#Susie Backer

[sus-amogus-bot]

Susie Backer

[someone-took-lost]

to love or not to love. that is their question. the duke and duchess of canterlot, some of the dying breeds of royalty that once ruled in high order of the empire. before they were once mighty steeds who rose high and hoof to powers, and washed out any kind of rebellion, hostility, or uprising from their subjects.

blueblood today is the descendent of many white coated stallions who took on these very tasks, and holds to his position as part of the judiciary sectors of canterlot. dukes and duchesses today now reside in their titles as either council members of luna or celestia’s court, or financial backers of the empire. both of which allow status and prestige kept to their houses.

louise blueblood the III, son of duke louise blueblood the II and duchess maribelle “morning” glory. the heir to their fortune, and hot mess of the capital. blueblood has always had a charming air about him, but unfortunate it’s only brought him trouble. as throughout each and every one of his partnerships and marriages, he has found himself scrapping back to bachelor status. thankfully now, he has managed a somewhat presentable reputation by getting together with the duchess, susie saddles.

these two are a bit of an odd couple, no matter where they go. there always seems to be a dissonance between them. but regardless. they somehow manage to seem almost functional together? susie, also known as sassy, is a financial backer for the monarchy. and is rewarded by status from the throne, but at one point, the saddles house was widely renowned for their innovative ability to design and organize.

unfortunately, since their company, central saddles inc. has gone under. they’ve lost quite a bit of their money. so they’ve become more silent funders for their country. and even then, they begin to waver in their contributions.

cut to sassy, who yearns to once again have that prestige and power amongst her fellow royals. from what once was something to be feared and respected , is now only a hushed whisper and rumor among the upper crust. with her decision to marry blueblood being a calculated one, sassy begins her clawing back to the top. even if that means a loveless marriage, and various cheating scandals . she could careless. as one day, she will stand alongside the royalty she idolized. and smile bright at her very presence being recognized as strength.

blueblood seeks love and affirmation, yet covers himself in layers of pride too thick to pierce. while sassy, who markets herself as strong and confident, busies herself with anything but the idea love.

---

fun facts about royal houses in equestria!

- coat and mane color was a heavily valued part of bloodline recognition. most notably; a pristine white coat to represent purity, and deep colored manes to represent beauty and wealth.

- some families were even particularly noticeable based on their mane length and pattern. the blueblood family was recognized by their mane roots reach down to almost the center of their backs. while the saddles were noted for their tail manes budding right above where the tail begins.

- sassy is the product of an affair, her sister flaming saddles (now known as fire flare) is her half sister. their father, brazen saddles, is the head of house. and currently seeks to disappear from even the eye of royalty, and recluse into private life. but that does seem to be in the cards for their family.

[worldmilitary]

A landslide victory for Ukraine, the US officially supplies the Patriot Missile System for the war against Russia. Susi Susanti, Okezone · Thursday 22 December.

WASHINGTON - The United States (US) said on Wednesday (21/12/2022) that it would provide Ukraine with an advanced Patriot air defense system to help counter Russia's relentless air strikes.

The system is part of a $1.85 billion aid program launched in conjunction with Ukrainian President Volodymyr Zelensky's visit to Washington, which was his first trip abroad since invading Russia in February. The announcement is a significant victory for Kyiv, which has repeatedly pushed Washington to provide the Patriot system, and a sign of strong US support for Ukraine that will help bolster the country's defense.

"Today's assistance includes the Patriot Air Defense System for the first time, which is capable of taking down cruise missiles, short-range ballistic missiles, and aircraft at much higher altitudes than previously provided air defense systems," US Secretary of State Antony Blinken said in a statement. a statement. The statement, quoted by AFP.

Ukraine's air defenses have played a key role in protecting the country from attack and preventing Moscow's forces from taking over the skies. But as Russia experienced increasing setbacks on the ground, it began systematically targeting critical infrastructure in Ukraine in attacks that have disrupted power, air and heat for millions of people. Created by Raytheon, the MIM-104 Patriot is a surface-to-air missile (SAM) system originally developed to intercept high-flying aircraft. It was modified in the 1980s to focus on new tactical ballistic missile threats, and proved itself against Iraq's Russian-built Scuds in the first Gulf War - the first time the system had been used in combat. While Russia has not used many ballistic missiles during its war in Ukraine, Washington says Moscow has discussed getting them from Iran.

"Unlike other Western systems that have been delivered to Ukraine, (Patriot) has some anti-ballistic missile capabilities (depending on the type of missile used)," Karl Mueller, a senior political scientist at the RAND Corporation, told AFP. "If Russia acquires a large number of ballistic missiles from Iran, as many predict, most of the rest of Ukraine's air defense systems will not provide any protection against them," he added. Patriot has proven effective in Saudi Arabia against Iranian ballistic missile designs fired from Yemen, and prime contractor Raytheon says the system has intercepted more than 150 ballistic missiles in combat since 2015. When Russia invaded in February, Ukraine's air defenses consisted mostly of Soviet-era aircraft and SAM systems, which Kyiv used effectively to deny Moscow air superiority.

They have been significantly enlarged since the start of the war: the United States provided NASAMS and Germany IRIS-T - two advanced systems - while older equipment such as the S-300 and HAWK systems and Stinger missiles have also been developed. Kyiv has used a variety of systems against the Moscow cruise missiles and bomb-like Shahed-136 drones, but modern SAM launchers and missile systems - including NASAMS - are sorely in short supply. Ukraine's international backer's aim is to build a 'multi-layered' air defense for the country consisting of low, medium and high altitude systems that can protect against a wide range of threats.

[princeorion]

Noelle's Cat

He's finally coming home. Now if he could just get out of the street. And avoid Susie. Surprise! Deltarune did a special 24hr charity drive that was Spamton themed, and of course I was all about that jazz. Going through it on Twitter I learned a little tidbit about Noelle and Spamton, and then this was born within minutes. Couldn't work on Helluva Highlord because this wouldn't stop trying to get my attention. I mean, I got a storyboard for Helluva Highlord going, but I'm halfway through it and I needed this comic pulled from my mind to continue.So next week Highlord! Woo! Yay! [crickets chirping] Special Thanks for my Patreon backers: Tacocat598   Null Prince Orion tumblr Follow your Prince! Prince Orion tumblr Collection Gates Patreon Page, if wanna help out support me on Patreon. You could even become a part of the comic. Just check out my rewards. And follow me on Twitter for comic updates or whatevah. Usually just replies though. Gates’ Twitter Page Gates’ Pinterest Gates’ Twitch

[funtimeperformer]

Oh ! Yeah, I love hearing about the FNaF kids ! How about more Smith kids facts ? Like Fritz's relationship with Susie or just Fritz facts, because we don't hear much from him in your AU ! 👀

EE okay, okay so.

frtiz, as ive said before, is the chica bully + suzie’s older brother. they have an age gap of around 4 years. 

they’re very close when they actually can see each other. suzie’s often out of state doing pageant contests, and currently being homeschooled, while fritz is going to to public school. fritz loves seeing how dressed up suzie gets, and is really interested in the pretty, frilly dresses she wears for pageants. 

their dad is the main financial backer for fazbear’s ent., so he has plenty of meetings with henry and afton. he normally has to bring fritz along because he’d be home alone otherwise.

this is where fritz met mike, mickey and scott! he hangs around them because it gives him something to do. out of all of them, he especially enjoys scott’s company. however, scott lives in a completely different area [for tie ins with other characters: scott is angel ’s nephew] so they can only hang out at fazbear’s.

in The Shadow Eyes universe, fritz goes to live with his aunt and uncle in Europe for an indeterminate amount of time. in exchange, a little girl fritz’s age comes back: samantha. everyone notices how similar fritz and samantha look, but in contrast to fritz, she’s very confident and bubbly compared to the anxious boy who left.

[makistar2018]

John Fogerty on the Taylor Swift Imbroglio: ‘I Know Exactly How It Feels’

The veteran rocker had deja vu in hearing of Swift's battles with her former label, recalling his struggle to win his Creedence publishing.

By CHRIS WILLMAN July 8, 2019

When we think of public battles between major recording artists and their current or former label heads, we think… well, as of late June 2019, we’ve thought Taylor Swift and Big Machine. But for more than four decades prior to that, everyone’s first go-to was John Fogerty versus Fantasy Records chief Saul Zaentz. There’s plenty about these two situations that is different — the Creedence Clearwater Revival singer/songwriter was going to battle over his publishing, not his master recordings — but there’s also enough in common that music biz aficionados with long memories couldn’t help but hear echoes of Fogerty’s decades-old struggles in Swift’s fresh laments about not being able to own her own work.

Variety wanted to see if Fogerty himself is tracking the parallels. Getting him on the phone from a tour date in Norway, we weren’t disappointed. An edited transcript of our conversation about Swift follows.

Have you followed Swift’s career or her recent travails?

I remember first riding with a 15-year-old Taylor Swift in an elevator in Detroit, and I’ve loved her and her songwriting and her records ever since. She’s a great role model for my daughter and kids in general, and she’s always projected that she’s strong and not going to get knocked down by a slight wind. When I first heard this news, I felt really empty inside, just really sad, because I know exactly how it feels, you know. It was almost personal, almost like she was a member of the family, because we’ve followed her career pretty closely. She’s a wonderful artist and she deserves to be able to continue that without having a heart full of sad feelings. I didn’t really even think of myself at all, at first. And then after about a few minutes had gone by, I just thought to myself, “Somewhere, Saul Zaentz is laughing.

”I sure recognize this situation. Because I’ve had that happen to me in a very similar way. What I fought for was my publishing – the ownership of the songs I had written. Because I was in a band, and there were four of us, and we hardly ever got along in the later years, the idea of us trying to get together and get our masters back (was unthinkable). So I was fighting for my songs, but it’s kind of the same thing. I’m appalled that she really wasn’t offered the chance to buy them, because her money would have been just as good as the next guy’s money.

Her lawyer (Don Passman) said that she was not given a chance to buy it. And I believe that statement. I don’t believe the cover-up PR spin doctors on the other side trying to say that Taylor turned down the opportunity, because there’s probably nothing more on this earth that she would want more than those masters. As in my case, it’s not so much about the money as it is about owning your children. After such a long period of having so much of the benefit go to somebody else, in the back of your mind you think that you’re finally going to be given the chance to own what you created. It’s only right. In my case, I’ve waited 50 years already. I’ve got about another five years to go of just waiting it out. 

So you have it calculated down to the moment when your publishing rights will revert to you?

Yeah, by law … My songs seemed to fall under an earlier copyright law, which was changed somewhere around 1973, I think. That’s why you hear people now being quoted talking about 35 years for their masters, but before 1970, that law was not in place. The publishing law was that the first publisher would own the publishing for 28 years, with an option —  their option — to renew one time. So you add those two together and that’s 56 years. So here we are. [Laughs.]

And Taylor may have to wait a long time for her masters. In this world of social media, maybe things can be more immediate than they were for me. As you probably know, at one point my frustration and sadness was so great that I stopped playing those songs for quite some time — about 25 years. By the way, I don’t recommend that to anyone. [Laughs.] It’s a horrible career move. It’s terrible. But that is indeed what I did. I still don’t have my songs back. So I can’t say that that strategy was a good one.

This feels like war, in a way, where each side thinks of the other as the instigator. You hear rumblings from the Big Machine or Scooter Braun camps that any future negotiation over the masters just became more unlikely because she went so public with this. Does that strike a chord with your situation?

In the court case that I had against Saul about the slandering case, my lawyer asked him when he was on the stand, “Isn’t it true, Mr. Zaentz, that you have a vendetta against John Fogerty?” And before it came out of my lawyer’s mouth, Saul had screamed at the top of his lungs, “It’s an answer to a vendetta!” You could see steam and smoke coming out of his ears. [Zaentz died in 2014.]

In a situation like this, the label and artist each tend to feel like they are responsible for the other’s success and deserve payback for it. Did Taylor make Big Machine, or did Big Machine make Taylor? You were in a similar situation, as very much the artistic figurehead and key success story of your label.

I had two meetings at Bill Graham’s house with Saul, and Saul said a few things that were a little not in reality. One of the things he said at some point was, “Well, we discovered Creedence.” They were a tiny little jazz label. Saul, before he managed to purchase the label with some financial backers, was the sales representative at Fantasy, and so we knew him through that. But there was absolutely zero artistic input or anything like that. Other than Vince Guaraldi and “Cast Your Fate to the Wind” in the middle 60s, they had never had a hit record until “Susie Q,” which, while I didn’t write it, sold about a half million records. And then even at that point, all of us were at a very small level of show biz. And if it hadn’t been for someone kind of turning everything on its end and starting to write some great songs and make some great records out of them…

As everyone with a brain knows, it is the artist. All the lawyers and the PR men and the rest can stand around and take credit for what’s going on. But without the artist, nobody’s going anywhere. And that’s true in Taylor’s case too, obviously, even though she was quite young… Think of all the numbers of people on the planet, and there are just a precious few who are gifted enough as artists to create things that get the public excited enough to want to spend money, especially in the numbers that Taylor has enjoyed for the last 15 years. People like managers and label execs and all that seem to take that part for granted when they’re making these sort of statements. If they only could have a little bit of humility and realize how rare somebody like Taylor Swift is in the universe. And she’s quite young, still. Twenty-five years from now, she’ll utilize even more of what she’s got.

Would you have any advice for her, based on your experience in being part of a public struggle like this?

Boy. Well, as I already mentioned, I wouldn’t stop singing the songs. That’s something I did, and I don’t advise that. That really harmed my career. That’s something I learned. But I did it for me, you know. That was a point of self-pride and dignity, I guess, and that’s why I did that. I did the best I could with the hand I was dealt.

But I would say that she seems, especially in this world of social media, I’m quite certain that 99% of her fans are on her side. The main thing is to have a support group. It’s horrible to have to do this alone. Especially because the name-calling starts, and when people run out of the truth, they start trying to attack your character. I think my advice would be to keep doing what you’re doing. I think her fans want her to stick up for herself, because she always has. … I’m sure she could have raised the money to have this happen. It sounds pretty spiteful that Scott (Borchetta) wanted to sell the label to her only real enemy, as far as I know. He was the manager of Kanye, and Kanye did some pretty dreadful things publicly to Taylor.

Her side has said the only deal she was offered to get her masters back was to basically…

“Give us more!” [Laughs.] I remember early on, way back, Saul Zaentz offered to get us into this offshore tax plan, and he sat at his desk and said, “Well, I’m going to get you into this plan, and in return you guys will sign a 10-year contract.” I took that back to the guys in Creedence and I said, “Uh, I don’t think this is a very good plan. He wants us to sign for 10 years so that we can have a small percentage of ourselves.”

When you stopped doing your old Creedence material for all those years, was that a matter of pride, or was it because you did think it would force their hand and finally get them to give you back your publishing?

I think it was more of a feeling that they’ve done this horrible thing to me, and gee, if nothing changes, then why would I keep doing the same thing? In other words, if you go in to negotiate with somebody, but you keep giving them everything that they want, well, there’s no pressure on them to do anything to change. It became very much a point of valor. Plus I felt that if I was out there screaming “Proud Mary,” I just thought I would probably end up in a bar somewhere, having a gig playing for 10 people, and being a complete screaming alcoholic and insane and living a horrible life. I didn’t really know a way out, but it seemed to me if I kept performing those songs in front of people, and hating myself more and more for doing it, that there would never be a positive end to that.

She would likely never do anything as radical as you did in excising old songs from the setlist, but it might influence how many she includes, if this isn’t resolved and she’s not enjoying the thought of singing them live.

Yeah, you’re very angry inside. It’s like somebody twisting the knife every day. That’s probably why I felt so empty when I first heard the news. And I’m not smart enough to know what her way out is. It would be great if people kind of outside of her circle maybe decided to help. I went to Bill Graham. I thought that he would be a fair witness, like in the old “Stranger in a Strange Land” book — a person that would be respected by both sides and could figure out the answer. But sadly, that didn’t work out either.

Good people think, “Wow, these two neighbors are just screaming at each other every single day. The rest of us should get together and figure out a way to mediate.” Perhaps her lawyer can get some people to actually get in there and mediate and try to actually find a solution for the right reason — because it’s the right thing to do. [Laughs.] I’ve just said something so blazingly unknown to the music business, but it’s the way us normal people think.

Variety

[outweek30]

We all know why lesbians don't have Ms. America pageants, There is a Ms. Leather or something like that; women who I am alternately frightened of and desirous to be, who I always end up confusing with Mr. Drummer 1989. While some lesbians would be wont to tell you firmly (very firmly), that the reason S/M girls have these pageants is because they're too male-identified to begin with, I would think it more likely that it's to meet each other and have wild sex before, during and after the dungeonwear category. Not a thought to be dismissed lightly when planning your next trip to San Francisco.

Now sit down. Close your eyes and think. Can you see it yet?? I hear the music fading in already. I can see that coffeehouse stage flooding with light...Yes it's true...it's...

...THE MS LESBIAN NATION USA PAGEANT

This nightmare fantasy immediately splinters into two separate shows:

1) The Politically Correct (PC): "An Evening With Other lesbians From Around The Country, To Share Talents And Hopes With, in the Struggle to Form Community Nationwide..."

2) The Wildly Incorrect (WI): (competition would be divided into butch/femme ...): "100 DYKES From All Over the Nation Converge to Get Laid and Win Sex Toys!!!" (This would alternately take place in New York and San Francisco.)

The shows would obviously be sponsored by some greatly differing institutions. the PC version by Olivia Records, Edensoy (this is soymoo; think about a soy bean mooing...), Birkenstock International, L.L. Bean and Fruit of the Loom. The WI show would have backers like: Sebastian Hair Products, Victoria's Secret, Good Vibrations/Eve's Garden, Levi's 501s, Schott Motorcycle Jackets and Chanel.

YOUR HOSTS:

PC Kate Clinton (the funniest lesbian in recent memory; you only have to have seen two in twenty to know the full depth of her comic repertoire) and Rita Mae Brown (ex-Martina casualty, famous lesbian writer who doesn't seem to write about lesbians anymore, fancy that...)

WI Madonna and Sandra Bernhardt (yeah, right, who else???)

THE JUDGES:

PC Lee Lynch (famous author of The Bull-Dyke and The Lady, among other works), Jane Rule (without whom there would be no "Desert Hearts"), Lily Tomlin, Sophia Collier (of Soho Soda fame), Urvashi Vaid (head honcha for the National Gay and Lesbian Task Force), Alix Dobkin and Chris Williamson.

WI Pat Califia, Deb Parker, Betty (Alison, Amy and Bitzi), Fran Lebowitz, Phranc, k.d. lang and Susie Bright.

CATEGORIES FOR COMPETITION/SHARING:

PC Poetry Reading: This being a time honored lesbian tradition spanning thousands, of years, Adrienne Rich will be guest judging the reading of her works, as well as those of the contestants. Painful coming out poems will be worth bonus points, as well as those using the words "patriarchy," "woman-identified" and "clitoris," but only if a rhyming scheme is employed.

Comfortable Clothing: The real meaning behind this is how comfortable you look in these clothes; no fashion consultants and extra points are given for how little time is spent on fIxing your hair right out of the shower. Birkenstocks are provided free of charge.

Casserole Preparation: Areas of expertise include: How to manage macrobiotic/vegetarian members of your party without sacrificing taste, ability to travel well on mass transit and weight of leftovers after dinner. Special consideration will be given to creative tofu preparations, excluding such pre-made products such as tofu franks.

Relating to Your Ex-lovers at Parties/Gatherings: Is there life after lesbian breakups? This category seeks to explore the sisterhood in all of us, even between you and your ex-lover's new lover, who is odds on your (former) best friend. This "role-play" is held in a cramped space somewhere in Park Slope.

Question (to be asked of all contestants): "What role do you see the lesbians of the future playing in the subversion of the patriarchy, considering the fact that they seem to be the most embracing of stereotypic female imagery at the moment???"" (30 seconds to answer)

WI

Cruising/Flirting: Seeing as this is a slowly reviving art form, judging will be done on a free form basis. Guidelines, however, will consist of:

a) time spent before talking... b) time spent after first words... c) time to get phone number...

Advanced competition will include amount of time spent from leaving place of meeting to bed.

Butch/Femme Drag (contestants choose one, bonus points if you can do both equally well...)

Avoiding Your Ex-girlfriends at Parties: Suddenly raging thirsts, a need for pigs in a blanket; spotting your college roommate (who owes you quite a bit of money), and grabbing the nearest girl, sticking your tongue down her throat and whispering (loudly) "Where have you been sweetie? I was looking all over for you ..." all will earn points at this party.

"I Enjoy Being a Dyke": a multi-media performance art piece which must be conceived and executed by each contestant separately.

S/M Negotiation: Two women, upon their first sexual encounter, must decide "will we or won't we?" And if so, how far can we go??? The lesbian equivalent of high school sex.

As with all pageant shows, there will be a rousing grand finale before the "moment we've all been waiting for..."

PC

A satellite link-up with women's peace encampments all over the world for a multi-lingual rendition of the medley "We Are A Gentle, Angry People/Lean On Me (I Am Your Sister)."

WI

Our gracious hosts Sandy and Madonna do a medley of "Like a Prayer/Virgin/Express Yourself" clad in suits and lingerie, while molesting each other on international television, finally giving positive confirmation to what we already knew was true.

AND NOW THE WINNER IS...!!!

PC: There are no winners. It would destroy the sisterhood and sense of community created by the very sharing of space we have experienced on this night.

WI: A scandal ensues when Sister Codie, a drag queen, wins on write-in votes sent from a single address in the East Village.

— Liz Tracey, "Dykes on Parade," OutWeek Magazine No. 16, October 8, 1989, p. 46.

[jonathantaylorthomas]

Have you followed Swift’s career or her recent travails?

I remember first riding with a 15-year-old Taylor Swift in an elevator in Detroit, and I’ve loved her and her songwriting and her records ever since. She’s a great role model for my daughter and kids in general, and she’s always projected that she’s strong and not going to get knocked down by a slight wind. When I first heard this news, I felt really empty inside, just really sad, because I know exactly how it feels, you know. It was almost personal, almost like she was a member of the family, because we’ve followed her career pretty closely. She’s a wonderful artist and she deserves to be able to continue that without having a heart full of sad feelings. I didn’t really even think of myself at all, at first. And then after about a few minutes had gone by, I just thought to myself, “Somewhere, Saul Zaentz is laughing.”

I sure recognize this situation. Because I’ve had that happen to me in a very similar way. What I fought for was my publishing – the ownership of the songs I had written. Because I was in a band, and there were four of us, and we hardly ever got along in the later years, the idea of us trying to get together and get our masters back (was unthinkable). So I was fighting for my songs, but it’s kind of the same thing. I’m appalled that she really wasn’t offered the chance to buy them, because her money would have been just as good as the next guy’s money.

Her lawyer (Don Passman) said that she was not given a chance to buy it. And I believe that statement. I don’t believe the cover-up PR spin doctors on the other side trying to say that Taylor turned down the opportunity, because there’s probably nothing more on this earth that she would want more than those masters. As in my case, it’s not so much about the money as it is about owning your children. After such a long period of having so much of the benefit go to somebody else, in the back of your mind you think that you’re finally going to be given the chance to own what you created. It’s only right. In my case, I’ve waited 50 years already. I’ve got about another five years to go of just waiting it out.

So you have it calculated down to the moment when your publishing rights will revert to you?

Yeah, by law … My songs seemed to fall under an earlier copyright law, which was changed somewhere around 1973, I think. That’s why you hear people now being quoted talking about 35 years for their masters, but before 1970, that law was not in place. The publishing law was that the first publisher would own the publishing for 28 years, with an option — their option — to renew one time. So you add those two together and that’s 56 years. So here we are. [Laughs.]

And Taylor may have to wait a long time for her masters. In this world of social media, maybe things can be more immediate than they were for me. As you probably know, at one point my frustration and sadness was so great that I stopped playing those songs for quite some time — about 25 years. By the way, I don’t recommend that to anyone. [Laughs.] It’s a horrible career move. It’s terrible. But that is indeed what I did. I still don’t have my songs back. So I can’t say that that strategy was a good one.

This feels like war, in a way, where each side thinks of the other as the instigator. You hear rumblings from the Big Machine or Scooter Braun camps that any future negotiation over the masters just became more unlikely because she went so public with this. Does that strike a chord with your situation?

In the court case that I had against Saul about the slandering case, my lawyer asked him when he was on the stand, “Isn’t it true, Mr. Zaentz, that you have a vendetta against John Fogerty?” And before it came out of my lawyer’s mouth, Saul had screamed at the top of his lungs, “It’s an answer to a vendetta!” You could see steam and smoke coming out of his ears. [Zaentz died in 2014.]

In a situation like this, the label and artist each tend to feel like they are responsible for the other’s success and deserve payback for it. Did Taylor make Big Machine, or did Big Machine make Taylor? You were in a similar situation, as very much the artistic figurehead and key success story of your label.

I had two meetings at Bill Graham’s house with Saul, and Saul said a few things that were a little not in reality. One of the things he said at some point was, “Well, we discovered Creedence.” They were a tiny little jazz label. Saul, before he managed to purchase the label with some financial backers, was the sales representative at Fantasy, and so we knew him through that. But there was absolutely zero artistic input or anything like that. Other than Vince Guaraldi and “Cast Your Fate to the Wind” in the middle 60s, they had never had a hit record until “Susie Q,” which, while I didn’t write it, sold about a half million records. And then even at that point, all of us were at a very small level of show biz. And if it hadn’t been for someone kind of turning everything on its end and starting to write some great songs and make some great records out of them…

As everyone with a brain knows, it is the artist. All the lawyers and the PR men and the rest can stand around and take credit for what’s going on. But without the artist, nobody’s going anywhere. And that’s true in Taylor’s case too, obviously, even though she was quite young… Think of all the numbers of people on the planet, and there are just a precious few who are gifted enough as artists to create things that get the public excited enough to want to spend money, especially in the numbers that Taylor has enjoyed for the last 15 years. People like managers and label execs and all that seem to take that part for granted when they’re making these sort of statements. If they only could have a little bit of humility and realize how rare somebody like Taylor Swift is in the universe. And she’s quite young, still. Twenty-five years from now, she’ll utilize even more of what she’s got.

Would you have any advice for her, based on your experience in being part of a public struggle like this?

Boy. Well, as I already mentioned, I wouldn’t stop singing the songs. That’s something I did, and I don’t advise that. That really harmed my career. That’s something I learned. But I did it for me, you know. That was a point of self-pride and dignity, I guess, and that’s why I did that. I did the best I could with the hand I was dealt.

But I would say that she seems, especially in this world of social media, I’m quite certain that 99% of her fans are on her side. The main thing is to have a support group. It’s horrible to have to do this alone. Especially because the name-calling starts, and when people run out of the truth, they start trying to attack your character. I think my advice would be to keep doing what you’re doing. I think her fans want her to stick up for herself, because she always has. … I’m sure she could have raised the money to have this happen. It sounds pretty spiteful that Scott (Borchetta) wanted to sell the label to her only real enemy, as far as I know. He was the manager of Kanye, and Kanye did some pretty dreadful things publicly to Taylor.

Her side has said the only deal she was offered to get her masters back was to basically…

“Give us more!” [Laughs.] I remember early on, way back, Saul Zaentz offered to get us into this offshore tax plan, and he sat at his desk and said, “Well, I’m going to get you into this plan, and in return you guys will sign a 10-year contract.” I took that back to the guys in Creedence and I said, “Uh, I don’t think this is a very good plan. He wants us to sign for 10 years so that we can have a small percentage of ourselves.”

When you stopped doing your old Creedence material for all those years, was that a matter of pride, or was it because you did think it would force their hand and finally get them to give you back your publishing?

I think it was more of a feeling that they’ve done this horrible thing to me, and gee, if nothing changes, then why would I keep doing the same thing? In other words, if you go in to negotiate with somebody, but you keep giving them everything that they want, well, there’s no pressure on them to do anything to change. It became very much a point of valor. Plus I felt that if I was out there screaming “Proud Mary,” I just thought I would probably end up in a bar somewhere, having a gig playing for 10 people, and being a complete screaming alcoholic and insane and living a horrible life. I didn’t really know a way out, but it seemed to me if I kept performing those songs in front of people, and hating myself more and more for doing it, that there would never be a positive end to that.

She would likely never do anything as radical as you did in excising old songs from the setlist, but it might influence how many she includes, if this isn’t resolved and she’s not enjoying the thought of singing them live.

Yeah, you’re very angry inside. It’s like somebody twisting the knife every day. That’s probably why I felt so empty when I first heard the news. And I’m not smart enough to know what her way out is. It would be great if people kind of outside of her circle maybe decided to help. I went to Bill Graham. I thought that he would be a fair witness, like in the old “Stranger in a Strange Land” book — a person that would be respected by both sides and could figure out the answer. But sadly, that didn’t work out either.

Good people think, “Wow, these two neighbors are just screaming at each other every single day. The rest of us should get together and figure out a way to mediate.” Perhaps her lawyer can get some people to actually get in there and mediate and try to actually find a solution for the right reason — because it’s the right thing to do. [Laughs.] I’ve just said something so blazingly unknown to the music business, but it’s the way us normal people think.

[ts1989fanatic]

John Fogerty on the Taylor Swift Imbroglio: ‘I Know Exactly How It Feels’

The veteran rocker had deja vu in hearing of Swift's battles with her former label, recalling his struggle to win his Creedence publishing.

By CHRIS WILLMAN

When we think of public battles between major recording artists and their current or former label heads, we think… well, as of late June 2019, we’ve thought Taylor Swift and Big Machine. But for more than four decades prior to that, everyone’s first go-to was John Fogerty versus Fantasy Records chief Saul Zaentz. There’s plenty about these two situations that is different — the Creedence Clearwater Revival singer/songwriter was going to battle over his publishing, not his master recordings — but there’s also enough in common that music biz aficionados with long memories couldn’t help but hear echoes of Fogerty’s decades-old struggles in Swift’s fresh laments about not being able to own her own work.

Variety wanted to see if Fogerty himself is tracking the parallels. Getting him on the phone from a tour date in Norway, we weren’t disappointed. An edited transcript of our conversation about Swift follows.

Have you followed Swift’s career or her recent travails?

I remember first riding with a 15-year-old Taylor Swift in an elevator in Detroit, and I’ve loved her and her songwriting and her records ever since. She’s a great role model for my daughter and kids in general, and she’s always projected that she’s strong and not going to get knocked down by a slight wind. When I first heard this news, I felt really empty inside, just really sad, because I know exactly how it feels, you know. It was almost personal, almost like she was a member of the family, because we’ve followed her career pretty closely. She’s a wonderful artist and she deserves to be able to continue that without having a heart full of sad feelings. I didn’t really even think of myself at all, at first. And then after about a few minutes had gone by, I just thought to myself, “Somewhere, Saul Zaentz is laughing.”

I sure recognize this situation. Because I’ve had that happen to me in a very similar way. What I fought for was my publishing – the ownership of the songs I had written. Because I was in a band, and there were four of us, and we hardly ever got along in the later years, the idea of us trying to get together and get our masters back (was unthinkable). So I was fighting for my songs, but it’s kind of the same thing. I’m appalled that she really wasn’t offered the chance to buy them, because her money would have been just as good as the next guy’s money.

Her lawyer (Don Passman) said that she was not given a chance to buy it. And I believe that statement. I don’t believe the cover-up PR spin doctors on the other side trying to say that Taylor turned down the opportunity, because there’s probably nothing more on this earth that she would want more than those masters. As in my case, it’s not so much about the money as it is about owning your children. After such a long period of having so much of the benefit go to somebody else, in the back of your mind you think that you’re finally going to be given the chance to own what you created. It’s only right. In my case, I’ve waited 50 years already. I’ve got about another five years to go of just waiting it out.

So you have it calculated down to the moment when your publishing rights will revert to you?

Yeah, by law … My songs seemed to fall under an earlier copyright law, which was changed somewhere around 1973, I think. That’s why you hear people now being quoted talking about 35 years for their masters, but before 1970, that law was not in place. The publishing law was that the first publisher would own the publishing for 28 years, with an option — their option — to renew one time. So you add those two together and that’s 56 years. So here we are. [Laughs.]

And Taylor may have to wait a long time for her masters. In this world of social media, maybe things can be more immediate than they were for me. As you probably know, at one point my frustration and sadness was so great that I stopped playing those songs for quite some time — about 25 years. By the way, I don’t recommend that to anyone. [Laughs.] It’s a horrible career move. It’s terrible. But that is indeed what I did. I still don’t have my songs back. So I can’t say that that strategy was a good one.

This feels like war, in a way, where each side thinks of the other as the instigator. You hear rumblings from the Big Machine or Scooter Braun camps that any future negotiation over the masters just became more unlikely because she went so public with this. Does that strike a chord with your situation?

In the court case that I had against Saul about the slandering case, my lawyer asked him when he was on the stand, “Isn’t it true, Mr. Zaentz, that you have a vendetta against John Fogerty?” And before it came out of my lawyer’s mouth, Saul had screamed at the top of his lungs, “It’s an answer to a vendetta!” You could see steam and smoke coming out of his ears. [Zaentz died in 2014.]

In a situation like this, the label and artist each tend to feel like they are responsible for the other’s success and deserve payback for it. Did Taylor make Big Machine, or did Big Machine make Taylor? You were in a similar situation, as very much the artistic figurehead and key success story of your label.

I had two meetings at Bill Graham’s house with Saul, and Saul said a few things that were a little not in reality. One of the things he said at some point was, “Well, we discovered Creedence.” They were a tiny little jazz label. Saul, before he managed to purchase the label with some financial backers, was the sales representative at Fantasy, and so we knew him through that. But there was absolutely zero artistic input or anything like that. Other than Vince Guaraldi and “Cast Your Fate to the Wind” in the middle 60s, they had never had a hit record until “Susie Q,” which, while I didn’t write it, sold about a half million records. And then even at that point, all of us were at a very small level of show biz. And if it hadn’t been for someone kind of turning everything on its end and starting to write some great songs and make some great records out of them…

As everyone with a brain knows, it is the artist. All the lawyers and the PR men and the rest can stand around and take credit for what’s going on. But without the artist, nobody’s going anywhere. And that’s true in Taylor’s case too, obviously, even though she was quite young… Think of all the numbers of people on the planet, and there are just a precious few who are gifted enough as artists to create things that get the public excited enough to want to spend money, especially in the numbers that Taylor has enjoyed for the last 15 years. People like managers and label execs and all that seem to take that part for granted when they’re making these sort of statements. If they only could have a little bit of humility and realize how rare somebody like Taylor Swift is in the universe. And she’s quite young, still. Twenty-five years from now, she’ll utilize even more of what she’s got.

Would you have any advice for her, based on your experience in being part of a public struggle like this?

Boy. Well, as I already mentioned, I wouldn’t stop singing the songs. That’s something I did, and I don’t advise that. That really harmed my career. That’s something I learned. But I did it for me, you know. That was a point of self-pride and dignity, I guess, and that’s why I did that. I did the best I could with the hand I was dealt.

But I would say that she seems, especially in this world of social media, I’m quite certain that 99% of her fans are on her side. The main thing is to have a support group. It’s horrible to have to do this alone. Especially because the name-calling starts, and when people run out of the truth, they start trying to attack your character. I think my advice would be to keep doing what you’re doing. I think her fans want her to stick up for herself, because she always has. … I’m sure she could have raised the money to have this happen. It sounds pretty spiteful that Scott (Borchetta) wanted to sell the label to her only real enemy, as far as I know. He was the manager of Kanye, and Kanye did some pretty dreadful things publicly to Taylor.

Her side has said the only deal she was offered to get her masters back was to basically…

“Give us more!” [Laughs.] I remember early on, way back, Saul Zaentz offered to get us into this offshore tax plan, and he sat at his desk and said, “Well, I’m going to get you into this plan, and in return you guys will sign a 10-year contract.” I took that back to the guys in Creedence and I said, “Uh, I don’t think this is a very good plan. He wants us to sign for 10 years so that we can have a small percentage of ourselves.”

When you stopped doing your old Creedence material for all those years, was that a matter of pride, or was it because you did think it would force their hand and finally get them to give you back your publishing?

I think it was more of a feeling that they’ve done this horrible thing to me, and gee, if nothing changes, then why would I keep doing the same thing? In other words, if you go in to negotiate with somebody, but you keep giving them everything that they want, well, there’s no pressure on them to do anything to change. It became very much a point of valor. Plus I felt that if I was out there screaming “Proud Mary,” I just thought I would probably end up in a bar somewhere, having a gig playing for 10 people, and being a complete screaming alcoholic and insane and living a horrible life. I didn’t really know a way out, but it seemed to me if I kept performing those songs in front of people, and hating myself more and more for doing it, that there would never be a positive end to that.

She would likely never do anything as radical as you did in excising old songs from the setlist, but it might influence how many she includes, if this isn’t resolved and she’s not enjoying the thought of singing them live.

Yeah, you’re very angry inside. It’s like somebody twisting the knife every day. That’s probably why I felt so empty when I first heard the news. And I’m not smart enough to know what her way out is. It would be great if people kind of outside of her circle maybe decided to help. I went to Bill Graham. I thought that he would be a fair witness, like in the old “Stranger in a Strange Land” book — a person that would be respected by both sides and could figure out the answer. But sadly, that didn’t work out either.

Good people think, “Wow, these two neighbors are just screaming at each other every single day. The rest of us should get together and figure out a way to mediate.” Perhaps her lawyer can get some people to actually get in there and mediate and try to actually find a solution for the right reason — because it’s the right thing to do. [Laughs.] I’ve just said something so blazingly unknown to the music business, but it’s the way us normal people think.

[coralshort]

I moved home to my heart city of Montreal! So much has happened! I am setting up a winter studio in a cozy and comfortable place with my now husband Ryan Backer. And I am so grateful to have free health care again!

I was in a show just as we just arrived, curated by fascinating Franco millennials. I went to the finissage at le Cheval Blanc and got to meet Sophie Latouche and my wonderful curators Eli Larin and Alexandra Tremblay. It was the first show I was ever in that was named by emojis only – no text!

🍆😂🤳 [Emoji d’aubergine/Emoji de visage riant aux larmes/Emoji de bras tenant un cellulaire]

After this show I was in Festival Phenomena for my second time curated by D. Kimm on the Rialto main stage!

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We created the first Montreal edition of FAKE ORGASM CHOIR. Betty Pomerleau, Ryan Backer and I created two new songs in addition to the song the Berlin choir created.

The iteration of the choir starred Ryan Backer, Eva Crocker, Ruby Kato Attwood,Christeen Francis, Sunny Doyle, Susie, Seagrid Patterson, Ash, Kelly Rea and the amazing Betty Pomerleau. Thanks to Shayo Detchema for documenting!

Earlier in January my partner Ryan, my best friends Winnie Superhova and Natasha Hargovan, and my gay husband Troy Davis created another successful Queer Healing Event. The next one will be at an accessible venue in November– we hope! More info on the event here. Please contact any of us if you would like to be involved in the next one. I feel this event is deeply linked to my social art practice in many ways.

      BEFORE I LEFT BERLIN…

I managed to pull off two massive curations on the weekend of August 17 and 18th. One was a video curation, and the other was a performance curation.

Description: Coral Short deconstructs privilege within the genre of film. Videomakers decipher the notion of luck as privilege within our white cis supremacist society. This is unpacked through landscapes, ideas of heteronormative “beauty���, as well as signs and signifiers for luxury. Anti- authoritative aesthetic strategies are implemented to question the often unquestioned status quo. In this brand new program full of world premieres, playful political performance art unravels ideas, and film artists infuse old medias with intention to speak in new visual languages. From covering colonial statues with piss, to performance princesses, a wide range of different focuses emerge and visually unfold.

  Thank you COVEN for such a packed and smooth event. And to artists Imogen Heath and Tami T for coming out!  Other filmmakers on this bill included Claire Arctander, Divide and Dissolve, Sab D’Souza, Daniel Embree, Shon Faye, Gwendolyn Audrey Foster, BB Gunn, Winston Hacking, Virginia FiveNames Joseph, and Yasmeen Nematt Alla.

  The performance curation was a successful fundraiser for a 3 day event around the senses called Sensorium organized by Calu Lema, Caritia Abell and myself. Huge gratitude to all the amazing performers. Big thank you to Adi Brief and Alex Tsoli for producing this fundraiser event with me and also to everyone who came out! Included was a screening room dedicated to a magnificent retrospective of Eva Wo‘s life work.

Around this same time Angela Gabereau and I were in a show in Montreal with Future Visions yet again!

ELO 2018 PERFORMANCES Eastern BlocExhibition Uchronia|What if? 6 PM – 10:30 PM For ELO 2018, curator Lisa Tronca presents a selection of Uchronia | What if? artists, some exhibiting their work for the first time in Montreal. By proposing different modes of reception of hypermedia works, this exhibition questions the gaps and connections between physical and virtual worlds.

Salvador Barajas // Pippin Barr // Stéphane Degoutin & Gwenola Wagon // João Enxuto & Erica Love // Angela Gabereau, Coral Short & Visionaries // Skawennati

—————————————————————————————————————————————–

Right now travelling in the bay area with Ponderosa people from Berlin. I gave a workshop on my new project Choir of Emotions and performed with the Fresh Festival. I am staying in San Francisco right now with an old friend/cultural connector who I have the most inspiring conversations with called Ernesto Sopprani.

Before I left to San Francisco, I was on the french radio being interviewed by the legendary Michelle Lacombe! I did my first ever interview in french. Click here to hear the interview. I am looking forward to being on another french podcast soon to talk about Queer Healing Day.

    https://www.mixcloud.com/radio_atelier/no-28-14-janvier-2019/?fbclid=IwAR0vVL2YuPqoRr1N8s-1kj5AQRxJt1IV5KzG8nh5tdBDEVI0U01DQw3nzBE

Back to Germany in the Spring…. I am the international cultural connector of Betonest in April! Please feel free to write to me to see if we can offer you a residency there just outside Berlin. You are very welcome to come for a week, 2 weeks, 3 weeks or the whole month! I am running a multi media residency with Caitlin Fisher called THAW April 23-May 3, but you are welcome in April. Please tell your maker friends who need time and space to work. I also hope to create a ritual residency there for October.

WWKA (Women With Kitchen Appliances) is reforming for VIVA. It will be our 20th year anniversary and we will be performing with 10 old and 10 new members in late September!! I founded this project in 1997(ish).

      My french seems to be flowing more easily this time around which I am grateful for. I adore my francophone feminist queer community around me . I am grateful to be home and surrounded by my old and new communities in Montreal, New York and the Bay!

    Coming home I moved home to my heart city of Montreal! So much has happened! I am setting up a winter studio in a cozy and comfortable place with my now husband Ryan Backer.

[wallpapernifty]

25 Reasons You Should Fall In Love With Flower Garden Painting | Flower Garden Painting

CLEVELAND, Ohio — During accustomed times, best people’s agitated lives didn’t accept allowance for big home and garden projects. The coronavirus calm lockdown afflicted all that.

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[thisdaynews]

Buttigieg campaign hires California state director

New Post has been published on https://thebiafrastar.com/buttigieg-campaign-hires-california-state-director/

Buttigieg campaign hires California state director

Pete Buttigieg’s pick for California state director has close ties to organized labor in the state. | Sean Rayford/Getty Images

South Bend, Ind., Mayor Pete Buttigieg’s presidential campaign has hired Cecilia Cabello, a former operative for Los Angeles Mayor Eric Garcetti and state director for Hillary Clinton’s 2016 presidential campaign, to run its operation in California.

Cabello will serve as the campaign’s California state director, the Buttigieg campaign confirmed.

Story Continued Below

The campaign’s retention of a state director in California is the latest sign that Buttigieg and his team have been looking to make an early and serious investment in building infrastructure in the Super Tuesday state, where most campaigns build out an operation later on. But from the earliest days of Buttigieg’s presidential campaign, the mayor has put more attention into the state than most of his competitors in the primary field, traveling to California regularly for both low and high-dollar fundraisers in the state.

Only a few other campaigns have announced state directors at this point in the 2020 cycle. Sens. Elizabeth Warren, Bernie Sanders and Kamala Harris, all among the top tier of Democratic candidates, have built out teams in the state, while former Vice President Joe Biden, the top-polling 2020 Democrat, has at least five staffers on the ground there.

Cabello gives Buttigieg an on-the-ground presence with close ties to organized labor in California, having served as the director of government relations for the Southwest Regional Council of Carpenters, a role in which she was responsible for the union’s political activity in Los Angeles County.

Cabello was tapped as Clinton’s California state director during the 2016 presidential election and was previously Clinton’s California deputy political director for the 2016 Democratic primary. More recently, Cabello has served as vice president of the Board of Public Works in Los Angeles and was also chief of staff to Los Angeles City Controller Ron Galperin.

California Gov. Gavin Newsom, a Democrat, has endorsed Harris but has spoken positively of Buttigieg, saying he “tends to be many people’s second choice — if he’s not already a first.” Some of Buttigieg’s earliest backers in the presidential race hail from California, including West Sacramento Mayor Christopher Cabaldon, a longtime ally, and California-based Democratic megadonor Susie Buell Tompkins, who has helped fundraise for Buttigieg in the state.

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