals,” he says. “Some of the terms in some of those deals are terms that we’d expect artists to be thinking very carefully about.”
Message [,Brian - a partner at Courtyard Management] says he steers acts away from ownership-based contracts. “We have a default position that we won’t advise our artists to do life-of-copyright deals,” he says. “It’s not that we wouldn’t do them, but our strong advice would always be to come up with a licence arrangement of some description.”
This is the ideological underpinning of BMG and AWAL (Artists Without a Label), which is now under the ownership of Sony Music Entertainment. “The philosophy is flipping the relationship,” says Alistair Norbury, president of repertoire and marketing at BMG UK. “There had to be a fairer and more transparent way to work with the creative community.”
Acts on BMG’s roster – notably Kylie Minogue, Suede, Sigur Rós and Louis Tomlinson – are on licensing or assignment deals, so ownership of the recordings eventually reverts to them. “They want to be with a record label where they have creative control and ownership coming back to them at some point,” says Norbury.
[..]
Norbury believes that, with more choices for acts, music companies have to repeatedly prove their worth and think about mutual gains rather than offering one-sided deals that are land grabs for all the rights. He says, “You want something successful in a longterm partnership rather than owning something that failed.”
-> full article at theguardian.com
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