#Louis Metric | Explore Tumblr posts and blogs

anchorandrope · 6 months ago

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I need to know why L's sisters are always the ones making trouble on social media and looking for attention. I really don't understand why them

Look, im going to give you an answer from PR because that's my life so why not lmfao. And since i've worked with one influencer recently, i have no doubts regarding what is happening at this point with louis' sisters.

Im going to try to explain this as short and succinctly as possible. and im really sorry to say this but this is how things work in real life, i beg you to leave your parasocial relationship with louis aside for three seconds to think coldly about the situation, because i know perfectly well how some of you take every statement made related to louis. several statements can exist at the same time, not everything is black and white, etc. thank you...

Some of you may ask, why always the twins? and there is, actually, an answer to that question. The answer, believe it or not, is not because Lottie is older than the twins. Partly her age is related, but it is not the reason itself... let's see:

Lottie started working as Lou Teasdale's assistant during the OTRA Tour, and since then and thanks to her, she got in touch with many important job opportunities that another teenager who does make-up well wouldn't have.

She has been in Fashion Week, worked for Selena Gomez, etc. Everything from a very young age. Today, she doesn't live exclusively from social media, as many believe. Her income is not only from "being an influencer", she has her brand tanologist, she published a book.... In Lottie's case, social media is a fundamental communication tool that allows her to obtain opportunities that generate income, but it is not her entire income per se.

On the other hand, Daisy and Phoebe were too young to take advantage of job opportunities at that time (1D days) because they were kids... they, again it may not seem like it, didn't have the same level of important job opportunities as Lottie had at such a young age. Lottie was at Fashion Week when she was 17... the twins are still very young and their proper working careers are just starting.

Phoebe and Daisy started their modelling careers in 2020 and to this day, they are involved in social media, promoting products (swaps) and modelling in small photo shoots. They haven't really had a big job opportunity like Lottie has had.

Unlike Lottie, they did not have the same visibility from the start and their income comes exclusively from social media. Modelling and swaps/promo are things they do through social media, their working tool is Instagram/TikTok. They need that platform for their income.

Now, if you have social media accounts set up as public and as a content creator you will know this, but for those who don't: those who create content on social media in this way (influencers, among other cases) have their own tool that helps them most to calculate how much they will earn and that is metrics. The famous "professional dashboard/insights" from Instagram for example.

To hire an influencer (in addition to doing a previous investigation of who you should hire) you should ask them for their metrics so that you can reach an agreement on the amount of money for that exchange/interaction/etc. A fixed base number is set, but depending on the reach, the more money they receive is directly proportional to the amount of interactions and views that post has had. Like on instagram if you share the post as branded content, the company you tag can see your metrics.

The fact that the twins are the ones who post content that they know people will go to their stories/posts/comments to see or will make them follow them on their social media is not a coincidence because the amount of people who interact with them (whatever the reason, as your personal reason is not seen on a metric lol) is what generates them revenue, quite literally.

Yes, it can happen that once in a while as something "casual" because they are people, but not as a generality and even less so when a few days later they do another promotion or they are in one. What is going on and whether it is right/morally correct or not are two different questions, by the way.

This is what happens, welcome to the world of influencers! It doesn't matter if you agree or not, if you like it or not, or whatever, those are your personal opinions (which are perfectly fine, we all have them) but... that's how it is. lol.

I personally don't think it's right to use babygate as a method of generating interaction, and just as I brought it to the attention of the clark family, I will bring it to the attention of the tomlinson's. the child is a huge victim of this, everyone is violating his right to privacy and honestly its disgusting to see after like 9 years. It seems to me that gaining interactions (that lead you to gain money) with such a horrible situation and with a child seems to me something that people should be ashamed of, to be honest. Beyond babygate, imagining that larry and babygate never existed, it's wrong to do this, it goes way beyond fandom, which i think is something a lot of people don't truly understand.

if you really want the twins to stop posting this kind of shit, im sorry to inform yall that the only solution to the problem is going to be to stop following them, stop looking at their stories, stop liking and viewing their posts, stop commenting, etc. any viewing/interaction is reflected in a metric, check it out for yourself (besides there are more metric apps than just the ones IG/Tiktok gives you). If you spread a screenshot taken by someone else or stuff, you are not interacting directly with their account, so it's not the same ofc, but if someone doesn't understand how it works, they will go and see it for themselves and and they will generate interactions. It's impossible not to have them on the radar, i know, so at least i ask yall to focus on what's really important, and not on every idiotic thing that happens, because that way they just make it worse, literally.

#ask #stylinsons #babygate #pr

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cryptocism · 8 months ago

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Here’s my thing about the twist at the end of IWTV season 2 (spoilers obvi)

The magic system that IWTV has is for flavour. It’s spice, it’s zest, it’s a lil bit of seasoning that gives the storytelling a fun supernatural kick.

We are not given exact metrics or data for how exactly the Vampire Powers function, just examples of some that can manifest (pyrokinesis/telekinesis/telepathy/flight/mind control/etc) and that Vampire Powers get stronger as they get older. eg. Armand can walk in the sun – but is he immune or just resistant? How old does a vampire have to be before they can take a midday stroll minus immolation? Is there a time limit? An intensity where they could still be injured? Does the effect lessen if they have some shade like an umbrella or a large hat–

IRRELEVANT!!! The Vampire Powers are for SPICE and these kinds of nerdy-ass questions about scope and scale in this magic system does nothing for the characters or the story. You do not need to know the exact range or power of Louis’ Fire Gift in order to cheer and clap when he burns down the theatre. Lestat’s Cloud Gift doesn’t need a follow-up explanation on how high/fast he can fly in order to be devastating when he uses it to do a domestic violence. This isn’t Fullmetal Alchemist, this isn’t Mistborn. This magic system is SPICE, and getting into specifics about the powers and how they work distracts from the wonderful twisty soap opera of the gay vampires doing war crimes to each other.

So my thing about the twist is not that Armand was willing to let Louis die, and it’s not the reveal that Lestat was actually the one who saved Louis.

My thing about the twist is that it relies on a magic system that wasn’t built to support that kind of major end-of-season plot point. And the consequences that the resulting ambiguity has on Claudia, the greatest tragic hero of all time.

So the Mind Gift.

Armand has that shit on lock. He’s shown using it extremely competently even before the San Francisco memory-alteration reveal. He’s the only member of the coven who clocks Louis’ recognition at Lestat’s name, he notices the “presence” in Louis’ mind when Louis hallucinates Dreamstat, he knows when Louis is lying to him about Claudia’s involvement in Lestat’s murder, when he tells Louis and Claudia to close their minds before his conversation with Madeline he says “I’ll know it if you haven’t.”. He’s able to knock out the entire coven in one scene, although it’s unclear whether that’s the Mind Gift or a combination of telekinesis and the time stopping(?) thing. Plus of course mind-wiping memory-alteration courtesy of the San Francisco saw trap.

Armand is the oldest vampire in the show so far, we know vampires get more powerful with age, and his previously shown competency with the Mind Gift means that when he says he compelled an audience full of people into banishing Louis, it’s a believable addition to his powerset.

And, consequently, when he says “it took all my strength” we can guess that he’s lying his ass off. Daniel points out Armand saved Louis and not Claudia because he was trying to reveal the reasoning that everybody except Louis already knows. To quote Assad Zaman: Armand doesn’t give a fuck about Claudia.

Lestat on the other hand.

His one and only use of the Mind Gift (besides the generalized telepathy all the vampires share) is when he mindfucks 30ish soldiers out of his townhouse in the 1900s. His ears bleed about it – and we can pretty confidently interpret orifice-bleeding as a kind of catch-all for mind-powers being difficult. And then we don’t mention it again for a season and a half because the magic system is for spice and Louis is more concerned with other shit.

Until Daniel brings it up in his Big Reveal, and this piece of evidence allows for the truth to come out and Armand to be exposed as an opportunistic liar. Scene is played out brilliantly, Louis puts a crater in his wall via his ex-husband, good stuff.

HOWEVER

This twist has the consequence of shifting the focus of the story. The central question has changed slightly. Instead of the reveal being who killed Claudia, the narrative focus is now on who saved Louis.

And despite my love of Daniel’s reveal scene, despite my love of the Louis/Lestat reunion scene, “who saved Louis” ends up a weaker thematic question.

Claudia is the whole fucking point. Claudia and the way her fathers failed her. Claudia and the tragedy of her narrative doom. Claudia and the ways she never escaped that child’s body in that burning house, no matter how much she tried.

My thing about the twist is that it takes our previous understandings of Armand and Lestat’s respective power and agency in that scene from this:

Armand: Could’ve Prevented It (Chose Not To) Lestat: Genuinely Could Not Have Prevented It

To this:

Armand: Could’ve Prevented It (Chose Not To) Lestat: Could’ve Prevented It (Chose Not To)

And then doesn’t interrogate or explain further. There is no one that says to Lestat, “You saved him, but why didn’t you save her?”

And look I can understand I’m meant to extrapolate that Lestat used all his strength to save Louis and therefore didn’t have enough juice to do the same for Claudia (his ears bleed about it and everything)

But they sprinkled so much doubt on Armand’s “it took all my strength” excuse and then immediately showed Lestat as much more powerful with the Mind Gift than previously assumed, and so I’m left with too many unanswered questions.

This is where the narrative puts too much weight on a magic system that wasn’t built to support it. The audience is aware, vaguely, that the older a vampire is the more powerful they are, but we aren’t actually given tangible comparisons between Armand and Lestats respective abilities circa 1949. Lestat is shown or said to have all of Armand’s same abilities by this point, but besides Armand being older, he’s never shown outmatching Lestat in power, and so we never get a real sense of Lestat's limitations.

I should mention that, on its own, this wouldn’t be a flaw. Like I said the magic is here for spice and zest and we don’t need Armand and Lestat to have a wizard battle in order to understand that Armand is probably nebulously more powerful.

But when you hinge a plot point on Lestat’s magical abilities and their limits, I would like to know for certain whether Lestat genuinely couldn’t have prevented Claudia’s death or, like Armand, simply chose not to.

If it’s the latter, it counterintuitively makes Lestat a much less sympathetic character, when (as far as I can tell) the purpose of the twist is to make Lestat more of a heroic figure, since post-reveal there are no further interrogations of Lestat's choices.

And I’ve read wonderful meta on Lestat choosing to let Claudia die and then regretting it forever: if he loved her more she would’ve suffered less, if he loved her less she might not have suffered at all, etc.

But none of this is given any focus in the show because besides Lestat’s single heartbreaking line about Claudia looking to him in her last moments. There is no illumination on whether Lestat’s inaction was due to personal choice or lack of ability. There’s no solid evidence in the show to swing it one way or the other, the magic system is too soft to support a solid conclusion about it.

And. Claudia was sentenced before Louis. So even if Lestat only had the ability to save one of them, he still made the conscious choice to save his strength for Louis.

Which is also not necessarily a flaw. Lestat making the choice to save Louis over Claudia would be an extremely compelling road to go down. My issue is that the show has changed the central question from who killed Claudia to who saved Louis and is now pretending that that road doesn’t exist.

There is no indication that Louis feels any kind of way about Lestat ostensibly choosing him over their daughter. There’s no indication that Lestat had any hesitation about his choice, despite his sadness at her death. I can interpret Sam Reid’s acting choices in the final scene as Lestat not realizing how much Claudia meant to him until she looked at him “like a child looking to her father” but by then it was too late – but that would still be speculative.

Giving Lestat the agency to save Louis and Claudia during the trial both puts too much pressure on a magic system that can’t support it, and puts wind-drag on Louis and Lestats reunion: what should be the emotional climax of the show.

And look to be clear: show good. I’m obsessed with show.

But the structural integrity of the final twist makes me feel like an OSHA inspector in an otherwise competently made building that doesn't have railings on the stairs.

They don't establish enough information wrt the magic system so that Lestat’s sudden ability and subsequent assumed limitations can reasonably track. They don't interrogate the consequences of giving Lestat the choice to save his daughter and then him proceeding to Not Do That.

I don’t think it’s out of character for Armand to choose his coven over Louis considering his habit of clinging to the familiar even if it sucks. I don’t think it’s out of character for Lestat to choose Louis over Claudia considering both Lestat and Louis’ habit of doing exactly that.

But you cannot ask the question “Who killed Claudia? (or, through inaction, allowed Claudia to die)” the entire season and then answer it with “Actually, Lestat saved Louis!”

It shifts the focus, it muddies the theme, it relies too heavily on a magic system that is supposed to be vibes-based and most importantly it treats Claudia like an afterthought when Claudia is literally the entire fucking point.

Claudia isn’t even the main character in her own story, the most tragic of tragic heroes, only someone’s first choice in the moments before her death, and neither she nor the woman she loves can do anything to change their endings. Louis and Lestat’s realization of all the ways they failed her is meant to be the emotional catharsis of the show, but it rings hollow, because the consequence of the final twist serves to render her narratively and metanarratively another round in Louis and Lestat’s stormy romance and un-asking its own central question.

#iwtv #iwtv spoilers #soapbox #i saw a couple ppl take issue with the twist when the episode came out #but most of the criticism seemed to be based in deviation from the source material #listen i dont gaf about what armand and lestat did or didnt do in the books #i give a fuck about MAGIC SYSTEMS and CLAUDIA #genuinely i do think iwtv is one of the greatest shows ive ever seen and i could make 800 posts about how fucking phenomenal it is #but i needed to dissect this bit like a frog

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indiaalphawhiskey · 3 months ago

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Hello India, I hope you're doing well. I don't know if you're still answering questions, but I have one:

Don’t you feel even a little bit resentful toward harry for choosing to go solo, distancing himself from the boys, and basically taking the easy route?

I know a lot of people try to justify it by saying he was groomed by his current manager and his family, because of his age, etc., but I feel like sometimes they victimize him way too much :/ I don’t know… He was the chosen one from the start and always had the benefits. He had important people on his side, and I feel like he prioritized less important things over what truly mattered. And you can say he always enjoyed the attention and benefits he had.

Truth be told, I know this question isn’t sent it good faith, but I’m going to answer it in good faith, if only to break someone’s echo chamber, if not yours.

I don’t resent Harry at all for going solo. Which, btw, they all went solo — it wasn’t his decision. If you do a little research, you’ll realize the full circumstances of the hiatus, and the fact that the working situation they were in was completely abusive and untenable, the way most boybands were, but even more exceptionally so because of how much money they were making/how popular they were. Everyone was begging for them to be given a break, but many in this fandom need to find someone to blame when they don’t have the patience to do research and consider context, and Harry’s an easy target because by most objective metrics, his solo career has skyrocketed.

He hasn’t distanced himself from the boys. He was at Niall’s show, dancing and singing. He’s referenced the boys on stage several times and in his BRITs acceptance speech. He constantly collects (and wears) One Direction paraphernalia. Not to mention, he was at Louis’ show after Jay’s death and Liam’s wake. But I’m sure all of this is convenient to omit when you’re pedaling your own narrative of events. That’s your choice.

He hasn’t taken the easy way, though I don’t know how you define that. I suppose you mean because his struggles are less obvious and less relatable. To that, I say, I think your view of what consists as struggle is extremely narrow, but that doesn’t surprise me because I know from the language of your ask that you have no intention of being generous towards Harry as a person, so why on earth would you view him with the nuance and kindness you view whoever is your favorite? Why would you allow him the same grace as any of the other boys?

Neither do I resent him for being “chosen” or for enjoying attention/benefits that he, himself, has worked hard for. I know this is a tough thing to hear because many of you have lost touch with the reality of how capitalist industries work, but making music is, by and large, about making money. The people on the backend of music are not recruiting artists to entertain or because they believe in their voice, they do it because the artists they choose are those that will make the most money.

Harry said it himself in his Grammys speech: he’s aware of how lucky he is because he knows there are other people out there who are more talented than him who will never get the opportunities he has. That is the reality of the world we live in: you cannot take everyone with you, even the people you love the most. Even the people who also deserve it.

What Harry has done, however, is prove he was worth the investment and that he’s grateful for every opportunity he has, which is all any one human can do. He cancelled a show once in three years. He toured during a global pandemic. He constantly gives 500% in and out of his shows (exercise, eating habits, therapy, healthy boundaries with fans). Everything he does is aligned with the longevity of his career, which is as much for his real fans as it is for him.

So, no, I don’t resent a person who’s dedicated his life to providing me with art that has pulled me out of my lowest and most lonely. No, I don’t resent him for working harder than any of us can possibly conceive, personally and professionally. No, I don’t resent him for giving up his privacy and safety and his right to have a quiet personal life in the name of entertaining us. No, I don’t resent him for being rich or privileged, because I can name fifty people who have done so much less for so much more.

The bottom line is, you resent him because you don’t think he deserves it. Thats why you think he’s taken the “easy” way, that’s why you omit his connection to the boys, that’s why you want to characterize his choices as “things that don’t truly matter”, that’s why you want to blame him for “going solo” even if the hiatus was thrust upon them as a collective after Zayn left first. And that’s totally fine. Just say that with your whole chest, because it’s what you believe is true.

I, however, completely disagree with you and truly, earnestly hope no one in your life ever holds your character and ethics to the same standard to which you hold Harry’s. You’d fail, by each and every single one of your own metrics. We all would.

#iaw ask #iaw anonymous

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queer-ragnelle · 4 months ago

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Brand “New” List of Additions to the Arthurian Preservation Project Archive

I've compiled all recent additions to the archive here for easy access. New additions include Medieval texts in French, German, Greek, Middle English, and Norse, plus a multitude of newly acquired retellings and illustrated volumes. Everything can be found on my Retellings List ordered by year or my Medieval Literature List ordered by language.

Links connect to corresponding PDFs on my Google drive where they can be read and downloaded for free. But if you like what I do, consider supporting me on Ko-Fi. I haven’t yet read these listings in full; I cannot attest to their content or quality. A big thank you to @wandrenowle, @mordredpendragon, and Anonymous askers for the help collecting!

Modern Retellings

Idylls of the King by Alfred Lord Tennyson (1898) — Illustrated by George Wooliscroft Rhead & Louis Rhead.

The Knights of the Round Table by William Henry Frost (1898) — Illustrated by Sydney Richmond Burleigh.

The Vision of Sir Launfal and Other Poems edited by Francis R Lane (1900) — Sir Lanfaul sees the Holy Grail.

The Book of Romance by Andrew Lang (1902) — Illustrated by H. J. Ford.

King Arthur's Knights by Henry Gilbert (1911) — Illustrated by Walter Crane.

Parsifal (1912) — Illustrated book about Parzival.

The Tale of Lohengrin - Knight of the Swan (1914) — Illustrated book about Parzival's son, Lohengrin.

Mayday by William Faulkner (1974) — Sir Galwyn seeks the woman he loves.

Peronnik the Simpleton (1984) — The quest for the Holy Grail based on Breton folklore & illustrated by Christiane Lesch

The Tragedy of Tragedies by Henry Fielding (2013) — Contains a story about King Arthur's wife, Queen Dollalolla, of whom "he stands a little in fear."

Medieval Literature

Daniel von dem Blühenden Tal or Daniel of the Flowering Valley translated by Michael Resler

Erex Saga and Ívens Saga translated by Foster W. Blaisdell and Marianne E. Kalinke

Le Roman de Tristan en Prose (French)

The Romance of Hunbaut by Margaret Winters (French)

Specimens of Early English Metrical Romance translated by George Ellis

The Old Knight translated by Thomas H. Crofts

The Romance of Perceval translated by Dell Skeels

Arthurian Romances, Tales, and Lyric poetry by Hartmann von Aue translated by Frank J Tobin, Kim Vivian, & Richard H Lawson

Sagas of Imagination - A Medieval Icelandic Reader translated by Ben Waggoner

Trot, Lecheor, and Nabaret translated by Glyn S. Burgess and Leslie C. Brook

Sir Lancelot of the Lake (abbreviated Vulgate w/ illuminations) translated by Lucy Allen Paton

Parzival, Titurel, and the Love Lyrics by Wolfram von Eschenbach translated by Cyril Edwards

Tristan by Gottfried von Straßberg translated by A. T. Hatto

#arthurian preservation project #arthuriana #arthurian mythology #arthurian literature #arthurian legend #my post

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twopoppies · 6 months ago

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Hi Gina, because of all the conversation around the twins’ social engagement and why they take so much advantage of posting about their famous brother and his “son,” I wanted to share a snapshot of what Daisy’s mentions look like across social channels in a month. This screenshot is a picture of what her mentions across social channels look like for the month of December. The huge spike is December 24 which of course is because she mentioned Louis on her Instagram account for his birthday. The smaller spike after that is because of the picture she posted of Louis’ cardigan hanging on a chair. And then the final large spike yesterday was because of the picture she posted of a kid with a heart over their face. Of course everyone is assuming it is F. Other than that, you can see her mentions are very small. If she really wants to be an influencer she needs her famous brother and the drama surrounding him to have any relevance in the influencer world. I would show you Phoebe’s, but it’s almost exactly the same. They are almost indistinguishable in their metrics.

Thank you so much for this (and the separate message with the photo). It's really interesting to see and backs up this post from @anchorandrope

#daisy tomlinson #babygate #pr and marketing

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olderthannetfic · 6 months ago

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Hi, I wasn't that anon but I have a PhD in music history and these responses to that Spotify post (much as I don't understand why that was sent to you) are hurting me. All I'm going to say is that if you're responding with "why is it always black people?" please take a history of popular music class if you genuinely do not understand why it is black people who get the focus when it comes to POPULAR MUSIC. (to be clear, this in this sense does not mean just "pop," but any genre that is not classical music or traditional folk music - so, rock, country, metal, R&B, hip hop, jazz all fall here, too)

Anon's whole point was that this is not a typical "minority representation" discussion, but one where the minority in question has always been dominant in this particular art form, in these particular genres, including being the majority in some of the ones Tumblr as a whole (maybe not the readership here specifically) really likes. You can't just import what you'd say about representation in any other medium. "Great black popular music artists" is not like, say, "great black filmmakers," it's more like "great female romance novelists." I don't even have to go out of my way to include black artists when I teach about American or British popular music, the way I do somewhat when I'm teaching about classical music. Yes, even from eras where the US popular music industry did their best to segregate them - you still had black artists who were influential and popular enough that they had lots of white audiences. Louis Armstrong and Nat King Cole come to mind.

I agree that just looking at people's Spotify Wrapped is not the greatest metric - as you said, what if someone was just listening to songs on there by a few artists. I use my Spotify mostly for playlists for my college classes I teach, so this particular year I was teaching a lot of Japanese popular music courses, and so they ended up being disproportionately Japanese. (I still had some black artists I was listening to in other contexts, though.) So my results tend to be odd and not very representative of their point. But I think I agree with the general point of why Black Tumblr users do this. Regardless, when people are responding to this with the same old discourse they use for every other discussion like this with something where black people (or whichever group) are UNDERrepresented, then they need to know that they missed the central point.

I get it, but truly, the number of weird nerds who don't listen to popular music from the Anglophone world in any kind of normal pattern is really, really high, and the amount that people get attacked even when it doesn't make sense is also very high. I know you and others are like "Well, we weren't talking about you", but when it comes to getting yelled at, they're quite right in thinking it is about them. That is how this nonsense always plays out, and it isn't necessarily black users spearheading it either.

This is US centrism wank boiling over, among other factors. The number of fans from outside the anglophone world coming at fandom from an all Asian media all the time place was high on my tumblr even during the years when I was completely out of Asian media fandoms. Now that I'm back in an Asian media phase, it's even higher. And that's just one cultural group that's going to be pissed about this kind of topic.

A couple of people have made stupidass comments, including about rap (quelle surprise), but the anger at being expected to know or care who Kendrick Lamar et al. are is not surprising.

Nobody should be looking at spotify wrapped this way in the first place.

In fact, nobody should be looking at spotify wrapped this year at all.

The real conversation should be about firing programmers and replacing them with incompetent AI.

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briar--rising · 8 months ago

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It is so funny to me when people try to argue about who's 'worse', Lestat or Armand. First of all, worse by what metric? By the way they treat humans? The way they treat Claudia? Or (as it seems most people are focused on) only the way they treat Louis? And if it's by the way they treat Louis, are you judging based on what you would find worse in a partner, or by what Louis does (bc I would argue he pretty clearly has an opinion on that based on the end of season 2).

And most importantly of all, who cares??? They are both TERRIBLE. Everyone in this show is terrible! You can like morally reprehensible characters. Armand is my personal blorbo, and what he does is horrific. I can feel bad for him, and enjoy watching him, and think that his actions are heinous, and reblog art and read fanfiction of him, and analyze him without excusing him, all at the same time! And so can you with whoever you like!

Pitting these characters against one another is absurd. "Which one is less abusive" is a question I guess you can ask, but it's not a very interesting one. Much more interesting is "Why are they abusive in these specific ways? What about their trauma and personality informs their actions? Why does Louis react the way he does to each of them? What does that say about Louis? What does this show say about domestic violence in general? Are the rules different for vampires? Or is abuse abuse? Do the victims determine who should get forgiveness? Or are certain actions inherently unforgivable? Can you forgive someone when their victim hasn't? Is any of this different in fiction rather than reality? etc etc etc." There are so many interesting questions posed by the juxtaposition between Lestat and Armand and the way they treat Louis, and none of them are "but which one is worse so I can forever villify that one and hold up the other one as the paragon of what's good and right and perfect for Louis"

#also i didn't want to get into it in this post but like...louis isn't a great guy either!#and neither is daniel!#the only reason daniel isn't as evil yet is bc he was human and therefore had both less time and less power to be evil #but i suspect (and hope) that will change in fun ways #this is the show of fucked up characters with fucked up power dynamics. Enjoy that! Embrace it for what it is!#anyway can you tell i've been spending time in the iwtv tag?#iwtv #the vampire armand #armand #louis de pointe du lac #lestat de lioncourt #my post #abuse cw #anyway armand is my blorbo but i am not an armand apologist. that guy is horrible #which does not mean i cannot enjoy him #i recommend this attitude to all and sundry

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stylesclarified · 6 months ago

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A complete deconstruction: Louis Tomlinson is a terrible songwriter. Part I

For years Louis' fans, spurred by the man himself, have been pedaling this lie that Louis was a "crucial" part of 1D's success through his songwriting and that, in turn, that made him a great, legendary songwriter. The best out of 1D.

That is a bold face lie that relies on people not fact-checking anything whatsoever and pulling stuff out of context.

Let's deconstruct the lie.

This first part will focus on certain things his fans (and he) say and why they're not true. It's not meant to be very fun because it's a bunch of numbers and statistics. It's meant to give you tools to debunk the lies by Louis' fans.

The fun part of this deconstruction will come in the second and third parts, which I intend to post immediately after this one.

FIRST POINT: Louis wrote most One Direction songs

No. He didn't. By any definition of the word.

most adjective 1 - in the greatest quantity, amount, measure, degree, or number: To win the most votes. 2 - in the majority of instances: Most operations are successful. 3 - greatest, as in size or extent: The most talent.

Definition #1 and #2 imply >50% of One Direction songs should have his name in the credits, correct?

Well, they don't. Louis has writing credit in 37 songs out of 91, which is 40%. It's a high number, for sure (very deceitful, but let's go with it for now), but it's not upwards of 50%, ergo, he didn't write "most One Direction songs."

Definition #3 would mean that if he had written in the most songs, as in, the largest amount among everyone, even if his percentage didn't surpass 50%, we could say that, to some degree, he's the one who wrote "the most" (still, very deceitful).

Alas, that would still be false. Two of the members of the band's songwriting team, Julian Bunetta and John Ryan, have written more songs than Louis. Julian has credit in 41, and John in 39.

You can fact check these numbers in this link.

I want to clarify, that even if Louis had written in the most songs (by any definition), it would've been largely irrelevant because of context. Zayn is on the record saying that all his ideas were dismissed and he felt side-lined.

So of course he'll have the least amount of writing credits (11 total, none of them as the sole contributor from the band).

Harry is also on the record saying he didn't want to "share" his songs. That he felt weird having other people singing about his innermost experiences, so he kept songs for himself (case in point, Two Ghosts).

[Happily is not the first time his name was on the songwriting credits, but we'll get on with that and why what he's saying isn't actually wrong at a later date]

Niall hasn't explained why he wrote fewer songs, but considering he writes all his tracks now and he actually can play instruments, and could all throughout the band, I hardly think that he was incapable of writing more. For whatever reason he chose not to.

So, Louis and Liam writing more in this context is completely meaningless. The others either weren't allowed to contribute or chose not to. It's not that Louis and Liam wrote more by virtue of being better songwriters. They wrote more by virtue of the others not writing.

Their lengthy songwriting credits are meaningless for more reasons that we'll explore soon, too, but the point I'm making here is that even devoid of all this context, the whole "Louis wrote most songs" assertion is simply not true.

SECOND POINT. "And remember, if it's a banger and by One Direction I probably wrote on it"

I know most people who would read this post already know this, but just in case, that's something Louis himself tweeted. He's wrong.

First, let's define "a banger." In this context, it would mean a hit. Their biggest songs. The most famous. The ones people consume and bop to the most.

What metrics can we take for this? Multiple. Such as:

Chart peaks (particularly in the US and the UK, their biggest markets)

Chart longevity

Certifications

Total sales

Total streams

Of course, to fact check this, I have to go by their singles. Those songs will be promoted and pushed the most, and those songs will be tracked for their stats.

Louis wrote in 6 singles, Liam in 5, Harry in 3, Niall and Zayn in 2. Who wrote "the most" singles is largely irrelevant (see the point I made above). One Direction released seventeen singles, so none of them wrote even close to "the most," and we've already established that the other three weren't really even trying.

But when Louis said that if it's a banger by 1D he probably wrote on it, in its face that would mean he has written 1D's most known and popular songs. The songs everyone bops to and instantly recognize. And as I said, this is flat out wrong.

This next bit will be largely statistical and a long list of names. I apologize because it's not super interesting, but it's kind of crucial to debunk the nonsense Louis said.

I'm listing every 1D single and its songwriters, which you can absolutely skip, I'll signal the huge block of text before and after. I want the information to be here, so you can glance at it if you need so, but it's not something you have to read in detail.

To make it a little more interactive, I'm color-coding it, going by their 1D microphones.

Green = Harry Blue = Louis Red = Liam Orange (the Irish flag) = Niall Pink (there's no yellow) = Zayn

The purple songs are the lead singles. I'm adding the album they belong to in brackets.

I know this sort of list is boring, you can just skip it and glance at it, or read the parts that you find particularly interesting, but I figured it'd be a good idea to have it all written down.

+ What Makes You Beautiful: (UAN) Carl Falk, Rami Yacoub, Savan Kotecha

+ Gotta Be You: (UAN) Augusto Rigo, Steve Mac

+ One Thing: (UAN) Carl Falk, Rami Yacoub, Savan Kotecha

+ More Than This: (UAN) Jamie Scott

+ Live While We're Young: (TMH) Carl Falk, Rami Yacoub, Savan Kotecha

+ Little Things (TMH) Ed Sheeran, Fiona Bevan

+ Kiss You (TMH) Albin Nedler, Bonn, Carl Falk, Kristian Lundin, Rami Yacoub, Savan Kotecha, Shellback

+ One Way or Another (Teenage Kicks) (charity single) Debbie Harry, John O'Neill, Nigel Harrison

+ Best Song Ever (MM) Ed Drewett, John Ryan, Julian Bunetta, Wayne Hector

+ Story Of My Life (MM) Ed Drewett, Harry Styles, Jamie Scott, John Ryan, Julian Bunetta, Liam Payne, Louis Tomlinson, Niall Horan, Wayne Hector, Zayn Malik

+ Midnight Memories (MM) Jamie Scott, John Ryan, Julian Bunetta, Liam Payne, Louis Tomlinson

+ You & I (MM) Jamie Scott, John Ryan, Julian Bunetta

+ Steal My Girl (Four) Ed Drewett, John Ryan, Jonathan Cain, Julian Bunetta, Liam Payne, Louis Tomlinson, Wayne Hector

+ Night Changes (Four) Harry Styles, Jamie Scott, John Ryan, Julian Bunetta, Liam Payne, Louis Tomlinson, Niall Horan, Zayn Malik

+ Drag Me Down (MITAM) Jamie Scott, John Ryan, Julian Bunetta

+ Perfect (MITAM) Harry Styles, Jacob Kasher, Jesse Shatkin, John Ryan, Julian Bunetta, Louis Tomlinson, Maureen Anne McDonald

+ History (MITAM) Ed Drewett, John Ryan, Julian Bunetta, Liam Payne, Louis Tomlinson, Wayne Hector

END OF THE HUGE BLOCK OF TEXT

Okay, so did he write 1D's most iconic and recognized songs? Well, no.

Color availability on tumblr is low so I have to change coding for the next bit. Pink is all five writing on the song, red is Louis + Liam, green is Louis + Harry.

I'll use top 10 for each metric.

Biggest singles overall according to Chart Masters:

* Chart masters is a website that aggregates sales and streams. It's not 100% accurate but it's the best approach we can get to the sales figure.

What Makes You Beautiful – 4,700,000

Story of My Life – 2,410,000

One Thing – 2,210,000

Little Things – 2,030,000

Live While We’re Young – 1,930,000

Best Song Ever – 1,810,000

Kiss You – 1,710,000

Drag Me Down – 1,450,000

Steal My Girl – 1,410,000

Night Changes – 1,150,000

More certifications worldwide:

What Makes You Beautiful: 9,368,000

Story Of My Life: 6,110,000

Drag Me Down: 3,793,000

Live While We're Young: 3,043,000

Little Things: 3,040,500

One Thing: 2,879,500

Best Song Ever: 2,507,500

Steal My Girl: 2,452,500

Perfect: 2,322,000

Night Changes: 2,147,500

Most viewed music videos:

What Makes You Beautiful: 1.5 billion

Drag Me Down: 1 billion

Story Of My Life: 1 billion

Night Changes: 878 million

One Thing: 808 million

Best Song Ever: 806 million

Live While We're Young: 745 million

You & I: 623 million

Perfect: 570 million

Kiss You: 563 million

UK chart peaks (longevity in brackets):

What Makes You Beautiful #1 (79 weeks)

Drag Me Down #1 (31 weeks)

Little Things #1 (27 weeks)

One Way Or Another #1 (17 weeks

Story Of My Life #2 (30 weeks)

Best Song Ever #2 (28 weeks)

Perfect #2 (20 weeks)

Live While We're Young #3 (25 weeks)

Steal My Girl #3 (22 weeks)

Gotta Be You #3 (7 weeks)

US chart peaks:

Best Song Ever #2 (21 weeks)

Drag Me Down #3 (20 weeks)

Live While We're Young #3 (16 weeks),

What Makes You Beautiful #4 (34 weeks)

Story of my Life #6 (32 weeks)

Perfect #10 (20 weeks)

Midnight Memories #12 (3 weeks)

Steal My Girl #13 (18 weeks)

One Way Or Another #13 (8 weeks)

Night Changes #31 (20 weeks)

If we average all of these different metrics, the order would be this (in case of a tie, whichever song has more streams on Spotify goes first):

What Makes You Beautiful 5 metrics, 1.6 average

Story of my Life 5 metrics, 3.4 average

Drag Me Down 5 metrics, 3.4 average

Best Song Ever 5 metrics, 5.2 average

Live While We're Young 5 metrics, 5.4 average

Perfect 4 metrics, 7.75 average

Night Changes 4 metrics, 8.5 average

Steal My Girl 4 metrics, 8.5 average

Little Things 3 metrics, 4 average

One Thing 3 metrics, 4.67 average

One Way or Another 2 metrics, 6.5 average

Kiss You 2 metrics, 8.5 average

Gotta Be You 2 metrics, 9.5 average

Midnight Memories 1 metric, 7

You & I 1 metric, 8

History No metrics

More Than This No metrics

Of the three singles Louis and Liam wrote together, only one makes the top 10 at 8. And that single is the lead for Four, remember what I said about leads being the songs that have a better chance at charting and selling well? Steal My Girl is by far the least successful lead single 1D has released at #8 (all the other four lead singles are in the top 5). I think it's actually kinda funny, ngl.

So far his "banger" assertion isn't really making that much sense, is it? He didn't write on even close to a majority of the singles, and the ones he did write, aren't really the biggest hits either...

There's a way for us to do this sort of assessment of "bangers" with non-singles. For that, the only tool we really have are Spotify streams.

I'll add a disclaimer that I think is important: ONE DIRECTION WASN'T ACTIVE IN THE STREAMING ERA.

The streaming era is largely regarded to start in 2015, when Billboard (the company that tracks the US charts) started including streams in their formulas, but it didn't really kick into gear until a couple of years later.

Look at this chart of Spotify active users from the first quarter of 2015 on. There were 68 million in 2015 vs 615 million in 2024. And this doesn't include 4 out of the 5 years 1D was active in.

1D actually got a lot of new streaming bests after Liam's passing, because of course people started to listen to their catalog there actively for the first time.

What I'm going to use streaming for is for their non-singles. There's no way to know how many units those songs sold unless you have access to their raw data (which only their team has), so streaming is as close of a guess as we can have as to which non-singles are popular.

Something I haven't detailed yet is the total amount of written songs by all members of the band. Let me do that:

List of writing credits:

Zayn - 11 9 tracks, 2 singles

Niall - 16 14 tracks, 2 singles

Harry - 21 18 tracks, 3 singles

Liam - 34 29 tracks, 5 singles

Louis - 37 31 tracks, 6 singles

Since there's such disparity in the number of songs written, let's do an average per track (excluding singles, since those have been analyzed already)

Zayn: 93,953,458 Niall: 102,031,790 Liam: 129,623,606 Louis: 137,115,106 Harry: 157,811,404

Harry has by far the largest average, Louis trails behind by 20M+ with Liam somewhat closer.

Just for shits and giggles, I wondered how many of the songs they'd written were above 100M:

Zayn 2/9 = 22%

Niall 6/14 = 43%

Liam 13/29 = 45%

Louis 14/31 = 45%

Harry 9/17 = 53%

Well, well, well... isn't that very curious?

IDK I think that it's starting to sound like if it's a banger by One Direction Harry probably wrote on it

I'm absolutely joking, btw, if it's a banger by One Direction Julian Bunetta probably wrote on it. But I will say, quantity <<<< quality.

I think it's safe to say that Louis didn't write 1D's bangers and he's full of himself.

THIRD POINT. "Louis was the main songwriter and the most important one in the band"

Louis wrote most of his songs by committee, so this is absolutely ridiculous to say. I mean, all five of them had a lot less say in the sound of 1D than fans would like to believe, but nobody is claiming any of the others were the "key member" because of their songwriting, so...

Aside from Zayn, who always wrote with at least two other members of the band + several other co-writers, we can actually look at who they were writing with and determine how important each member was for each song.

I'm taking these songs out of the equation because all five wrote on them, and that fully neutralizes them as an argument.

Night Changes

Story Of My Life

Fool's Gold

Taken

Summer Love

Change Your Ticket

Same Mistakes

Everything About You

Irresistible

Also taking out AM and Back For You, because while Zayn didn't write in them, all the other four did, and I'm not going to consider Zayn for this part of the point.

To make it more visually impactful, I'm color-coding the list. Red will be the most common number of co-writers, orange the mid, and green the low.

LOUIS - 26 tracks

Two with 2 co-writers.

Five with 3 co-writers.

Nine with 4 co-writers.

Six with 5 co-writers.

Two with 6 co-writers.

Two with 7 co-writers.

Average 4.3 co-writers per song

---

LIAM - 23 tracks

One with 2 co-writers.

Two with 3 co-writers.

Twelve with 4 co-writers.

Five with 5 co-writers.

One with 6 co-writers.

Two with 7 co-writers

Average 4.2 co-writers per song

---

NIALL - 5 tracks

Two with 3 co-writers.

Three with 4 co-writers.

Average 3.6 co-writers per song

---

HARRY - 10 tracks

Four with 2 co-writers

Three with 3 co-writers

One with 4 co-writers

One with 5 co-writers

On with 6 co-writers

Average 3.2 co-writers per song

Louis usually wrote with 4 or 5 other people, so did Liam. Niall usually wrote with 4 or 3. Harry usually wrote with 2 or 3. I think that is EXTREMELY telling.

How important can you be for a song if you're writing it with several others? And this, this is the crux of the issue.

It's why this whole argument about how "important" Louis was for 1D and how he was such a great songwriter is utter bullshit.

This is the climax of this very boring post. The most important part.

I'm going to try to simplify this as much as I can. Try to bear with me.

When you write a song, you have to register the songwriters to get royalties (to get PAID). When a song has multiple songwriters, (most of the time) each one will get paid according to what they did on the song. In most cases, someone will have come up with the melody, which is a key part. Someone will have written most of the lyrics. Someone else might just get credit for suggesting adding an instrument or changing a part of an arrangement, switching a line, whatever

Each of these people will have songwriting credit, but not all of them will have contributed equally. And that's something that in most cases is actually divided when you register the credits of a song. You agree with your co-writers on who gets what % of the credits and that's how you register it. So when you get paid for it (what's called "royalties") each person gets compensated fairly for their contributions.

Whoever wrote the most will get paid the most, and so forth.

So how does this happen? Well, I have to explain something else very briefly. In order to get paid royalties, you have to register in a company that collects them (they collect from radio, from streaming services, from your song being used on TV, etc). The companies that do this are called Performance Rights Organizations, shortened to PRO.

There are multiple different PROs that you can get signed to. Different countries will have different PROs. In America the two most common ones are ASCAP (American Society of Composers, Authors, and Publishers) and BMI (Broadcast Music Inc.). There are other PROs in America, and there are other PROs in other countries.

In 1D, Zayn is signed to BMI, Liam, Louis, and Niall are all signed to PRS (Performing Rights Society), which is a British pro, Harry is signed to GMR (Global Music Rights), which is a newish American PRO founded by Irving Azoff.

BMI and ASCAP created Songview in 2020. Songview is a platform that allows you to search their databases and see their catalogs in an organized way. Songview will typically tell you if BMI or ASCAP control a song and what percentage of it they control.

One thing to keep in mind, foreign PROs (such as PRS) will collect royalties through an American PRO, typically either BMI or ASCAP (but it could be another one, such as SESAC or GMR), and that will depend on the individual arrangement the songwriter has. In Songview, royalties for those PROs will show up under either BMI or ASCAP, even if the songwriters aren't signed to them.

If the song is under another American PRO that isn't BMI or ASCAP, Songview will just show it as "other."

Songview isn't 100% infallible. There can be mistakes. You can access it through either ASCAP or BMI's website and the information will largely be the same. It's possible one of the two will have more details (usually BMI is friendlier to navigate). There can be mistakes, but they're rare.

Now, since what we're analyzing is the songs written while the guys were in 1D, I have to add another disclaimer. While the guys were in the band, all their songs were under a publisher (I'm not going to explain this, it's too much, you can look it up). The publisher's name was PPM Music LTD. All of 1D's songs went through that, regardless of who wrote them. So, if all five wrote on a song (like on Story Of My Life), we can't get their individual %. The individual % exists, but it's impossible to discriminate unless you have access to the filing information, which we do not.

PPM Music was signed to PRS and collected through BMI. I use past tense because, while it still collects their royalties, nobody is registering their songs through it anymore.

What's the point of all this? Well, we can do a little logic-guesswork-looky and get an estimate of the % of songwriting credits the guys have in several songs they've written for 1D.

For instance, let's look at Back For You, which is a song 4 members of 1D (everyone except Zayn) wrote for their second album, alongside Savan Kotecha (ASCAP), Rami Yacoub (BMI), and three Swedish songwriters called Carl Falk, Albin Nedler, and Kristoffer Fogelmark. These three Swedish songwriters are signed to STIM (which literally translates to Swedish Performing Rights Society).

The breakdown of this song is 85% for ASCAP, 10% for BMI, and 5% for "other."

We don't know any of this for sure, but most likely scenario, one of the STIM songwriters is collecting through an American PRO that isn't BMI or ASCAP (hence "5% other"), while the other two + Savan are collecting through ASCAP (85%).

Rami Yacoub + the 1D guys are all collecting through BMI and they divide the 10% controlled by it. Most likely scenario, Rami has 5% and the 1D guys split the remaining 5. Why? Because he was a professional songwriter and the 1D guys were teenagers who were just dipping their toes in music? Hahaha.

But aside from that, keep one thing in mind that's important. Carl Falk, Rami Yacoub, Savan Kotecha, and later on Julian Bunetta, John Ryan, and Jamie Scott were hired by their label to write music for 1D. They weren't going to sit for hours on a studio only to write 1% of a song. Typically, if you have a team of professional writers on a song, they'll either split credits evenly (because they do it as a 9 to 5 job) or there'll be one or two (usually the producers) who get slightly more credit.

But, okay, this is for their second album. The 1D guys were still finding their footing, right? Surely they'll contribute more down the line, once Louis TOOK CHARGE!

Okay, so here's Fool's Gold, which was written for their fourth album.

There's only one ASCAP writer (Maureen McDonald), but she has 40% of the writing credit. The remaining 60% is divided between all five members of the band + James Needle.

As per what I said above, James Needle probably had 40% as well, meaning the remaining 20% is divided in 5, which each member getting 4%.

But maybe I'm making assumptions! Alright. Let's go to History, Ed Drewett is with ASCAP and he has 32% of the writing credit. Leaving 68% to be divided by John Ryan, Julian Bunetta, Liam, and Louis. Considering Julian and John also PRODUCED the fucking song they most likely had equal parts or more than Ed Drewett. If we assume equal, that's 96% songwriting credit for Ed, Julian, and John and 4% to be divided between Liam and Louis.

We don't really have the luxury of knowing exact breakdowns because sadly, most songwriters involved with 1D are signed to BMI. We have to resort to this sort of guesswork, but it's pretty straightforward thinking. Julian and John (and a lot of the time, Jamie Scott as well) were instrumental in most 1D songs. They won't have less writing credit than Ed Drewett.

I'll do a breakdown song by song without all the commentary next, but keep in mind that there are a lot of songs in which 100% of the credits belong to BMI because every songwriter is signed to it. In that case I can't do any sort of breakdown. It's impossible to tell.

Those songs are...

From Midnight Memories: - Alive, Better Than Words, Diana, Does He Know?, Don't Forget Where You Belong, Little Black Dress, Midnight Memories, Something Great, Story Of My Life, Strong, Through The Dark

From Four: - Clouds, Illusion, Fireproof, Illusion, Night Changes, Ready To Run, Spaces, Steal My Girl

From Made In The AM: - Home, Long Way Down, Never Enough, Olivia, Walking In The Wind

The following songs are not filed on BMI or ASCAP: - Still The One, What A Feeling, and Wolves

Okay, so onto the ones I can sort of break down. Keep in mind I'm making EDUCATED GUESSES. I'm not including any more screenshots because it's getting annoying, but you can look it up here.

I'm going in order by album and tracklist

TAKEN (Up All Night)

Lindy Robbins 37.5% (ASCAP) Toby Gad 37.5% (ASCAP) Harry Styles 5% Liam Payne 5% Louis Tomlinson 5% Niall Horan 5% Zayn Malik 5%

EVERYTHING ABOUT YOU (Up All Night)

Stephen Robson 40% (ASCAP) Wayne Hector 40% (BMI) Harry Styles 4% (BMI) Liam Payne 4% (BMI) Louis Tomlinson 4% (BMI) Niall Horan 4% (BMI) Zayn Malik 4% (BMI)

SAME MISTAKES (Up All Night)

Stephen Robson 20% (ASCAP) Wayne Hector 20% (BMI) Harry Styles 12% Liam Payne 12% Louis Tomlinson 12% Niall Horan 12% Zayn Malik 12%

LAST FIRST KISS (Take Me Home)

This one is flat out wrong. Harry and Niall didn't write on this song. Also PPM Music isn't listed in the publishers. If you search the song on ASCAP, PPM Music is mentioned and Harry and Niall aren't in it, so that would be correct, but the percentages are different which confuses me further. My guess is that there's some sort of mistake in the filing on BMI, but I can't break down the percentages.

BACK FOR YOU (Take Me Home)

Already broke it down!

SUMMER LOVE (Take Me Home)

This one is complicated, there's an "other" that I can't place. So I'm gonna leave it up to god.

IRRESISTIBLE (Take Me Home)

I actually can't break this one down. There must've been a bunch of changes in societies that I can't track down.

HAPPILY (Midnight Memories)

Savan Kotecha 33.34% (ASCAP) Carl Falk 33.34% (STIM) Harry Styles 33.34%

RIGHT NOW (Midnight Memories)

I have to add screenshots here. This song was written by Harry, Liam, and Louis alongside OneRepublic frontman, Ryan Tedder. Ryan is signed with Global Music Rights (GMR, Harry's PRO that I mentioned earlier).

BMI says that they control 10% of the songwriting and 15% of the publishing, while "other" (GMR) controls 75%

But GMR says they control 70%

PPM Music LTD isn't listed as a publisher on BMI, which already happened with Last First Kiss. The difference here is that it's also not listed on ASCAP, so I don't think it's a mistake. My guess is that when Ryan moved his publishing of this song to GMR (he signed with GMR a couple of years ago), they also somehow moved Harry's rights as well, so that 70% is both Ryan and Harry's rights, and the remaining 30% is Liam and Louis'. In that case the breakdown would be:

Ryan Tedder 55% (GMR) Harry Styles 15% Liam Payne 15% Louis Tomlinson 15%

LITTLE WHITE LIES (Midnight Memories)

Ed Drewett 20% (ASCAP) Julian Bunetta 20% (BMI) John Ryan 20% (BMI) Wayne Hector 20% (BMI) Liam Payne 10% (BMI) Louis Tomlinson 10% (BMI)

WHY DON'T WE GO THERE? (Midnight Memories)

Stephen Robson 25% (ASCAP) Wayne Hector 25% (BMI) Claude Kelly 25% (BMI) Louis Tomlinson 25%

WHERE DO BROKEN HEARTS GO? (Four)

Ruth Cunningham 20% (ASCAP) Julian Bunetta 20% (BMI) Teddy Geiger 20% (BMI) Ali Tamposi 20% (BMI) Harry Styles 20%

FOOL'S GOLD (Four)

Maureen McDonald 40% (ASCAP) James Needle 40% (BMI) Harry Styles 4% (BMI) Liam Payne 4% (BMI) Louis Tomlinson 4% (BMI) Niall Horan 4% (BMI) Zayn Malik 4% (BMI)

NO CONTROL (Four)

In this one, the only non-BMI songwriter has minimal credit, which doesn't allow me to distribute the remaining 90%. It could be split evenly 18% each, or it could be 20% for the professionals and 15% for Louis and Liam, or any other division. I can only guess so much.

STOCKHOLM SYNDROME (Four)

Something similar to what happened with No Control. Johan Carlsson only has 10% of the writing credit, so I have to divide 90% between Julian Bunetta, John Ryan, and Harry. It could be even or Julian and John could have more. No way of knowing.

CHANGE YOUR TICKET (Four)

Samuel Martin 10% (ASCAP) Julian Bunetta 20% (BMI) John Ryan 20% (BMI) Harry Styles 10% (BMI) Liam Payne 10% (BMI) Louis Tomlinson 10% (BMI) Niall Horan 10% (BMI) Zayn Malik 10% (BMI)

PERFECT (MITAM)

Jacob Hindlin 17.67% (ASCAP) Maureen McDonald 17.67% (ASCAP) Jesse Shatkin 17.67% (ASCAP) Julian Bunetta 17.67% (BMI) John Ryan 17.67% (BMI) Harry Styles 5.83% (BMI) Louis Tomlinson 5.83% (BMI)

END OF THE DAY (MITAM)

Ed Drewett 17% (ASCAP) Jacob Hindlin 17% (ASCAP) Julian Bunetta 17% (BMI) John Ryan 17% (BMI) Wayne Hector 17% (BMI) LunchMoney Lewis 5% (BMI) Liam Payne 5% (BMI) Louis Tomlinson 5% (BMI)

IF I COULD FLY (MITAM)

Johan Carlsson 33.33% (ASCAP) Ross Golan 33.33% (BMI) Harry Styles 33.33%

LOVE YOU GOODBYE (MITAM)

Jacob Hindlin 40% (ASCAP) Julian Bunetta 40% (ASCAP) Louis Tomlinson 20% (BMI)

HISTORY (MITAM)

Ed Drewett 32% (ASCAP) Julian Bunetta 32% (BMI) John Ryan 32% (BMI) Liam Payne 2% (BMI) Louis Tomlinson 2% (BMI)

TEMPORARY FIX (MITAM)

Peter Kelleher 16.67% (ASCAP) Benhamin Kohn 16.67% (ASCAP) Wayne Hector 22.22% (BMI) Thomas Barnes 22.22% (BMI) Niall Horan 22.22% (BMI)

AM (MITAM)

Ed Drewett 20% (ASCAP) Julian Bunetta 20% (BMI) Wayne Hector 20% (BMI) Harry Styles 10% (BMI) Liam Payne 10% (BMI) Louis Tomlinson 10% (BMI) Niall Horan 10% (BMI)

----

Anyway, what's the conclusion here? Well, that if they were writing in big groups, then they most likely had very little say in terms of songwriting. We're talking 10% or less writing credit each. It's only when they go into smaller groups that they get a little bit more say and that's in very few songs.

I'm being extremely fair in these guesstimates and applying the same logic to everyone. Aside from very few examples (Why Don't We Go There? and Love You Goodbye, in Louis' case, Happily, If I Could Fly, and Where Do Broken Hearts Go? in Harry's, Temporary Fix in Niall's) where they have even splits in smaller groups, none of them were really the driving force in terms of songwriting.

Conclusion: Louis wasn't the key anything.

This idea that Louis was crucial for 1D's success because of his writing is fucking ridiculous by literally all metrics. He didn't write the most songs, he didn't write on most songs, he didn't write the biggest bangers or the most popular songs (not singles and not album tracks either), he wasn't the main songwriter on a single song he did write, in fact, more often than not his contribution was 10% or less of a song.

Can we end this debate for once?

We'll talk about the fact that he actually can't fucking write in the next post. I know this one was probably a little boring, but we needed to get this out of the way to get to the fun part. Which is coming next!

#Louis Tomlinson #One Direction #Liam Payne #Harry Styles #1D #Zayn Malik #Niall Horan #fandom myths #long post

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