#(while the male presenting ones almost always remind him too much of his sonic)

[prim3dsins]

I've kinda come to realize that female-presenting versions of Sonic really confuse Tails-

[dailytomlinson]

He made a couple of false starts, but after four long years, Louis Tomlinson’s debut album Walls is finally here! The much-anticipated album immediately shot to #1 on the iTunes charts in over 50 countries. And while it signals the true end of an era (Tomlinson’s the last member of One Direction to release a solo project), it’s mostly the beginning of a new one. As reflected in the visuals for the title track; where one door closes, another opens. And it’s one that was well worth the wait, as Walls promises an exciting new era of guitar-driven confessional pop.

Guitar-driven, because it’s clear that Tomlinson was sonically inspired by the 90s and 00s indie-rock that he grew up on. Confessional, because each song presents us with yet another look into the emotional complexity of Tomlinson’s experiences with heartbreak, pain, and letting go.

A clear example of the former is the opening track “Kill My Mind.” It is a rousing up-tempo song with a soaring anthemic chorus that’s just begging to be performed live. Tomlinson referred to the track as a true “statement of intent,” although it’s defiantly rockier than the rest of his album. Perhaps it’s already setting the stage for album number two.

There is “Habit,” of which the melody is weirdly reminiscent of 4 Non Blondes’ “What’s Up?” Lyrically along the same vein as “Kill My Mind,” it regales an addictive and slightly toxic relationship. Whether that’s aimed at an actual relationship, or meant as a metaphor for the music industry at large – who’s to say?

“We Made It” is another track that pulls Britpop right back into the ’20s. Significantly more laid back, the song’s mid-tempo production has somewhat of a Post Malone vibe to it. The song may not be the stand-out single of the album, it does encapsulate Tomlinson’s road to this moment. He’s made it, regardless of the adversity he’s faced along the way. Both as an underrated former member of One Direction – despite earning himself the most writing credits – and due to the personal tragedies, he faced over the past few years.

He doesn’t shy away from addressing any of these obstacles in his career. Title track “Walls” seems to be all about overcoming adversity – be it personal or professional setbacks. The string section adds a sophisticated touch to the rich instrumentals of the song, really honing in on that indie-rock sound Tomlinson is so fond of.

The heart-wrenching ballad “Two Of Us” stays true to the confessional style of the album. Tomlinson wrote the song about his mother, who passed away in 2016. It’s perhaps the most personal and vulnerable that Tomlinson has allowed himself to be on this record, and it shows in the lyrics: “The day that they took you, I wish it was me instead.” However, Tomlinson manages to yet again transform the acknowledgment of pain into an inspiring promise of honoring life. It’s extremely rare that a songwriter is able to capture both darkness and light within the same song. To do so in such a convincing way, about a topic that’s so deeply personal yet universal shows the strength of Tomlinson’s lyricism and his emotive delivery.

Interestingly enough, despite Tomlinson’s love for rock, he seems to prefer the mid-tempo tracks. “Don’t Let It Break Your Heart” includes a beautiful opening guitar solo, before adding a bit of kick drum to build a proper anthemic pop song. It’s rich in sound, and its message is uplifting and reassuring. Similar to his first solo track “Just Hold On,” its lyrics aim to inspire listeners to keep going in spite of the heartbreak. What’s refreshing, is that it doesn’t specify the cause of the heartbreak, nor does it marginalize the emotional impact. Rather, the lyrics remind you that you’re not broken beyond repair, no matter what it is that’s hurting you in the moment.

“Always You” is the only true pop, up-tempo track on Walls. Listen to it once, and the playful guitar and staccato beat make for an irresistible hook that’ll draw you right in. It’s almost odd how a song this perfect for pop radio is hidden away more than halfway through the tracklist. The lyrics are innovative, as Tomlinson travels all across the world, only to conclude he’s never getting over his ex.

Elsewhere on the album, Tomlinson addresses the loss of innocence and youth. Being in your twenties is somewhat of a confusing time, as you come to realize that being a grown-up is not all it’s made out to be. “Fearless” opens with the sound of children, then sees Tomlinson lament the innate recklessness you lose as you get older. It’s perhaps one of the only tracks that verge on disillusionment and wistful longing for those days you felt young and invincible.

“Too Young” is the other side to the same coin, highlighting the negative consequences of youthful naivete instead. This time, he connects heartbreak to regret. Accompanied by nothing but an acoustic guitar, Tomlinson reflects on a past relationship. It requires real emotional maturity and bravery to see your own flaws and mistakes and to take ownership of them. Even if it means saying “I’m sorry, I was too young to get it back then, but I get it now.” The only downside is that Tomlinson seemingly randomly adopts an American accent in the pre-chorus, which feels slightly out of place.

Tomlinson said of the record that it’s about him; “it’s me, I’m the storyline.” That definitely seems to be the case, what with each of his songs highlighting various aspects of the life he’s lived so far and the difficulties he’s had to go through. Nevertheless, there are definitely moments throughout the album that feel somewhat reminiscent of the old One Direction sound – and this is where it gets tricky. Of course, One Direction was also a part of his life, and Tomlinson was an integral part of developing the musical DNA of his former band. As such, it’s perhaps inevitable that there would be some sonic overlap between the past and his present.

On the other hand, this record is his chance to establish his own musical identity. “Perfect Now” seems to be the epitome of this split personality. It’s a mostly acoustic track, with some strings added into the mix as the song builds into its final chorus. The lyrics echo both “What Makes You Beautiful” and “Little Things,” two of One Direction’s biggest (and oldest) hits. It’s an admittedly incredibly catchy song that centers around the heartbreak of seeing someone you love unhappy. Still, it’s a shame he felt the need to cater to a sound that’s not solely his. If he truly wants to take his music in a more indie-rock lane, he should fully commit to it – surely fans (old and new) would follow.

Thankfully, the album is filled with songs that truly highlight Tomlinson’s abilities as a singer/songwriter. Two songs that stand out from the others when it comes to vocal range, delivery, and lyrical ingenuity, are “Defenceless” and “Only The Brave.”

“Defenceless” is the true embodiment of what it means to find strength in vulnerability. The song builds steadily, starting out with just a guitar before heavy drums kick in during the chorus. The lyrics, on the other hand, portray the insecurity you feel when you’re letting all your guards down. The bridge in particular highlights the fragile heartbreak that follows when trying your best isn’t enough anymore: “I hope I’m not asking too much, just wanna be loved by you. I’m too tired to be tough, just wanna be loved by you.” Tomlinson’s falsetto only serves to further emphasize the sense of defeat and raw emotion on display in this track.

The album closer “Only The Brave” sees him bring back the falsetto that’s absent from the album elsewhere. Contrary to the more confessional and conversational tone of the previous songs, this short track relies on metaphors throughout: “It’s a church of burnt romances, and I’m too far gone to pray, it’s a solo song, and it’s only for the brave.” As such, it’s a bold choice to end the album on such a different note. However, it works beautifully – an ode to what’s to come, perhaps.

Walls provides an exciting and much deserved first glance at who Louis Tomlinson truly is – both as an artist and as a human being. Listen from start to finish, and you’ll immediately enjoy the guitar-driven, intricate alt-pop that’s characteristic of this record. But if given the chance, it’ll be the emotive, authentic lyricism that truly reels you in for good.

It’s rare to see artists actually offer a multi-faceted, introspective look at their inner emotions. To have a male singer share his heart with such conviction – openly, brazenly, almost recklessly – is even more exceptional. On the other hand, perhaps it shouldn’t come as a surprise at all. Because if this album tells you anything about Tomlinson’s personality, it’s that he’s fearless, resilient, and he always gets back up. He doesn’t hide his scars – he wears them with pride, inspiring you to make peace with your own and do the same.

Let Walls break down your walls, I promise you won’t regret it.

[hlupdate]

He made a couple of false starts, but after four long years, Louis Tomlinson’s debut album Walls is finally here! The much-anticipated album immediately shot to #1 on the iTunes charts in over 50 countries. And while it signals the true end of an era (Tomlinson’s the last member of One Direction to release a solo project), it’s mostly the beginning of a new one. As reflected in the visuals for the title track; where one door closes, another opens. And it’s one that was well worth the wait, as Walls promises an exciting new era of guitar-driven confessional pop.

Guitar-driven, because it’s clear that Tomlinson was sonically inspired by the 90s and 00s indie-rock that he grew up on. Confessional, because each song presents us with yet another look into the emotional complexity of Tomlinson’s experiences with heartbreak, pain, and letting go.

A clear example of the former is the opening track “Kill My Mind.” It is a rousing up-tempo song with a soaring anthemic chorus that’s just begging to be performed live. Tomlinson referred to the track as a true “statement of intent,” although it’s defiantly rockier than the rest of his album. Perhaps it’s already setting the stage for album number two.

There is “Habit,” of which the melody is weirdly reminiscent of 4 Non Blondes’ “What’s Up?” Lyrically along the same vein as “Kill My Mind,” it regales an addictive and slightly toxic relationship. Whether that’s aimed at an actual relationship, or meant as a metaphor for the music industry at large – who’s to say?

“We Made It” is another track that pulls Britpop right back into the ’20s. Significantly more laid back, the song’s mid-tempo production has somewhat of a Post Malone vibe to it. The song may not be the stand-out single of the album, it does encapsulate Tomlinson’s road to this moment. He’s made it, regardless of the adversity he’s faced along the way. Both as an underrated former member of One Direction – despite earning himself the most writing credits – and due to the personal tragedies, he faced over the past few years.

He doesn’t shy away from addressing any of these obstacles in his career. Title track “Walls” seems to be all about overcoming adversity – be it personal or professional setbacks. The string section adds a sophisticated touch to the rich instrumentals of the song, really honing in on that indie-rock sound Tomlinson is so fond of.

The heart-wrenching ballad “Two Of Us” stays true to the confessional style of the album. Tomlinson wrote the song about his mother, who passed away in 2016. It’s perhaps the most personal and vulnerable that Tomlinson has allowed himself to be on this record, and it shows in the lyrics: “The day that they took you, I wish it was me instead.” However, Tomlinson manages to yet again transform the acknowledgment of pain into an inspiring promise of honoring life. It’s extremely rare that a songwriter is able to capture both darkness and light within the same song. To do so in such a convincing way, about a topic that’s so deeply personal yet universal shows the strength of Tomlinson’s lyricism and his emotive delivery.

Interestingly enough, despite Tomlinson’s love for rock, he seems to prefer the mid-tempo tracks. “Don’t Let It Break Your Heart” includes a beautiful opening guitar solo, before adding a bit of kick drum to build a proper anthemic pop song. It’s rich in sound, and its message is uplifting and reassuring. Similar to his first solo track “Just Hold On,” its lyrics aim to inspire listeners to keep going in spite of the heartbreak. What’s refreshing, is that it doesn’t specify the cause of the heartbreak, nor does it marginalize the emotional impact. Rather, the lyrics remind you that you’re not broken beyond repair, no matter what it is that’s hurting you in the moment.

“Always You” is the only true pop, up-tempo track on Walls. Listen to it once, and the playful guitar and staccato beat make for an irresistible hook that’ll draw you right in. It’s almost odd how a song this perfect for pop radio is hidden away more than halfway through the tracklist. The lyrics are innovative, as Tomlinson travels all across the world, only to conclude he’s never getting over his ex.

Elsewhere on the album, Tomlinson addresses the loss of innocence and youth. Being in your twenties is somewhat of a confusing time, as you come to realize that being a grown-up is not all it’s made out to be. “Fearless” opens with the sound of children, then sees Tomlinson lament the innate recklessness you lose as you get older. It’s perhaps one of the only tracks that verge on disillusionment and wistful longing for those days you felt young and invincible.

“Too Young” is the other side to the same coin, highlighting the negative consequences of youthful naivete instead. This time, he connects heartbreak to regret. Accompanied by nothing but an acoustic guitar, Tomlinson reflects on a past relationship. It requires real emotional maturity and bravery to see your own flaws and mistakes and to take ownership of them. Even if it means saying “I’m sorry, I was too young to get it back then, but I get it now.” The only downside is that Tomlinson seemingly randomly adopts an American accent in the pre-chorus, which feels slightly out of place.

Tomlinson said of the record that it’s about him; “it’s me, I’m the storyline.” That definitely seems to be the case, what with each of his songs highlighting various aspects of the life he’s lived so far and the difficulties he’s had to go through. Nevertheless, there are definitely moments throughout the album that feel somewhat reminiscent of the old One Direction sound – and this is where it gets tricky. Of course, One Direction was also a part of his life, and Tomlinson was an integral part of developing the musical DNA of his former band. As such, it’s perhaps inevitable that there would be some sonic overlap between the past and his present.

On the other hand, this record is his chance to establish his own musical identity. “Perfect Now” seems to be the epitome of this split personality. It’s a mostly acoustic track, with some strings added into the mix as the song builds into its final chorus. The lyrics echo both “What Makes You Beautiful” and “Little Things,” two of One Direction’s biggest (and oldest) hits. It’s an admittedly incredibly catchy song that centers around the heartbreak of seeing someone you love unhappy. Still, it’s a shame he felt the need to cater to a sound that’s not solely his. If he truly wants to take his music in a more indie-rock lane, he should fully commit to it – surely fans (old and new) would follow.

Thankfully, the album is filled with songs that truly highlight Tomlinson’s abilities as a singer/songwriter. Two songs that stand out from the others when it comes to vocal range, delivery, and lyrical ingenuity, are “Defenceless” and “Only The Brave.”

“Defenceless” is the true embodiment of what it means to find strength in vulnerability. The song builds steadily, starting out with just a guitar before heavy drums kick in during the chorus. The lyrics, on the other hand, portray the insecurity you feel when you’re letting all your guards down. The bridge in particular highlights the fragile heartbreak that follows when trying your best isn’t enough anymore: “I hope I’m not asking too much, just wanna be loved by you. I’m too tired to be tough, just wanna be loved by you.” Tomlinson’s falsetto only serves to further emphasize the sense of defeat and raw emotion on display in this track.

The album closer “Only The Brave” sees him bring back the falsetto that’s absent from the album elsewhere. Contrary to the more confessional and conversational tone of the previous songs, this short track relies on metaphors throughout: “It’s a church of burnt romances, and I’m too far gone to pray, it’s a solo song, and it’s only for the brave.” As such, it’s a bold choice to end the album on such a different note. However, it works beautifully – an ode to what’s to come, perhaps.

Walls provides an exciting and much deserved first glance at who Louis Tomlinson truly is – both as an artist and as a human being. Listen from start to finish, and you’ll immediately enjoy the guitar-driven, intricate alt-pop that’s characteristic of this record. But if given the chance, it’ll be the emotive, authentic lyricism that truly reels you in for good.

It’s rare to see artists actually offer a multi-faceted, introspective look at their inner emotions. To have a male singer share his heart with such conviction – openly, brazenly, almost recklessly – is even more exceptional. On the other hand, perhaps it shouldn’t come as a surprise at all. Because if this album tells you anything about Tomlinson’s personality, it’s that he’s fearless, resilient, and he always gets back up. He doesn’t hide his scars – he wears them with pride, inspiring you to make peace with your own and do the same.

Let Walls break down your walls, I promise you won’t regret it.

[biofunmy]

The Work Diary of an Audio Erotica C.E.O.

Gina Gutierrez gets a lot of blank stares when explaining her start-up to people: It’s called Dipsea, and it sells subscriptions to immersive, short-form audio erotica. Venture capitalists, though, get it. They want to capitalize on dual booms in digital audio and sexual wellness, and some view Dipsea as the next Calm or Headspace. The start-up has raised $5.5 million in funding.

Ms. Gutierrez, 29, and her co-founder, Faye Keegan, created Dipsea when they realized that while there were plenty of companies offering tech-enabled vibrators, no one seemed to be addressing the mental aspect of female sexuality. In December 2018, Dipsea began publishing erotica podcasts, saying, “We think it’s downright powerful for people to discover the most turned-on versions of themselves.” The company charges subscribers $9 a month or $48 a year for access to a library of 10- to 15-minute stories in categories like “open relationship,” “hookup,” “crush” and “voyeurism.” Dipsea’s app also offers guides and exercises that can be done alone (“self love sesh”) or with a partner (“erotic meditation”).

Now the company, based in San Francisco, has 16 employees, 180 stories and 300,000 downloads. Ms. Gutierrez boomerangs between “I’ve never done this before” moments, she said, while juggling investor meetings, podcast appearances, script edits, Instagram caption-writing sessions and “Sacred Planning” meetings. She also has to deal with borderline puritanical rules from the big tech platforms while brainstorming about hunks, discerning what a hug sounds like, and puzzling over why people are so into stories about threesomes.

Monday

6:30 a.m. I hate the notion that the most successful people are up at 4:30. No thanks. I work on the couch for an hour before heading into the office.

9:35 a.m. My adrenaline surges when our social media and content manager, who started less than two weeks ago, Slacks me to say she has an urgent personal update. That’s never good.

She tells me she’s accepted another role. I’m shocked. We care so much about Dipsea being a great place to work, and have had zero attrition. So, 35 minutes into my workweek I’m dealing with my first “I’ve never done this before.”

The idea of kicking up the hiring process again so quickly after we’ve ended it makes my head spin. I spend the morning figuring out the transition plan. I really don’t want to go back to writing Instagram captions in the back of Lyfts between meetings.

2:30 p.m. I owe my editing team the final signoff on this week’s scripts before they pass them to the producers for recording. A section of dialogue on this one reminds me of a part from “A Star Is Born.” I send the movie scene to the team as an awesome example of realistic dialogue.

4 p.m. I hole up in a room with Faye and two other executives to brainstorm. We block 30 minutes per idea, throw out thoughts, sketch out designs, argue trade-offs. One idea we come up with is so good, I stand up to dance.

6:45 p.m. I debate bailing on plans to see “Hustlers” with some colleagues because I’m so behind. But I go. It’s an important piece of content for women right now, for God’s sake! I’m back at my computer on the couch by 9:45.

11 p.m. Quick Slack to Faye about a lead for the social media manager role before I shut my computer. I’m tired. When’s the last time I had a sip of water? Did I eat lunch today?

Tuesday

10 a.m. I talk with our audio production team about an article on aftercare, which is essentially affection and communication after sex. It’s the default in the BDSM community, but a good ideal to aspire to in all sexual encounters. We talk about not ending our stories too abruptly.

11 a.m. We have a monthly meeting called “Postpartum” where we discuss what we learned from our last month of stories and how people reacted. Most of our narratives are crafted so a female listener can identify with the woman, but one of our recent stories is about three men at a gay club, and we discuss whether listeners identify with one character, or if they’re more of a voyeur, excited to have eyes into the whole relational dynamic.

1:15 p.m. Over tacos I get book recommendations for my upcoming vacation — the first real one I’ve taken since starting Dipsea — from our content editor and writer. The whole team is voracious. Books lie in stacks around the office, especially Dipsea-relevant reads like “Conversations With Friends,” and “A Billion Wicked Thoughts.”

2:50 p.m. A construction company works in our building and I chat with one of the workers in the elevator. The contrast between their mostly male, neon-vest-wearing crew with our almost all-female team of erotic content creators is funny, but we’re strangely symbiotic.

Wednesday

9 a.m. I get coffee with an investor that we’ve been talking to since our seed round. Meetings like this are a mutual way to keep the relationship warm even when we’re not actively raising.

10 a.m. At the office, Mel Scott, our head of growth, tells me she’s spoken to a few podcast hosts who are going to run our ads. This is exciting. Facebook makes it very challenging for us to advertise as a sexual wellness business, and it’s frustrating. Sometimes our ads perform really well; other times we discover something was disconnected. Ads that were approved mysteriously get disapproved, and we’re left guessing why.

10:05 a.m. Faye and I have a weekly one-on-one meeting we call “Sacred Planning” to remind ourselves never to book another meeting over it.

11 a.m. The founders of an A.S.M.R. app visit our office to learn about how we create our content. I’m curious to learn about their work, too. One of them says the most polarizing A.S.M.R. sound is “mouth sounds.” I tell him mouth sounds can be tough for Dipsea listeners, too.

2 p.m. Our editorial team presents a plan for a new process of developing scripts. No one has ever made exactly what we’re making, so it’s a constant learning game with no instruction manual.

3 p.m. I sit in on a “Hooked on Sonics” meeting, where our storytelling lead and one of our producers talk to the rest of the team. This one covers what feelings sound like: A hug being akin to the sonic experience of going underwater, or anxiety as a high-pitched ring.

6:30 p.m. The entire company goes to a breath-work class at Chorus Meditation. You breathe in a fast, rhythmic way that oxygenates your brain, activating your parasympathetic nervous system and relaxing you. The crazy part is, it can also have effects like tingling, visual experiences or semi-lucid dreams.

I wake up in a jolt, even though I feel mentally present: An hour has passed and it felt like 20 minutes. My body feels amazing, slow and quiet. We all eye each other, while the instructor wraps up, mouthing, “Cool, right?”

10:25 p.m. Faye texts me asking to borrow a shirt. I wonder how many other co-founders sign off with a “Night love you.”

Thursday

10 a.m. All-hands meeting. As our analyst presents which story tags performed the best, the team debates the underlying reasons. We know stories tagged as “group” or “threesome” are highly rated, but we don’t necessarily know why. The novelty? The explicitness? What are the creative differences between “crush” and “hookup” stories? They seem to overlap a lot, so what makes one more successful than the other?

1:45 p.m. I take a call with an investor who’s been persistent. He describes Dipsea as part of the “N.S.F.W. space,” which tells me I have to take a step back and explain our perspective on sexuality: We’re not interested in creating an erotic utility, we’re interested in empowering women with content designed for their pleasure. To his credit, he understands the difference.

4 p.m. “Hunks Brainstorm” session. The editorial team discusses stereotypes about attractive men that still feel relevant, or that we can modernize. A college athlete isn’t necessarily interesting without some other underlying reason. (Ah! Maybe they’re fed up with the extortive system they’re a part of and lean on a female confidante. She sees his depth in a way that her peers don’t get to. Write that down!)

We talk about the way that passionate people are attractive, and especially so if they’re a bit unattainable because of their focus.

Every “Fireman!” is met with an, “O.K., but why?”

5 p.m. I join Faye and Mel to figure out how to meet our greater goals for the quarter. Five hundred Post-its and two hours later, we take a step back to admire our work.

Friday

12 p.m. I meet with Mel to review the past week: how we spent marketing dollars, where it’s working best, trends we’re not sure what to do with yet. There’s one international market that’s going gangbusters.

12:45 p.m. We always order in and eat Friday lunch together.

5 p.m. I find a quiet booth for an interview with Tristan Taormino, host of the podcast Sex Out Loud, which I just found out is airing live. The host, a sex educator who really knows her stuff, gives us advice on creating content for older listeners, shares her favorite story (“Virgo Season”), and asks how I deal with running a women-focused company while also navigating the world of venture capital. I say it took me some time to realize I was more than one thing in different contexts, and that that’s O.K.

6:50 p.m. I find myself alone at Bamboo Hut, a tiki bar, with a blue salt rim mai tai in front of me. I’m evaluating whether this bar will fit our loose holiday party theme of “dive bar fancy.” The bartender tells me that yes, the lamps over the bar are real taxidermied puffer fish.

7 p.m. A friend texts, “‘Blue Salt Rim’ should be the name of a Dipsea story!” It’s a joke I probably hear once or twice a week but still haven’t gotten tired of.

Interviews are conducted by email, text and phone, then condensed and edited.

Sahred From Source link Business

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