#orientation archival

[io-archival]

Quroplatonic Flag

(note: this was originally coined by felix-makes-flags / coinings-of-aquarius, on a blog which has since been terminated. the archive is here.)

"Quroplatonic is an Aromantic Spectrum Identity where you feel romantic [attraction] in a queerplatonic way"

Term coined by @/the-planetary-nebula on January 21st, 2022. Flag made by me on April 12th, 2022.

[dailyfigures]

Urawa Hanako ; Blue Archive ☆ Oriental Forest

[i9hrtszn]

　♩　　　❛　　　🍵𖨂　　　⿸　　　∿

 ⨮  @sugarbabyvox  ⛞  ❜❜

[daybreakthing]

Aphelaen

(pt: Aphelaen /end pt)

Aphelaen is a non-xenic umbrella term connected to angelicness and angels (archangels, fallen angels, guardian angels, etc), autonomy and inner conviction, divinity, feathers, softness, and wings, gold (the color, element, or metal) and holiness, guardians, protection, and safety, and shields and swords!

It may also be connected to knights/knighthood and/or demonicness and demons, and may be inherently maverique/maverine depending on the user!

Aphelaen is its own standalone label, but can be freely combined with other (neo)umbrellas!

Main Terminology:

helan/helanine/helaninity is the aphelaen gender quality!

transaphelaen/transhelan/transhelanine are the terms for transitioning into aphelaen and/or helaninity!

phelanic is the aphelaen gender alignment!

albiorian is the a galactian alignment term; a gender for non-binary individuals who are aphelaen and/or aphelaen-aligned! albiorian comes from "albiorix"

trusan/trusen are the terms for an aphelaen adult! trusan is from “trust”!

telan is the term for an aphelaen individual! name is from “tutelage”!

care is the term for an aphelaen minor or younger individual!

aphale/aphmel are the aphelaen sex terms!

aphin is the in nature term, standing for aphelaen in nature!

sloeian is the term for aphelaen loving aphelaen, also known as aphLaph! sloeian is from “sloe” which is another name for “blackthorn”!

etymology; “seraphina” latin for ‘Seraphic, of/like a Seraphim/angel’, “tutelae” latin for ‘tutelage, guardianship’, and the letter ‘n’!

for colt!

tagging; @radiomogai, @in-nature-archive, and @rescanwriter!

[animatedglittergraphics-n-more]

requested by @vminscollar

[pisscentral]

me: “yeah im aroace”

also me when i see (or hear) an evil pretentious ass old man from a podcast

[oceancoins]

SLEDERIC

A term to describe individuals who are attracted to men in both a queer or gay way and a non-queer or gay way. This can be for any reason; including being multigender, non-binary or genderfluid, having a fluid sexuality, etc. A counterpart to Strelian.

I did not technically coin this term. It was coined by the original coiner of Strelian. They had mentioned coining this at some point in the coining post of its counterpart. However, they have since left the community and their blogs have been archived. From what I can see, they never made a post for this term, but they gave it a name and a simple description.

According to the coiner, Strelian was made as an alternative for the term Straight Lesbian with a clearer yet similar meaning. I'm assuming Slederic is supposed to be the same but for Straight Gay/Veldian/Vincian/etc.

For all extensive purposes, this is just a flag for the term and if they at some point return to the MOGAI or LIOM communities, they have the full right to make a post of their own with their own flag. Strelian just really resonated with me and I really wanted to have a flag for this term to throw into my hoard.

If the original coiner sees this and prefers I take this post down, I'll do it no questions asked.

IMAGE ID: A rectangle flag with six horizontal stripes. In descending order, the stripe colors are purple, light lilac, white, dull mint green, teal and blue. END ID

Tags: @radiomogai

[melabea]

thujian!

a term for lambdas who are attracted to others regardless of dynamic!

for orion!

etymology; thuj(a), “ian” meaning one that does or deals with relating to, belonging to!

symbol from here (link)!

tagging; @radiomogai, @omegarchive, & @miscearchival!

[radiantmists]

'mutually unrequited love' should be about when someone you thought was gonna be your best friend has a crush on you, but unfortunately the allos have no vision

[io-archival]

(note: this was originally coined by orxngecrxsh, on a blog which has since been terminated. the archive is here, and the flag is reconstructed from here. this post will only contain plaintext.)

aconiromantic | aconisexual

aconiromantic a term for when someone desires a romantic relationship, likes to be romantic and wants to be in one but is repulsed by / scared of the idea of actually being in one!

aconisexual a term for when someone desires a sexual relationship, likes to be sexual and wants to be in one but is repulsed by / scared of the idea of actually being in one!

flag ID: 2 images. image 1: a 6-striped flag. the colors in order from the top are dark dark purple, dark purple, pastel purple, white, light green, and green. image 2: the same flag but instead of green there is light purple and purple in the last two stripes. end ID term and flag by me! requested by anon!

etymology: the name comes from aconite flowers, which symbolize caution

-

flag colors are because dark purple is commonly associated with fear, and the greens and purples and picked from the aro and ace flags, respectively, since they represent romantic and sexual attraction!

[astrangetorpedo]

Mick Management Doesn’t Just Represent Artists — It’s in the ‘World-Building’ Business

"We don't like to refer to ourselves as a management company anymore. We're a music company," says partner Jonathan Eshak.

BY FRANK DIGIACOMO 7/22/2024

Jonathan Eshak (left) and Michael McDonald photographed on June 3, 2024 in Los Angeles. Michael Buckner

Given the multitude of distribution, streaming, promotion and marketing options and expectations, the business of becoming an established artist has turned into a seriously heavy lift for music acts and their managers. It’s one reason that Mick Management partner Jonathan Eshak says, “We don’t like to refer to ourselves as a management company anymore. We’re a music company. What we do more than anything else is brand development, artist development — world-building … We’re not just trying to keep the train on the tracks.”

Eshak and his partner, Michael McDonald, the company’s founder, got into management after immersing themselves in other sectors of the business. McDonald served as Dave Matthews Band’s tour manager before co-founding ATO Records in 2000 with Matthews; his manager, Red Light founder Coran Capshaw; and Chris Tetzeli, who went on to start 7S Management. He opened Mick the following year with John Mayer as one of his first clients and, in 2004, brought on data savant Eshak, who worked at Universal Music Publishing Group (and is the twin brother of Island Records co-CEO Justin Eshak). Jonathan became a partner in 2015.

With a staff of approximately 20 in New York, Los Angeles and Nashville, the duo has built a boutique firm — with its own record label, Mick Music, distributed by Believe — that represents Maggie Rogers, who released the critically praised Don’t Forget Me in April; Leon Bridges and Ray LaMontagne, who will both release albums later this year; The Walkmen and the solo career of their frontman, Hamilton Leithauser; Sharon Van Etten; Brett Dennen; Mandy Moore; My Morning Jacket; and The Marias.

In a fragmented culture where “it’s very hard to find water-cooler moments,” according to Eshak, Mick’s team excels in building committed fan bases for a roster of individualistic artists who punch above their weight. “Artists all define success differently, and we understand that,” he adds. “We understand that there’s no one way of doing it anymore.” Their bespoke approach has resulted in some notable recent successes. In August, Rogers will embark on an international arena tour — including two shows at Madison Square Garden — though she has yet to achieve platinum sales with an album. In 2018, Leithauser began a five-night residency at the swank, 100-capacity Café Carlyle in New York, playing to “a few die-hard Walkmen fans and some fairly confused business travelers,” as Eshak puts it. This year, Leithauser sold out 12 nights, and the concept will be expanded with potential notable guests in 2025. And in June, The Marias celebrated the release of their new album, Submarine, with a secret pop-up show in downtown Los Angeles for approximately 5,000 fans. Eshak says 38,000 RSVP’d.

“What each of those things speak to is us finding interesting ways that the artists appreciate and superserve fan bases,” McDonald says.

What are the challenges of running an artist management company today versus 25 years ago?

Jonathan Eshak: When I first started with Michael, the sky had started to fall on the recorded-music business. This was the dawn of file-sharing companies like Napster and Kazaa. It was attractive to join Michael for that very reason. He was coming from building a world that was unique, not just to the ebbs and flows of the success of recorded music but also, how do you do things well in touring, merchandising, etc. He understood the creation of cultures, having worked with Dave Matthews and Coran.

Like the Grateful Dead, Matthews built a culture around his music.

Eshak: The Dead were the godfathers of that, and Mick’s ethos effectively starts there. While the challenges of the industry have evolved, the code of building an artist’s career remains the same. Which is, how do you focus on building a meaningful, long-lasting relationship with your fan base? We always say, “How do we make the artist the hit and not just the songs?” Music is just part of the cocktail. It’s also, how are we creating a dynamic of connectivity between the artist and the fan? How are we merchandising with them? How are we creating live shows that are meaningful, that evolve? There’s been a lot of lip service about artist development throughout the history of recorded music.

Michael McDonald: There were fewer breakthrough moments then, whereas today, because of the way technology and culture has evolved, it’s been democratized. The upside is that more people can succeed. The downside is there are fewer channels that create that star-turn moment.

Maggie Rogers seems to be a prime example of someone who has grown through connectivity with her fans.

Eshak: Maggie has understood the importance of connectivity from the start. She had this moment of Pharrell-ity, for lack of a better word, and instead of sitting back and working that, she understood the importance of going around the world and connecting with her fans face-to-face. To your point, she’s doing two nights in Madison Square Garden without a platinum record. Now, she obviously wants that and we want that for her, but people who are in are in. Even as she’s grown, the No. 1 thing on the checklist is, what are we doing for that audience?

What’s an example of that?

Eshak: When we were announcing the fall arena tour, we created pop-up shops in all the markets where people could line up to buy exclusive merchandise and, most importantly, reduced-price tickets. She was hearing from unsettled fans about ticket prices, so we tried to create solves. Fans could walk [into the pop-ups], point at a seat map and get a ticket that was going to cost less than if they paid for it online. Because of that, her fans understand that she sees them.

What questions do you ask before signing an artist?

McDonald: Most importantly, “Do we love the music? Do we feel like we can really grow this career?” And then, “Do they, will they, work hard?” We can’t want it more than they do. Some of this is research you can do before you meet the artist. Much of it we do through conversations, but there’s also data that’s crucial. We’ve had great success following our passion and guts, but to not use the tools at our disposal to help make those decisions would be foolish. Data is a great strength of Jonathan’s and why we’ve evolved in using it to inform decisions but never to unequivocally make decisions. If we did, we never would have signed some of the artists we have.

Why did you partner with Firebird?

McDonald: Firebird brings us resources that a company our size doesn’t have. There’s a data department and an analytics department of 10 to 15 people. There’s a finance department. There are all sorts of things that allow us to double down on the data and free us up to stay focused on our artists.

What’s your pitch to artists you want to sign?

Eshak: It really comes down to having a shared code, so it’s important that we take the time to sit down with artists and say, “What are your life goals in addition to success in recorded music?” This is such a deep relationship that we talk all the time. We talk on weekends. We’re there with them for very big life stages, and it’s really important for us to have at least a common set of goals because it takes a lot out of everybody. Where we do a good job is acting almost as coaches now. It’s our job to be highly informed about how people are having success, distilling that and applying it to the artists that we represent, who are all quite different. In other words, how can we do this with you so that you remain true to yourself? We can’t do that for a thousand artists. It’s not the business model that Michael and I have elected to build.

You have a label.

Eshak: We have a label, and we’re working with some of our artists whose repertoires are returning to them and they need a mechanism to put music out. Some of it is also identifying artists that we like and helping them put music into the world.

Do you encourage your artists to own their masters?

McDonald: One hundred percent, whenever possible. Today, we would be hard pressed to pursue a deal that started with perpetuity music being somewhere else. There’s always a chance that it’s going to happen, and ultimately, it’s an artist’s decision. If they feel like this is their shot and they’re willing to give that up — absolutely. But one of the reasons we created the label was to say, “All right, let’s have an easy mechanism where we can control the deal terms. Let’s put music out and try to build on that. Then, if a great licensing option is not available today, let’s take a year and try to build something.” Ray LaMontagne’s album Trouble reverted to him in May after 20 years. So it’s not always a three-year or five-year reversion. But 20 years ago, we were able to take a long view and say, “Let’s take whatever percentage less today so at least there’s the option to sell those recordings X number of years later.”

Are your agreements with artists traditional percentage deals or partnerships?

McDonald: It varies. We have a lot of traditional deals, but any time we’re in true partnership, where we’re sharing [intellectual property] with an artist, it’s fully above board and clear with everyone’s legal teams. There is an evolving way that artists are going to get into business with different companies. We welcome that as things evolve.

(x)

[loveletterstomyenemy]

source: flickr

[daybreakthing]

Spesiyn Attraction ⚓

a type of tertiary attraction characterized by hope, support, care, & non-rose love! this can be feeling hopeful for the object of one’s attraction, supporting and/or caring for them, & generally loving them!

Terminology can be decided by the user! but here’s some we came up with;

crush equivalent; culush.

relationship equivalent; speroship.

partner equivalent; speier.

sexuality equivalent; spesity.

for proto!

symbol from here (link)!

etymology; spes (goddess of hope), “iyn” meaning of or pertaining to!

tagging @radiomogai & @dimensen!

[theinsomniacindian]

Sometimes I call myself NBLW and then I remember that I'm aroace

[snickerdoodlles]

there's a lot of things people blame for why fandoms feel like ghost towns these days, but no one's really talked about the way discord's contributing to it

[colacat53]

Nocturnal Detective Agency Kitties!

here's all of em individually

also for the first time ever when drawing characters as cats I gave them specific breeds(You can thank Halara for giving me the idea because before drawing them I had already decided that they would be a hypoallergenic cat in reference to the fact that they're canonically allergic to cats)

anyways here's everyone's breed

Yuma - Oriental Shorthair

Yakou - Norwegian Forest Cat

Halara - Balinese

Desuhiko - Flame Point Siamese

Fubuki - Pixie Bob

Vivia - Lykoi

also there are some details missing such as Yuma's ahoge and how some of them have cheek fluff but the poses I drew some of them in prevented me from adding those details/ I decided later that they had cheek fluff

also I tried to keep everyones fur colors as close to their actual hair colors as possible while still keeping their designs realistic so some of them have had their colors lightened, darkened or muted

also fun fact, I only originally intended to draw the four master detectives and Yuma and Yakou were recently added(like I literally just drew them)