#music industry]

[hoovesandfloorpaws]

"“That said, both Styles and his therapist have questioned why he cares quite so much about being likeable. [...] But more recently he’s come to worry that the drive for approval came from a more complex place, a place of caution, fear, control.”

“Styles said he often spent interviews terrified about saying the wrong thing, until he stopped to question what abhorrent belief or bizarre opinion he was scared he’d accidentally reveal and realized he couldn’t think of anything.”

“And he thought about the cleanliness clauses in the contracts he used to sign, which would dictate that they would be null and void if he did anything supposedly unsavoury, and about how terrified that used to make him. And about when he signed his solo contract and learned that the ability to make music would not be affected by personal transgressions, he burst into tears, a reaction he still seemed shocked by, retelling it to me now, years later. "I felt free,” he explained.“

“Recently Styles began to work through issues related to intimacy, dating, love. "For a long time, it felt like the only thing that was mine was my sex life. I felt so ashamed about it, ashamed at the idea of people even knowing that I was having sex, let alone who with,” he said.“

"He has been thinking a lot recently about autonomy, ownership, privacy. About what he should be able to keep to himself, what he should be able to simply communicate through his music without follow-up questions or prying. Around the time of Fine Line, he faced scrutiny around his sexuality. People became incredulous that he wore dresses, waved Pride flags, and yet hadn’t clarified with precision, publicly to a journalist or on social media, the specifics of who he’d slept with, how he defined. This expectation is, to him, bizarre, “outdated.” “I’ve been really open with it with my friends, but that’s my personal experience; it’s mine,” he said. -- from this post I made with the parts I found most significant in that interview. it's such a lovely article.

vulnerability on Harry's terms.

“Look at how he reacted to knowing he no longer had that purity clause.”

Wait what is a purity clause Gina? I am lost

In the Better Homes and Gardens interview Harry gave for Harry’s House promo, he mentioned that there was a purity clause when he was in the band (I assume for all of them, not just him). We don’t know the details, but in general it would be an agreement not to do anything that would fuck up his image (ie: things like getting caught with drugs, hiring sex-workers, saying racist shit, getting arrested, admitting to being anything but straight, etc.). He said he cried when he signed his new contract and found out his career wouldn’t end if he went to jail.

I honestly can’t imagine the pressure he’d been under from the age of 16.

[jellyfishfem]

love referring to male “artists” by their real names instead of their stage names. they name themselves something they think is cool and manly. well theyre not cool so i will address them as is appropriate. Thats not Jay Z the successful rapper thats just Shawn. Ghostface Killah? His name is Dennis. Snoop Dogg, you mean Calvin the sex trafficker? Machine Gun Kelly wow so metal punk rock. It’s actually just Richard.

[daisiesonafield-blog]

Liam's Law in the press:

Source

This is one of ten (and counting) articles highlighting Liam's Law in the press.

Please keep sharing and sign the petition so that we can get parliament and other governing bodies to enact laws and legislation that protect all artists in the music industry.

Sign the petition here

[stone-cold-groove]

Promo ad for David Bowie’s Young Americans LP - 1975.

[reasonsforhope]

Yesterday [April 30, 2024], a bipartisan collection of US Senators introduced the Fans First Act, which would help address flaws in the current live event ticketing system by increasing transparency in ticket sales, and protecting consumers from fake or dramatically overpriced tickets.

Today, the artists and Congressmen allege, buying a ticket to a concert or sporting event requires negotiating a minefield of predatory practices, such as speculative ticket buying and the use of automated programs to buy large numbers of tickets for resale at inflated prices.

The legislation would ban such practices, and include provisions for guaranteed refunds in the event of a cancellation.

The political campaign organizers, calling themselves “Fix the Tix” write that included among the supporters of the legislation is a coalition of live event industry organizations and professionals, who have formed to advocate on behalf of concertgoers.

This includes a steering committee led by Eventbrite [Note: lol, I'm assuming Eventbrite just signed on to undermine Ticketmaster and for PR purposes] and the National Independent Value Association that’s supported by dozens of artistic unions, independent ticket sellers, and of course, over 250 artists and bands, including Billie Eilish, Dave Matthews, Cyndi Lauper, Lorde, Sia, Train, Fall Out Boy, Green Day, and hundreds more which you can read here.

“Buying a ticket to see your favorite artist or team is out of reach for too many Americans,” said Senator Amy Klobuchar (D-MN).

“Bots, hidden fees, and predatory practices are hurting consumers whether they want to catch a home game, an up-and-coming artist, or a major headliner like Taylor Swift or Bad Bunny. From ensuring fans get refunds for canceled shows to banning speculative ticket sales, this bipartisan legislation will improve the ticketing experience.”

Senators Marsha Blackburn (R-TN), Ben Ray Luján (D-NM), Roger Wicker (R-MS), John Cornyn (R-TX) and Peter Welch (D-VT) also signed on to the Fan First Act.

In the House, parallel legislation was just passed through committee 45-0.

[Note: That's a really good sign. That kind of bipartisan support is basically unheard of these days, and rare even before that. This is strong enough that it's half the reason I'm posting this article - normally I wait until bills are passed, but this plus parallel legislation with such bipartisan cosponsors in the senate makes me think there's a very real chance this will pass and become law by the end of 2024.]

“We would like to thank our colleagues, both on and off committee, for their collaboration. This bipartisan achievement is the result of months and years of hard work by Members on both sides of the aisle,” said the chairs and subchairs of the Committee on Energy and Commerce.

“Our committee will continue to lead the way on this effort as we further our work to bring this solution to the House floor.”

“The relationship between artist and fan, which forms the backbone of the entire music industry, is severed,” the artists write. “When predatory resellers scoop up face value tickets in order to resell them at inflated prices on secondary markets, artists lose the ability to connect with their fans who can’t afford to attend.”

-via Good News Network, May 1, 2024

[soapdispensersalesman]

[louisupdates]

By Ed Power | Sat Nov 30 2024 - 05:15

During the pandemic the songwriter and producer James Vincent McMorrow would rise early, go for a run and write songs for Louis Tomlinson, of One Direction.

“I actually made half of a record for him,” he says. Tomlinson’s team “had a lot of songs but maybe not a lot that he was as into as he wanted to be. I think they were maybe looking for a weirdo. So they reached out to me. I love him. He’s a fascinating human being. I absolutely loved making that album,” adds McMorrow, who is about to start a tour of Ireland.

When it comes to potential collaborators with a boy band megastar, McMorrow’s name is not the first that springs to mind. He’s an indie songwriter whose open-veined, falsetto-driven pop has been compared to that of folkies such as Bon Iver and Sufjan Stevens. But Tomlinson was a fan of the Dubliner’s beautifully wrought music. He wasn’t alone: Drake famously sampled McMorrow on his 2016 track Hype.

One of the tracks they wrote together, The Greatest, would serve as the opener to Tomlinson’s second LP, Faith in the Future. As is often the way with the music industry, the rest are in a vault somewhere. Still, for McMorrow the opportunity to work with a pop star was about more than simply putting his craft in front of a wider audience. The call from Tomlinson’s team had come at a low point for the Irishman, who had become mired in confusion and doubt after signing to a major label for the first time in his career.

Executives at Columbia Records had recognised potential in McMorrow as an artist who bridged the divide between folk and pop. The fruits of that get-together would see daylight in September 2021 as the excellent Grapefruit Season LP, on which McMorrow teamed up with Paul Epworth, who has also produced Adele and Florence Welch.

The album was a beautifully gauzy rumination on the birth of his daughter and the muggy roller coaster of first-time parenthood. It went top 10 in Ireland and breached the top 100 in the UK. Yet the experience of working within the major-label system was strange for McMorrow, who at that point had been performing and recording for more than a decade. He didn’t hate it. But he knew he didn’t ever want to do it again.

“It was a weird time. I stopped touring in 2017. My daughter was born in 2018. I signed with Columbia Records at the same time and made a record that ... There were moments within it I was proud of. But fundamentally, I think if I was being very honest, I would say that I definitely got lost in the weeds of what the music industry wanted for me rather than what I wanted for myself.”

[…]

McMorrow grew up in Malahide, the well-to-do town in north Co Dublin; as a secondary-school student he suffered debilitating shyness. In 2021 he revealed that he had struggled with an eating disorder at school, ending up in hospital (“Anorexia that progressed into bulimia”). He was naturally retiring, not the sort to crave the spotlight. But he was drawn to music. “It was definitely a difficult journey,” he says. He wasn’t alone in that. “The musicians that tend to cut through and make it ... A lot of my friends, musicians that are successful, they’re not desperate for the stage.”

The Tomlinson collaboration was part of his strange relationship with the mainstream music industry. It went back to McMorrow’s third LP, Rising Water, from 2016. A move away from his earlier folk-pop, the project had featured engineering from Ben Ash, aka Two Inch Punch, a producer who had worked with chart artists such as Jessie Ware, Sia and Wiz Khalifa.

That was followed by the Drake sample in 2016 and by McMorrow writing the song Gone, which was at one point set to be recorded by a huge pop star whom he’d rather not identify.

“Gone is the red herring of red herrings in my entire career. I wrote that song for other people. I didn’t write it for myself. The whole reason I signed to Columbia Records and I had all these deals was because of Gone. I was very happy tipping away in my weird little world. And then I wrote that song, and a lot of bigger artists came in to try to take it,” he says.

“I won’t name names. There were recordings of it done. It got very close to being a single for someone else. I would go in these meetings with all these labels, and I would play it for them – just to play. Not with any sense of ‘This is my song.’ And they were, like, ‘You’re out of your mind if you don’t take this song. This is the song that will make you the thing that is the thing.’ And I was, like, ‘You’re wrong.’ For a year I basically was, like, ‘I disagree.’ And if you go in a room with enough people enough times and they tell you that you’re crazy ... I loved the song, but I did not love it for me. I never felt I fit. There was a little part of me that wanted to believe.”

As he had predicted, Gone wasn’t a hit. He received a lot of other strange advice, including that he cash in on the mercifully short-lived craze for NFTs by putting out an LP as a watermarked internet file. All of that was swirling in his brain when Tomlinson got in touch. To be able to step outside his own career was exactly what McMorrow needed.

“With Louis it was like boot camp. I had a very limited time with him. I had to wake up every morning, go for a run, write a song in my head, go to the studio. We made songs all day long. It lit a fire in my head again. I loved the process. I like sitting and talking to someone like Louis, who’s had this unbelievably fascinating lifestyle – so much tragedy in his life,” he says. Tomlinson’s mother and sister died within three years of each other, and his 1D bandmate Liam Payne died in October. “So many things have happened to him. I chatted to him and then write constantly. That was a lovely process.”

Because life is strange and full of contrasts McMorrow ended up working with Tomlinson around the same time that he was producing the Dublin postpunk “folk-metal” band The Scratch, on their LP Mind Yourself. “Totally different animals,” he says. “The Scratch album was an intense period in the studio of that real old-school nature of making music. A lot of fights. A lot of pushing back against ideas. A lot of different opinions. And you have to respect everybody’s opinions and find the route through.”

During his brief time on a major label, McMorrow was reminded of the music industry’s weakness for short-term thinking. In 2019, the business was obsessed with streaming numbers and hot-wiring the Spotify algorithm so that your music posted the highest possible number of plays.

“Everyone was driven by stats. ‘This song has 200 million streams.’ ‘That song has 400 million streams.’ I went into my meetings with Columbia Records ... the day I had my first big marketing meeting was the day my catalogue passed a billion streams, which, for someone like me, who started where I started, was a day where I should be popping champagne corks. Instead they immediately started talking about how they have artists that have one song that has two billion streams. So by their rule of thumb I was half as successful as one song by one artist on their label.”

Five years later he believes things have changed. He points to Lankum, a group who will never set Spotify alight yet who have carved a career by doing their own thing and not chasing the short-term goal of a place on the playlist. They are an example to other musicians, McMorrow says.

“I was in Brooklyn, doing two nights, a week and a half ago. In the venue across the road from where we were, pretty much, Lankum were doing two nights and had [the Dublin folk artist] John Francis Flynn opening for them. Those are two artists that, if you were to look at their stats, you wouldn’t be, like, ‘These are world-beating musicians.’ You start aggregating to this stat-based norm and you miss bands like Lankum, bands like The Mary Wallopers, people like John Francis Flynn.”

McMorrow is looking forward to his forthcoming Irish tour, which he sees as another leg of his journey to be his best possible self.

“The last two, three years have been a process of building it back to a version of me that actually made me happy rather than making me cry at night-time – a version that was making music because I liked it. Within this industry there’s so much outside noise. It’s quite overwhelming. I was overwhelmed. It’s been nice to reset the clock.”

In November 2022, McMorrow posted this now deleted Instagram post:

Text: late 2021 I got a phone call asking me if I wanted to come to London to meet @louist91 and possibly write some songs. A few years ago he released a statement talking about changing his path musically, instead of the immediate search for hits, he’d start with music he genuinely loved and see where it got him. Seems like a simple and obvious thing to say, but considering the amount of people just chasing hits with little regard for vision or artistry, a statement like that struck me when I read it. So I was excited to meet him and see what he was about. First day we met we all wrote Common People, second day we wrote Lucky Again. In December of last year we went back in again, finished those ones, wrote and produced 3 others that are also on this album. It was the studio line-up of dreams, @mrfredball @jmoon1066, @riley_mac. Shouts to Louis for letting us do our thing, letting a dork like me come write some weird lyrics and weird melodies, trust us to shape the vision that he had. These last few years were dark at times, but it was moments like that where I remembered why I’m obsessed w music and why it’s all I’ve ever understood. incredibly proud of the work, Holding on to Heartache is genuinely one of my most favourite songs I’ve ever been a part of.

Also I was reading something about the album and it mentioned something about the gospel choir on the bridge of that song… nah man thats’s just 200 stacked of me singing super super high in the studio out back of Fred’s house😂]

[twopoppies]

Sign the petition here

The entertainment industry, acclaimed for its glamour and stardom, is equally infamous for the enormous pressure it exerts on the mental health of artists. Resultant issues such as stress, anxiety, depression, substance misuse and even suicide are alarmingly high. According to research, performers are 2-3 times more likely to suffer from these issues compared to the general population.

In recent news of Liam Payne's tragic death as many others, the entertainment industry needs to be held accountable and be responsible to the welfare of their artists. We seek to implore lawmakers to create legislation safeguarding the mental health of artists within the industry.

Such a law would necessitate regular mental health check-ups, adequate rest periods, and the presence of mental health professionals on-set, including any ongoing support during their career. It will ensure a healthier, safer, and more conducive working environment for artists to cultivate their talents reducing phycological distress. This would also include early interventions to protect and minimise before it's too late. Furthermore, the increasing rate of musicians who die before the age of 35, is concerning. We need to act now!

The artist's role is invaluable not just in the world of entertainment but also in society. Let us ensure their protection and wellbeing. Your signature could be a lifeline for these talented individuals, contributing to a larger movement of mental health awareness and care in industries worldwide. Please, sign the petition.

#LiamsLaw

[voxina]

JADE has recalled her stint on The X Factor, saying she didn’t know anyone who came away from the show without “some sort of mental health issue”.

The singer-songwriter featured on the talent search programme in 2011 and joined girl group Little Mix when she was 18 years old, an experience she has reflected on in a new interview with The Independent.

The ‘Angel Of My Dreams’ singer admitted that being on The X Factor involved adjusting to “pretty fucked up” things, namely sharing bunk beds with other female contestants, regardless of age.

“Even at 18, I knew there were people who weren’t mentally well in there, keeping everyone up at night,” she said. “I don’t know if there was even security outside the house. It’s scary to think about now, but I was too young to realise that at the time.”

Her comments come after many entertainment world figures have demanded more protections be put in place for young artists following the death of One Direction star��Liam Payne, who auditioned for The X Factor during the same series as Thirlwall.

Although she didn’t address Payne’s passing directly, she did mention thinking the series “had to end” after its 2018 conclusion.

“I don’t think that kind of show can exist any more. We’re in a different place now,” she added. “We wouldn’t put someone that’s mentally unwell on a TV screen and laugh at them while they sing terribly. The concept of a joke act on a show is just cruel.”

She said the concept was “all very Roman empire” while joking that it was the “best training ever” for her to enter the music industry. On a more sombre note, she continued: “I don’t know anyone that’s come off that show and not had some sort of mental health issue on the back of it.”

Thirwall also admitted to feeling “conflicted” about criticising the show. “It changed my life,” she explained. “I was from a very normal working-class family up north, I had tried sending demos in to labels, I’d gigged all over, I was doing everything I could to make it, and I needed a show like that to give me a chance.”

She continued to say that she’d guess “five per cent of the people that went on there have come out of it not unscathed, but having survived; the other 95 per cent have suffered in silence.”

Reflecting on how people readjust to normal life after participating in something like The X Factor, she said: “How do you go from being on that show to back to your nine-to-five? How do you get signed to the label, think you’ve made it, and then once your song doesn’t hit the Top 10, you’re just dropped? It’s so savage, this machine that we’re a part of. Even back then, we knew how lucky we were every day that we were still signed.”

[Full article]

[alwaysbewoke]

[beseeingyouinmydreams]

You know I get Liam made some bad choices and did some dumb things, but can someone explain to me why the conversation around his death is not what led him to that place? He didn’t just wake up one day and decided to do drugs and alcohol and make bad decisions and be supposedly abusive. There were a lot of things that happened in the hands of other people that pushed him to place and the fact that that’s not a real conversation happening right now is really disheartening for the future of humanity. The fact that there are no consequences for how you treat people on social media how there’s barely consequences for how you treat people in every day life … is seriously messed up

[dovesmelodyproject]

Zionists in Music is doing a protest to fight against zionists in the music industry. The protest will be happening on May 18th in New York City and it's to call out the three biggest music companies (UMG, Warner Music Group, Sony) and for them to divest from zionism.