#RCA Fashion

[odk-2]

Jimmie Rodgers - Blue Yodel No. 8 (Mule Skinner Blues) (1930) Jimmie Rodgers from: "Blue Yodel No. 8" / "Jimmie's Mean Mama Blues" (10" Shellac 78 RPM)

Country Music | Acoustic | Blue Yodel

JukeHostUK (left click = play) (320kbps)

Personnel: Jimmie Rodgers: Vocals / Guitar

Recorded: @ The Hollywood Recording Studios in Los Angeles, California USA on July 11, 1930

Released: on January 16, 1931

RCA Victor Records (US) Montgomery Ward Records (US) Zonophone (UK) His Master's Voice (Australia)

♫♫♫ ♫♫♫ ♫♫♫

"I'm going to town honey, what you want me to bring you back? Bring a pint of booze and a John B. Stetson Hat ..." - Jimmie Rodgers

Portrait of John B. Stetson by Irwin Benoni, 1895 John B. Stetson Invented the Cowboy Hat

Stetson Hats Window Display Advert Posters c.1920's

[minuy600]

A Near-Full Tier List Of 70s Atari 2600 Games

With only a couple games left to go and me needing to 'git gud' in one of them, it's only logical that it's time to wrap things up with a good old fashioned tier list!

Note: Some of my opinions have changed over time, so if some of the ordering doesn't make sense to you if you've read earlier reviews, that's why.

Football, Slot Racers and Superman will be added to the list if I can either find a second player (first 2) or a cartridge of the game (last one).

We got 28 games to go over here. F tier to A tier in that order. No S cuz there's zero games that really fit that bill. Let's rock.

F Tier

#28 Space War (11/40)

Ewwwwwwwwwwwwwwww. Who thought porting a game from 1962 was a good idea on a console that already had surperior alternatives of the genre? The singleplayer was the worst gaming experience i've ever had. It's not even in space, dangit! Disastrous release.

#27 Slot Machine (11/40)

The title doesn't lie, this sure is a slot machine. And that is all it is. How does one manage to have less value than Basic Math, I wonder? Should've given more memory to Casino, Atari...

#26 Hunt & Score (10/40)

Awful controls, lacking visuals, horrendous noises and it's much, much, much cheaper to buy a copy of a real memory match game anyway. The (second) worst of the worst, even amongst several weak 1978 releases that held no value as soon as better games came out.

#25 Miniature Golf (11/40)

What am I even looking at? You move a square and that determines the angle of another square bouncing around, which is as tedious as it sounds. Squares squares square. Ourgh, I hate it. If only it had more holes so I could hate it even more.

D Tier

#24 Basic Math (12/40)

Woof, okay. As a random math problem generator with funny sound effects, it... functions. That's all I can say about it. It's a blank screen if you remove the numbers. This is my lowest of the low bars for what is somewhat passable in some regards and what isn't.

#23 Hangman (14/40)

Impressive selection of words due to being the first game with expanded memory. Now why you would spend your bucks on this when a piece of paper is something almost everyone has, I wouldn't know. Nobody wants to play Hangman alone.

#22 Street Racer (18/40)

Even more boring than Indy 500. Every mode plays the same as each other with very mild changes. Number Munchers is as good as it gets, and that's only because it's over sooner.

#21 Code Breaker (14/40)

Graphically almost as bad as flippin' Basic Math, made worse by how confusingly it plays it's cards and the fact that half the screen estate ain't being used while playing Nim. Below all the rubbish, Nim managed to curve out a tiny place in my heart due to it's alright AI.

#20 Flag Capture (16/40)

Better than Code Breaker due to being a more justified release. Otherwise, forgettable. So much so, that i'm out of things to say.

#19 Home Run (16/40)

A kinda ass way to play baseball, however props must be given for hardly having a point of reference at this point. It completely trumps the RCA Studio II version and it seems to be fairly close to the version by Epoch in Japan. Major positive is that it's a lot faster than it's contemperaries.

C Tier

#18 Outlaw (20/40)

Based on a revolutionary arcade title with a proper microprocessor. I find this one very dull. At least it has some minor things going for it like being able to deconstruct the obstacles in your way. Well done Outlaw, you did the bare minimum.

#17 Indy 500 (21/40)

Extremely mid racing. Single players are gonna be done with it in 3 seconds flat as the time trialing is not fun at all. Multiplayer is oooooookay. Decent engine noises for the time.

#16 Brain Games (18/20)

Errrrhhh, I may have been slightly too harsh earlier. Visually it's kinda gross, however you could argue that the collection of brain teasers here ain't too awful. I had a modicrum of fun with some of 'em.

#15 Star Ship (22/40)

The most striking game of the launch lineup for attempting first person well before a game could do it for realsies. I can appreciate it as an art form, as a game though? I'm good.

#14 Sky Diver (21/40)

At least it doesn't fuckin' squeal at ya at all times like in the arcade. However, unlike that version, it's pretty much multiplayer-only and the thrill of seeking a high score got almost completely butchered as a result. Satisfactory port, nothing more.

#13 Human Cannonball (20/40)

Has some personality in the form of the guy you shoot out of the cannon, and I found myself somewhat immersed by the smart way the game's visuals came to be. Otherwise, dull as dishwater.

#12 Basketball (21/40)

The first proper attempt at a realistic ball sports title. It tries a 3D perspective and for competitive play, I can see a decent time being had here. The repetition and lack of modes very much hurt it unfortunately.

#11 Blackjack (23/40)

An entirely functional and sorta addicting take on the card game of old. Gets completely trounced by Casino which is essentially an enhanced version of this.

#10 Bowling (24/40)

Falls under the same kinda umbrella as Basketball. Don't mind this one. It has good visuals (a multicolor sprite!) and a goofy dance when you clear all the pins. Kinda wears thin once you know where to stand however.

#9 Video Chess (23/40)

The best AI of the console put into a cart that could barely handle it. Sluggish movement, long loading times and hard-to-discern visuals make it a hard sell now. However, back THEN, this fuckin' kicked ass for the common man. It gets a formal handshake from me.

B Tier

#8 Air Sea Battle (28/40)

A fine introduction to the Atari 2600's library. I think it's sorta boring and the AI is hardly a contest, but the multiplayer is still enjoyable enough and it's audiovisually one of the better launch games.

#7 Casino (22/40)

How I gave this a lower score than Blackjack, I have no idea. You can play the same exact game again here with improved visuals, or dive into a couple variaties of poker, of which I actually really like Poker Solitaire. Good package!

#6 Backgammon (27/40)

Graphically one of the most impressive games on 2600 so far. Gameplay-wise, yeah it's Backgammon and Acey Deucy alright. This game thought me the ropes and i'm thankful for it. I would almost call this a worthy substitute for buying the real thing. Almost.

#5 Canyon Bomber (26/40)

Very solid ports of two middling arcade games, Canyon Bomber and Destroyer. It only made sense as they were essentially two peas in a pod from the getgo. Tired of Air-Sea Battle and in the need of something you can also play competently alone? This one's for you.

#4 Breakout (25/40)

I WILL get back to this one. I promise. The Atari 2600+ is coming in in 2 weeks and will allow me to play it with an actual paddle controller for the first time. Playing with a controller does not do it justice. It's Pong for the score hunters. 8 modes with 4 variations each is only rivalled by those coming up ahead on the list.

A Tier

#3 Surround (27/40)

Doesn't have the quirky ASMRy noises from arcade Dominos, otherwise this is an extremely solid competitive pre-Snake Snakelike. Very replayable because it allows you to doodle around freely, too.

#2 Combat (31/40)

The quintessential pack-in for the 2600 in it's early years. I don't like that it lacks a singleplayer mode completely- the multiplayer is still a hoot on occasion though. Even contains some funny glitches if you're into that sorta thing.

#1 Video Olympics (33/40)

Pong remains a classic that's still good for the occasional bout. This is that, but with a TON of other modes to invite a pal over for. The single player is destined to play one mode, however the AI is competent enough to keep that fresh for a little bit too. Easily the definitive way to play gaming's granddaddy.

Soon, Video Olympics shall be rivalled or even dethroned. The 2600's hayday is about to kick into high gear. And with that, I mean a couple weeks as I wait for my new old console to arrive in the mail. See ya then, you goofy video game crash instigator.

[the-girl-who-didnt-smile]

Human Alastor (FTM trans headcanon)

Full size image

Commentary below:

Here, Alastor is shown at four different stages of his human life:

Childhood - around 12 years old

“Voodoo Killer” - late teenage years

Jazz Musician - early 20s

Radio Star - later adulthood to time of death

His career as a serial killer started when he was around 12 years old and continued up until his death.

The three stages of his adult life are supposed to correspond with different aspects of his demon form’s hairstyle.

During the “Voodoo Killer” stage, he straightened his hair and styled it similarly to his demon form’s hairstyle. However, he did not have an undershave. If viewed from the back, it would look like a simple bob. His appearance is inspired by Clementine Barnabet. I intended for his tignon to be tied in a similar manner to Clementine’s. Additionally, the bandages wrapped around his legs are meant to make him look a little like Voodoo Queen Lala from the 1930s. I gave him bandages instead to make him look like more of an edge lord (lol). The cross worn was originally his mother's. After she died, he painted it black in mourning. He wears it at all times, up until his death, to remember her.

During the “Jazz Musician” stage, he kept his hair short in order to pass for male. This is supposed to correspond with the back side of Alastor’s demon form, which is shaved short. His appearance is inspired by Jelly Roll Morton, one of my favorite Jazz musicians, who also happens to be Creole. Not visible in this pose, but Al wore black gloves that match the color of his hair. 

During the “Radio Star” stage, several aspects of Alastor’s appearance are inspired by the late, great Cab Calloway. Like Cab, Alastor styled his hair in a conk. His suit is also inspired by the iconic white suit worn by Cab Calloway.

That being said, creative liberties were taken with Al’s white suit, which is anachronistic for the 1930s. Cab famously wore zoots, but I don’t think that would be Alastor’s style. Since I know so little about 1930s fashion, I gave up and didn’t attempt to give him a historically accurate suit. Instead, his tuxedo is based on the one he wore in the pilot. There are several anachronisms present in Alastor’s canon design, so it might actually fit his character to wear a suit atypical of the 1930s. This could preserve the otherworldly, “Willy Wonka”-esque presence that he has, even on Earth. Still, it’s a pretty glaring historical inaccuracy. Once we get to see Al’s canon human form, I might redesign him.

Since Alastor would have more than one suit, I didn’t worry too much about the inaccuracies present in his clothing. The one thing I refused to compromise on was his microphone.  In the TV show, Alastor’s iconic microphone is a vintage ribbon mic. However, this “pill capsule” style looks more similar to models that were only invented after Alastor’s death. Here’s an example of a ribbon mic that was rolled out shortly before Alastor’s death: The RCA Type 77-A. As you can see, it’s a lot larger in size than Alastor’s microphone.

My first attempt at drawing human Alastor gave him a ribbon mic, seen here: https://www.deviantart.com/thegirlwhodidntsmile/art/Human-Alastor-ribbon-mic-1035514228

In order to be more historically accurate, I discarded this design. Instead, I gave him a spring microphone, technology that is more iconic of the 1920s/1930s. 

Here’s an image of Cab Calloway in front of a spring microphone, one year after Alastor’s death:

I took some creative liberties with the flag of Alastor’s microphone. Normally, it is supposed to say the radio station. Since I don’t know what radio station Al’s show aired on, I just had it read “ON AIR” in red.

Importantly, Alastor’s suit has to match the design of his microphone, which is an extension of himself.

It’s a little awkward how Alastor is holding his microphone, so here is how it looks from the back: https://www.deviantart.com/thegirlwhodidntsmile/art/Human-Alastor-back-of-mic-1035514255

The backside of the microphone is supposed to look like an eye, and have a bit of an ominous presence.

A headcanon I have is that Alastor had a severe case of stress-induced vitiligo. Because he was very egotistical, this was a source of shame for him, so he hid it with makeup and clothing. Here is how his face would have appeared shortly before his death: https://www.deviantart.com/thegirlwhodidntsmile/art/Human-Alastor-no-makeup-1035514264

Al’s colors are mostly browns, whites, and black, to keep with the deer theme. The black tips of his shoes are supposed to look a bit like deer hooves. I pictured his height as 5’10, one inch taller than Michael Dillon. Since the average male height was around 5’7, Al was still taller than most men, which made it easier to pass for male.

In addition to Clementine Barnabet, Jelly Barnabet, and Cab Calloway, FTM Al’s appearance is largely inspired by the famous biracial drag king Stormé DeLarverie.

I picture Alastor having a darker complexion than Stormé, or Cab Calloway for that matter. Compared to Stormé, his nose and eyes are different (his eyes are supposed to have the same shape as his mother’s. distinctly African, not European at all) but his mouth, jawline, and overall facial structure are similar. He’s basically supposed to be a much less white-passing version of Stormé DeLarverie. Because he was born around year 1900, Al would not have had access to any form of medical transition. He would be physically indistinguishable from a cisgender drag king.

I also picture his physical build being pretty similar, but he’s taller (I’m not sure how tall Stormé was, but I don’t think she was 5’10) and skinnier. He’s supposed to have a really striking appearance, where he’s really slender but really tall for someone born in his time, and he has an androgynous face.

In my more recent drawings, the drag king Alberta “Bert” Whitman has also served as visual inspiration for human Alastor:

Bonus image:

https://www.deviantart.com/thegirlwhodidntsmile/art/Alastor-kill-count-1035514155

[jewishbarbies]

Forgive me but I have so much I can say about this that it physically hurts that her fans believe this nonsense…

“she has always been on the frontlines of change in the industry and setting trends”

When?

“she literally changed the demographic of country music from just being for/about older women to teen girls”

There were female artists before that those “older women” listened to when they were teens. When Taylor’s fans are older women there will be a new singer that teens listen to. It’s how the music industry and freaking aging works. 

“she was one of the first people to really centralize social media in marketing”

She’s literally not. The singers that came up in the early 2000s are. They think 2006 is when the internet was being utilised for promoting singers because of Taylor. Google was invented in 1998. Social media & the internet was being used for almost a decade before. JLO is the reason google images was created for goodness sake.  

“she left RCA because she felt that even if they gave her a good deal they would diminish other writers on the label.”

Do they really think she’s the only so singer to leave or stand up to their label. Britney Spears stole her upcoming song from her label and released it to a radio station in 2004/05. 

“she unabashedly writes about her feelings as a young girl and a woman despite getting shit for it at every turn.”

Most female artists who came before her have struggled with this. Dolly Parton would win awards and get up on stage and not be allowed to speak because her MALE partner spoke for her. Even though Dolly was doing all the work. 

“she's one of the first artists to successfully transfer genres from country to pop.”

This is just false. It happens all the time. Not to mention it happens with different genres and artists all the time. 

“she stood up against streaming when literally no other artist did, got them to change some of their policies”

Because she’s the only one that is selfish enough to publicly pick a fight with someone and pretend it’s got nothing to do with her own bank account. Even when I was a fan of hers I knew she was doing it for herself. 

“yet now the exact thing she was worried about has happened.”

Because she was greedy and arrogant and didn’t buy the masters when they were offered to her because she thinks she better than everyone. 

“her move into pop music was completely different than the type of pop that was being made at the time and it influenced pop for years to come.”

Am I deaf? She stuck to the pop model created by those before her to make sure she was successful. Madonna, Janet Jackson, Britney Spears, Billie Eilish they all took risks with their music and careers to push the envelope and change the sound of pop. Not Taylor “stick to the formula” Swift. 

“all before the me too movement.”

The act TS did herself was admirable but this sentence. This belief that this Swiftie (and potentially other Swifties too) have is a slap in the face to what this movement initially represented and what it meant for women who had endured this. 

“her rerecording process is the first of its kind to be this successful and others are now following suit.”

Wtf does this sentence even mean. They don’t know sh*t about her recording process especially in comparison to other artist. Are they seriously so deluded to think no artist was successful before Taylor. How can they compare her to anyone if they believe this. This statement alone makes it sound like she is the reason music is successful. 

“the way she publicized her fight to own her masters”

Yes for public sympathy cause she’s a narcissist. 

“she also basically started the crop top set trend of the mid 2010s”

One quick google search and this is what I found. “Although the crop top first gained prominence in the fashion industry during the 1930s and 1940s - the latter in particular due to fabric rationing in World War II” I’m sure if I spent more time researching I could find more. But I also know it became very popular in the 1970s with men and carried in through to the 80s and 90s for men and women. Then the 2000s was when the trend reignited. 

“heavily influenced the twee fashion of early 2010s”

This is not the compliment they think it is. This fashion trend is layered with the issues. Her racist fans probably love it because it’s a style that is deemed acceptable by those Hampton holidaying rich white mothers and fathers that got sent to boarding school in England when they were young (I hope that analogy makes sense). It was also equated to thinness particularly at the time it was popularised. Not to mention you google Twee and the pictures you see are if Jess from New Girl, Blair Waldorf from Gossip Girl (a character from a 2000s show) and Alexa Chung. 

Also such a bizarre way to end their long winded rant. 

They are all so blatantly ignorant and stupid. I wasn’t going to say stupid but it really is all it is at this point. They are stuck in this cult they can’t even make reasonable arguments anymore. It’s exhausting constantly being bombarded with them all in every facet of life. I see so many videos of Swifties singing her music in public settings like that video of them on the plane, if I was on that plane I’d have jumped out of it, and it’s just infuriating the lack of respect they have for the rest of the world. Yet they expect everyone to respect and worship their cult leader. It’s disgusting and exhausting. 

Sorry this was so long. I don’t have many followers and I know you’re a safe space for people who don’t like her. And I feel like this is something others might agree with. 

[exilology]

HOME -> MEMBER PROFILES -> EXILE HER ( SOLOIST ) PROFILE & FACTS

EXILE HER (그녀를 추방하다) is a k-pop soloist signed under KQ Entertainment. she released her debut ep SEASONS OF HER, PT.1 on JUNE 15, 2018 with the title songs "GASHINA" and "HUSH RUSH." on JULY 8, 2019, EXILE HER signed with USA record label RCA Records. she is also signed to the JAPANESE record label AVEX Inc. in 2019.

STAGE NAME : EXILE HER

BIRTH NAME : Y/N

BIRTHDAY : 00/00/1999

CHINESE ZODIAC : RABBIT

REPRESENATIVE EMOJIS : 👹 / 🕊️

EXILE HER FACTS :

she is a former source music trainee.

training period : 3 years and 3 months.

she was first revealed as a kq trainee on march 18, 2017 with her cover of bruno mars' finesse.

she has a cat named moe which fans have dubbed "exile cat."

has been nicknamed the "4th gen concept queen" by fans and netizens.

she is friends with fellow idols: txt's yeonjun, red velvet's yeri, itzy's yeji, stray kids' changbin, aespa, chuu, and ateez.

she is extremely close with her staff.

she appeared on season one of produce 101 and ended up ranking 14th in the final show ranking.

after produce 101 ended, she reportedly left source music and signed to kq entertainment a few months later.

she was on "we got married" in 2019 with ateez's wooyoung.

she went on a hiatus in november 2020 after she was involved in a car accident, she later revealed that she also took the hiatus due to her mental health.

she made her acting debut in the drama "imitation" with fellow labelmates ateez as the character juliet.

she won rookie of the year in 2018.

she has also won best female artist in 2021 and 2022.

on may 5, 2023, she was announced as stars n' bones' first ambassador.

she also starred in the fashion brand's own drama show "euphoric" in 2023 and did the soundtrack for the show as well.

she is the fastest female soloist to receive their first win.

her debut song gashina was credited as one of the best k-pop songs of 2018.

she tied with loona for second place on the queendom 2.

in january 2023, she and ateez's yeosang revealed they were dating to the public.

LATEST KOREAN COMEBACK :

LATEST JAPANESE COMEBACK :

[alarrytale]

Meanwhile the others were held back, burdened with false unfavourable images and had to claw their way out of the ditch. They weren't given the same chance to shine, because Sony though there could only be one successful star out of 1D. They also held the others back to have everyone's focus on H. ///

Liam had David Beckham's manager and a great deal with UMG. Nobody was telling him he couldn't make it because he has an excellent voice. Capitol Records was delighted to sign Niall and gave him the same opportunities Harry had. Straight into touring, first to release a single. Nobody told Niall he couldn't make it and RCA certainly didn't tell Zayn that either. When he was signed the CEO called him an 'icon' and his first single was more successful than SOTT.

Only Louis was told by the music press that he wouldn't have a solo career but that was based on his shaky vocals. If the industry really thought he had no chance nobody would have signed him.

Hi, anon!

I'm not saying they weren't given a shot at success. They all were, despite the odds. They were all from a very successful band, were talented, lovely boys and with huge fanbase backing. Of course other labels would jump on that, there were money to be made on them. But the other four boys didn’t have the perfectly curated image, the international recognisable face and notoriety, preperation time nor the billion dollar label deal. They were all fortunate to sign good-ish label deals, but had to rebrand to fix their images (as well as they could, Sony still controls it). They also needed to compete against each other because they didn’t have gp recognition like H had.

Imagine how different things would be if Zayn was the one tasked with dating TS to help 1D break America, or if Louis was the one in the BBC deal with Nick Grimshaw, or if Niall was the one to attend fashion shows, if H was made to date E and Liam dated Kendall Jenner. Sony gave all this to Harry so that he'd be ready to go solo after 1D.

Liam got Beckham's manager who'd never managed a music artist before, only sport stars. It showed. Liam also brought with him an image of people's least favourite member, with an addiction due to the way they were treated in the band, and little name recognition in the US. The label and management struggled to create an image for him and find a fitting sound that the fans responded well to. Remember the payne chain era? The controversy around his bi song? It showed inexperience and lack of understanding of trends and fandom by both label and management.

Niall got a good deal but he was still stuck with Mo*est who was hated by the entire fandom. He was able to successfully rebrand, because his previous image wasn't in tatters. He got rid of the blond hair, dressed better and found his sound pretty quick. He's dated/been linked to other celebrities and gotten his name out there like Pal*in. Hail*e and Sele*a, and he's "bff"'s with Shawn. He's also been a judge on the voice that have exposed him to american audiences. He still haven't been given the opportunities that H has. He wasn't hung from a helicopter in his first music video. He isn't writing songs with max martin. He's on a budget.

Zayn jumped ship and had a really good start to his solo career. That song is a banger. Turned out his time in 1D was traumatic enough that he'd gotten anxiety and adopted some not good coping mechanisms that hindered his career developement. I think he was tired of fame and his fake mysterious image and needed time out of the spotlight. He needed to prioritise himself and his mental health.

I've discussed Louis so many times, that i won't repeat myself and we all know what he's been through and is still going through.

[justforbooks]

Although there was never any such phenomenon as Whittakermania, Roger Whittaker, who has died aged 87, built a huge international following in a career that spanned six decades. As the Boston Globe noted of his stage performances: “No one gets high. No one gets hysterical with excitement. And yet Roger Whittaker is one of the most popular entertainers in the world.”

Whittaker’s smooth baritone voice and songs of love, loss and yearning endeared him to audiences worldwide. His best known songs, where his voice was invariably accompanied by keening strings, included 1969’s Durham Town (the Leavin’), I Don’t Believe in If Anymore (1970), which reached No 8 in the UK, The Last Farewell (1971, reissued in 1975 to become a Top 20 hit in the US and a chart-topper in 11 countries), and Wind Beneath My Wings (1982).

He also had a trademark whistling ability, which he used to perform The Skye Boat Song in a duet with Des O’Connor, reaching the UK Top 10 in 1986.

Though he did not rack up chart hits as prolifically as the Beatles or Abba, his frequent TV and live appearances made him a household name in many countries. In the mid-1980s, he was acknowledged as Germany’s most successful recording artist. He made several recordings in German, singing the lyrics phonetically since he could not speak the language.

He was never fashionable, but never out of fashion with his audience. When he recorded a song such as Green, Green Grass of Home, it lacked the drama of Tom Jones’s version and his treatment of Song Sung Blue was homelier and more avuncular than Neil Diamond’s original, but it all became Whittaker music.

He liked to say he represented the “silent majority”. He defined this as “the kind of person who when he marries becomes a parent and a taxpayer and devotes himself to bringing up his children properly – all in all, a pretty straight-down-the-line guy”.

In the 70s, when rock music was dominating the record industry, Whittaker was dropped by his label, RCA, despite the fact that he had sold several million discs. He decided to market his 1977 album, All My Best, on TV. “I was the first act to go on TV with records,” he said. All My Best sold nearly 1m copies.

Born in Nairobi, Kenya, he was the son of Vi (nee Showan) and Edward Whittaker, who had owned a grocery shop in Staffordshire, but moved to a farm near Thika after Edward sustained serious injuries in a motorcycle accident and had been advised that a hot, dry climate would aid his recuperation.

Edward developed a new grocery business, while Vi worked as a teacher. Roger, who could speak Swahili before he learned English, attended the Prince of Wales school (now Nairobi school). He had begun learning the guitar at seven.

After school, where he had sung in the choir, he was called up for national service. He was posted to the Kenya Regiment, and for two years was involved in fighting the anti-colonial Mau Mau rebels. He subsequently attended the University of Cape Town to study medicine, but after 18 months he left and trained to be a teacher.

In 1959 he moved to Britain and enrolled at Bangor University in north Wales, where he studied zoology, biochemistry and marine biology. He also began to make his first moves into music, playing gigs to earn some cash and recording songs on flexi discs distributed with the university newspaper.

These provoked interest from Fontana records, and in 1962 his first single releases were The Charge of the Light Brigade and Steel Men.

He played concerts in Northern Ireland and appeared on the Ulster TV show This and That, and his career developed with constant touring around Britain.

“I learned how to entertain in the clubs of the north-east of England, the working men’s clubs where the miners go,” he said. In 1964 he married Natalie O’Brien.

By 1968 he was touring internationally and even had a TV showcase in the Soviet Union. At the 1968 Knokke song contest in Belgium, Whittaker performed If I Were a Rich Man, from the musical Fiddler on the Roof, and his own whistling composition, Mexican Whistler, helping Britain to win the competition, and both tunes were hits in France, the Netherlands and Belgium. In 1969 he scored his first UK Top 20 hit with Durham Town (the Leavin’), which reached No 12. Its easy-listening mixture of sentimentality and nostalgia, with its mournful references to war and bereavement, was typical of Whittaker’s work.

He revisited his African background in the documentary film Roger Whittaker in Kenya: A Musical Safari (1982), and in 1986 he published his autobiography (written with his wife), So Far, So Good. Three years later, he received the news that his parents had been attacked by a gang of robbers in Kenya, leaving his father dead and his mother brutally beaten. She subsequently moved back to Britain.

Outside music, Whittaker had a shrewd eye for antiques. His collection of paintings, furniture and works of art was auctioned by Sotheby’s in 1999 for more than £1m, at the same time as he sold his Herefordshire home and moved to Essex. Latterly he lived in the south of France.

He is survived by Natalie and by their five children, Emily, Lauren, Jessica, Guy and Alexander, 12 grandchildren, two great-grandchildren and his sister, Betty.

🔔 Roger Henry Brough Whittaker, singer and songwriter, born 22 March 1936; died 13 September 2023

Daily inspiration. Discover more photos at Just for Books…?

[max--phillips]

Alright guys. With the talk of streaming services being the way that they are and like… who even has cable anymore? You may be thinking to yourself, well, damn, there are some things (sports, the news, live TV, whatever the case may be) that I’d like to watch but I’m not paying for cable or anything, and I don’t want to wait to pirate it. (Or maybe you’re not comfortable pirating which, cmon now, but fair enough.)

I have a solution!

First thing you’ll need: a good old fashioned antenna. This will be particularly helpful if you live in a city, relatively close to the towers doing the broadcasting, but you can get antennas with some pretty incredible range. Here’s a fairly decent one from Amazon for about $30. Usually hardware stores also have them, and chances are pretty good you have an electronic supply store in your town that also carries some!

Second thing you’ll need is an app called RCA Signal Finder. Just type that into your app store of choice, and you should get a free app from RCA you can download. This will allow you to choose which channels you’d like to watch, and it will tell you where the towers broadcasting those channels are so you can turn your antenna towards the tower for a stronger signal!

Other than the $30 investment for the antenna, the channels are completely free, and in this day and age typically in HD. You will mostly get local news channels, but that means you can watch whatever shows happen to be airing on NBC or CBS or whatever stations you can get. It’s genuinely a lot like cable, just minus the fancy extras (like DVR or being able to pause the show or whatever), and with a little bit of quality loss considering antennas can be a little touchy.

I used this technique to watch SNL last night, actually!

Anyway, here are some tips for you to give you the best chance at success with this:

The higher you can set up the antenna, the better. If you have a bookshelf you can set it on top of, that would work, or you can usually use a command strip or something similar to hang it on the wall. That said, if you hang it on the wall, you’ll have less ability to adjust which way the antenna is pointing if you’d like to use the RCA Signal Finder app to find towers.

As an extension of that, if you own your home or have a cool landlord (which is an oxymoron I know but hang with me here) and can set up a bigger antenna outside, maybe on your roof, that’s even better! But not strictly necessary.

Yes, that’s (most likely) a coax cable. Your TV (even your brand spanking new smart tv) should have a little screw looking thing in the back with a convenient little label next to it that says “antenna” or “ant/cable in” or something similar. The little wire sticking out of the middle of the cable will go in the hole in the center of the screw looking thing, and you’ll screw the cable on. Voila! Your antenna is now connected. Unless you have one that requires external power, this should be the only thing you need to plug in at all.

Getting to channels should be easy. If you have a Samsung smart TV like I do, you should be able to go into the settings menu, then broadcasting, then auto-program, and tell it to program from air. It should automatically detect the channels you’re receiving from your antenna and save them to your TV. If you don’t have a Samsung smart TV, I can’t imagine the steps would be too much different. You should be able to Google “how to set up antenna on [brand] tv” and it’ll walk you right through it.

Don’t be afraid to adjust and get creative with the antenna if you’re not getting a channel you want. Those old TV bits of people building wild contraptions with coat hangers and duct tape to get a decent signal to watch a show aren’t THAT much of an exaggeration. Now though our antennas are typically a little less unwieldy.

Go forth and watch TV for free!!!

[thriftstorerecords]

Fashion b/w Scream Like A Baby David Bowie RCA Records/USA (1980)

[randomvarious]

Today's compilation:

Get Hot Or Go Home: Vintage RCA Rockabilly '56-'59 1988 Rockabilly / Rock & Roll

Look, folks, I am by no means a huge fan of rockabilly music, but this comp from Country Music Foundation Records—which was an extension of the Country Music Hall of Fame and Museum in Nashville at some point—still has some real bangers on it. I appreciate rockabilly for serving as a vital step towards the eventual explosion of rock & roll, but, in hindsight, a lot of that 50s stuff can feel pretty monotonous, formulaic, linear, and threadbare, which most of this comp happens to be.

But when the singer gets raucous, the band gets noisy and fast, and the sound gets a bit thick, I am definitely 100% on board.

So, back in '88, Country Music Foundation Records got access to the RCA label's mid-to-late 50s rockabilly vaults, and they ended up fashioning a comp that was comprised of a bunch of musicians who probably aren't very well known outside of rockabilly circles, except for Roy Orbison. And on that comp, you can also find a good deal of songs that had previously gone either unreleased in the U.S. or unreleased entirely. And it's all of good sound quality too, so, regardless of how I personally feel about 50s rockabilly, if that's your jam, you're gonna wanna listen to this whole album, just to hear some of these rarities alone.

Now, this thing was originally released as a double-LP, and the first one is taken up by only two artists: New Orleans' Joe Clay and Atlanta's Ric Cartey. And for me, it's Clay who is inarguably the star of not just that first LP, but this whole entire release. I really don't find his first five songs to be very gripping, but the next four are the ones that bring that loud and brash, energetic rock & roll attitude that I'm after. And it comes as a bit of a surprise too, since he is so much more reserved in the previous five songs. But tunes like "Get on the Right Track" and "You Look That Good to Me" feature Clay gravelly shouting, with his backing band *really* turning it on for the solos. And before this album came out, the only places you could hear "You Look That Good to Me" were on a couple German releases. Go figure!

Unfortunately, though, the second LP ends up leaving a lot more to be desired than the first, but we still get a good one from "The Female Elvis," Janis Martin, who was one of just a few pioneering female rock & rollers back in her day. The full-on clanging clamor of the guitar solo on her "All Right Baby" is very satisfying, and then, later on, we're treated to Jimmy Dell's "Rainbow Doll," which chooses to eschew a guitar solo for a completely unexpected, greasy, sleazy, and bawdy sax one instead. Fantastic stuff there.

So, while I found the vast majority of this collection of 50s rockabilly from RCA to be pretty bland, the small slice of tunes that do happen to stand out are still *super* tasty 😋. And if you really love 50s rockabilly, then you'll probably end up enjoying this full 33-song set a whole lot more than I did.

Highlights:

Joe Clay - "Get on the Right Track" Joe Clay - "You Look That Good to Me" Joe Clay - "Cracker Jack" Joe Clay - "Did You Mean Jelly Bean (What You Said Cabbage Head)" Janis Martin - "All Right Baby" Jimmy Dell - "Rainbow Doll"

[waitmyturtles]

Tracking away from my usual drama content for a moment to take you on a walk where my mind is going -- I’ve been thinking a lot about fashion lately and want to meditate on it a little bit.

I’ve been posting/cheesing a lot on my faves lately in my reblogs -- Machida Keita, Akaso Eiji, Seo In Guk, etc. -- not only in part because they are gorge, but also because I’ve long subscribed to the belief that Asian fashion magazines just DO fashion better than in Western content. Editorial spreads, analysis, a focus on fit and tailoring, mixing textures and styles, pushing the boundaries of what can be *carried* on a body (say, like, pairing a handbag with a large tote bag, or experimenting with hems and shoes), documenting a much wider variety of high and street styles -- and doing it in a way that doesn’t seem exclusive to each of the populations that the magazines are targeting. 

This is, of course, related in part to the fact that Japan has quite a few more fashion magazines on their newsstands than typical American bookstores. In the States, for edgier content, we have, say, Hypebeast or V or Complex. The sheer slew of *men’s* fashion magazines alone is astounding in Japan, let alone the jawdropping number of women’s fashion magazines. Through my stanning of Japanese actors and actresses through the years, I’ve discovered some magazines that I love, but I’m also just generally drawn to HOW the fashion is depicted and styled. On my highly underutilized IG account, I devotedly follow a number of Japanese stylists and photographers, just for inspiration, while I troll vintage and consignment websites for my actual closet.

Anyway, besides cheesing on my Asian faves (holy crap, the number of covers Machida has had this year is mindblowing, and Akaso is getting more covers, too!), the reason why this is clicking in my mind is because one spread that really got me over the recent holiday weekend is NOT Asian in content or publication -- it’s of one of my fave bands, MUNA, in NME Magazine (London). 

I mean, first of all, I just CAN’T. 

So if you don’t know MUNA (the majority of Tumblr HAS TO KNOW MUNA, RIGHT?! AAGGHH THEY’RE SO GOOD), they are out of Los Angeles, and how else to describe them? The NY Times said that they’re “breaking out of their cult following and bringing its anthems about queer joy to a wider audience.” MUNA is unabashedly queer, their songs have always reflected this, and they’re just ridiculous pop magicians. They signed to RCA until the pandemic, then they were dropped, then they signed to Phoebe Bridgers’s indie label, Saddest Factory, where they released their self-titled third album this year.

Besides the fact that I’ve been utterly obsessed with their newest album from this year (and I got to see them on tour last month, AMAAAHHHHHZING), this NME spread really blew me away for a couple reasons.

All trends come back, right? There’s something deeply 1990s about what we’re seeing in the pictures -- the heavy boots, the boot-cut pants, the sheer midriff top on Katie (redhead), the sheer bodysuit AND low-rise miniskirt on Katie, the generally brown-red theme of the cover.

But. And. Naomi (curly hair) and Josette (short hair). I fucking don’t think I’ve seen a cover this year where people, either alone or in a group, just fucking owned the AIR of a cover. Not even my gorge Asian faves have owned a cover like this. Look at Josette! Hand on her THIGH, legs spread, owning the ROOM between her stance. Josette in the second pic, all black, muscle-cut shirt, heavy belt, the GAZE at Katie. It’s pure OWNERSHIP OF THE SPACE. 

What I love about this NME cover and spread is that the air of the coverage is not about SEX or implied sex, which to be honest, a lot of my fave guy covers and spreads are kinda about. (I mean, look at this -- it’s SFW, it’s Machida on the cover of Nylon Japan. And Seo In Guk’s recent cover from Elle Singapore -- sizzling.) 

(And, interestingly, many women’s magazines in Japan very often focus AWAY from sex -- I could meditate more on this vis à vis modesty, but I don’t want to overgeneralize until I can cite much more research.) (Tangent, sorry.)

This NME cover, to me, is about presence and awareness. It’s not about making a damn STATEMENT. It’s about capturing a MOMENT, a breath, a moment in time where MUNA, after a pandemic filled with uncertainty, have found their certainty. (And, honestly -- the spread IS SEXY. But you can tell that they, and the photographer, didn’t need overt signs of SEX to make this moment happen.)

And looking at this spread made me think on queer fashion for a second. Last year, THEM Magazine had an amazing article on what exactly “queer fashion” means. Is it that fashion is created by the queer community? Are there signals, values, visual ticks, that make fashion “queer”? When I read this piece for the first time last year, it really got my antennae up regarding what I would see, critically, in your regular Western collections (say, like, Balenciaga) and to try to see if I could spot a derivative cop from the queer lens. 

But I think I understand “queer fashion” better, if the term isn’t already outdated, by seeing this NME spread. For me, at least, I see the presence of a project, of people coming together to make TRUE AND LASTING AND LIFTING ART, by queer people being utterly and unabashedly THEMSELVES. To me, MUNA here is showing themselves visually with the sheer power of their presence, in part by what they’ve chosen to wear, and how to wear it, along with representing and bringing with them the incredible music that they’re celebrating in this spread.

This is really powerful to me. It gives me a chill down my spine -- it makes me think that, as a timid girl in my teens and twenties, that I would have loved to have a little of this confidence growing up. 

And I think this spread gives me joy because we’re at a moment in our world’s history where a queer band CAN DO THIS -- own the cover of one of the world’s most important music magazines, breathlessly, confidently, by staring down the camera lens and being their true and honest selves. And they just blow away the spread with layers and layers of deep confidence that, to me, is unbelievably powerful to see.

God, I am just so obsessed with this spread. It gives me so much confidence in being a person. I hope my daughter can be moved by amazing people like MUNA as she grows up.

[retromusicart]

David Bowie - Fame and Fashion: David Bowie's All Time Greatest Hits! (RCA, Compilation, 1984) - Photograph by Anton Corbijn

Yet another RCA cash grab released without Bowie's input. A decent sampler of hits, but it hardly deserved the "Greatest Hits" banner; we don't even get "Life on Mars?" or "Suffragette City", for one. Also, several tracks on this album were on the previous Golden Years compilation about a year prior. Odd.

In addition to this boring-ass cover, thanks to RCA's carelessness, the second half of the album had the stereo channels switched around. It's like this on both the vinyl and CD releases. Jesus H. Christ....

The album was mercifully deleted from rotation when Bowie re-claimed his RCA archive.

Image courtesy of Discogs.

[redcarpetview]

GRAMMY, Dove, Stellar-winner Kierra Sheard releases seventh album ALL YOURS, available now!

     Today, GRAMMY®, Dove and Stellar Award-winning artist Kierra Sheard-Kelly has released her highly anticipated seventh studio album, ALL YOURS (RCA Inspiration/Karew Entertainment). The chart-topping singer/songwriter continues to create her own powerful dynamic sound on her latest album, an uplifting 12-track project celebrating God’s love, wisdom and finding personal freedom in letting go and trusting God. Featuring the lead single “Miracles” (feat. Pastor Mike Jr.), “Praise Through,” “Making A Way” (feat. Adia), “The Jungle” and more, the lyric visual for “The Jungle” is also available now.  

     Following her 2020 chart-topping album KIERRA, her new album ALL YOURS showcases a thrilling blend of melodies and lyrical candor that bring together Kierra’s versatile talents and love for all genres, from the sounds of gospel to hip-hop, R&B, dance beats, and more. Co-writing every track on ALL YOURS, Kierra also teamed up on the production and songwriting with some powerhouse collaborators including her brother J. Drew Sheard II, Adia, Pastor Mike Jr., Jekalyn Carr, Anthony Brown, Mali Music, Anita Wilson, Jor’Dan Armstrong, among others.

    Kierra says of ALL YOURS, “This album was very special to make. When you radically stand for the Lord, there's a sound He'll give you. He will also give you innovation, strategy, and ideas that become game-changers. That’s what He did for me. There's a song for everyone on this album encouraging them to walk with the Lord.”

    Kierra Sheard-Kelly began her professional singing career at age nine, growing up in Gospel music and ministry as the daughter of Gospel icon Karen Clark Sheard and Bishop J. Drew Sheard. She has become a trailblazer in contemporary Gospel and ministry, reaching others and sharing inspiration beyond music as an actress, author, and entrepreneur. Besides her fashion line Eleven60, and her women’s mentoring and fellowship organization SistHer, Kierra will release her second book this spring, The Vibes You Feel: What I've Learned about Life and Relationships Through the Holy Spirit, scheduled for release on May 9th. Check out her new album ALL YOURS, available now on all digital music providers.

      Kierra Sheard-Kelly, “The Jungle” lyric visual:

https://www.youtube.com/watch?v=1unxGbt1T98 

      Kierra Sheard-Kelly, ALL YOURS, Available Now (RCA Inspiration/ Karew Entertainment): 

https://KierraSheard.lnk.to/AllYoursAlbumPR

      Kierra Sheard-Kelly, All Yours Album Tracklist: 

      1.   You Ain’t Seen Nothing Yet

Making A Way (feat. Adia)

Wake Up

Praise Through

All Yours (feat. Anthony Brown)

Done For Me (feat. Jekalyn Carr)

Miracles (feat. Pastor Mike Jr.) 

All On You

What Matters (feat. Mali Music)

Mo’ Better

One Step at a Time

The Jungle 

        To connect with Kierra Sheard-Kelly, visit:

Website:                  https://www.iamkierrasheard.com/

YouTube:                www.youtube.com/KatchingKierra

Instagram/Facebook/Twitter: @kierrasheard    

TikTok:     @kierrasheardkelly          

                                                                                                          # # #

[oftatteredwings]

⸻  PENN BADGLEY. HE/HIM / have you ever heard of MODERATION by florence + the machine, well, it describes ELLIOT JAMES to a tee! the 34 year old, and FASHION PHOTOGRAPHER was spotted browsing through the stalls at portobello road market last sunday, do you know them? would you say  HE is more chaotic or more PROFESSIONAL instead? anyway, they remind me of fake smiles, crayons and building blocks in his satchel that he definitely didn’t put there, a pile of dirty dishes in the sink and untucked shirts, maybe you’ll bump into them soon! 

time in notting hill ; 16 years

tw: abandonment

ABOUT.

Name: Elliot James Age: Thirty-four DoB: 1st March 1989 Occupation: Fashion Photographer Romantic/sexual orientation: Panromantic/pansexual Birthplace: Newburyport, New England, USA Current Location: Notting Hill, London, UK Time in Notting Hill: 16 years

Elliot was born in Newburyport, New England, the only child of Elizabeth Smith and Gary James – an author and a well respected surgeon. He lived the idyllic childhood, surrounded by friends and family, taking yearly vacations to Portland and Florida.

Money was no object for him while growing up and he soon realised with the backing of his parents, he could do anything that he wanted with his life.

Elliot didn’t really want all that much, though, nothing more than to explore the world around him and to understand how it worked. It was a big dream for such a small child, but one his mother was keen to encourage from day one, helping him embrace his passions.

By the age of fourteen, he picked up a keen interest in photography, and he spent his summer that year looking at everything with a fresh eye. His hobby wasn’t accepted quite as freely when he was in school and before long he became known as the weirdo with the camera, something he simply decided to ignore. Who needed friends, after all? Not that he didn’t have any, of course, but the company he kept was select at best. They were very close, a group of four who were inseparable during their high school years, and who Elliot still does his best to see a couple of times a year.

But with high school out of the way, his focus quickly became college and the fact he was considering moving away for a while. School had been a tiring experience and he was ready for something new, something far, far away. So when he was accepted into the Royal College of Art in London he knew he was on the right path.

Moving to London at the age of eighteen was a bit of reality check for Elliot. Having spent his entire life in one place and only ever vacationing in the States, moving to a different country took a lot of getting used to. But he loved it, every single second of it, embracing the new lifestyle he found for himself.

Moving into a Notting Hill flat with the help of his parents, he found himself a roommate shortly afterwards, and threw himself into university and finding a life for himself in this new city. The British capital city wasn’t a place he’d considered living until he’d discovered the course at the RCA, but he soon found it was the perfect place for him, especially the cosmopolitan attitude of Notting Hill.

He fell in love with the buildings, the people, everything that the area had to offer. Little did he know then, that he would soon be calling Notting Hill his home, the one place where he felt comfortable and welcome without question, that he’d be living there for over a decade with no interest in moving elsewhere.

Once university was over and done with, Elliot moved around the city, submitting his work to all the major publications, deciding that he wanted a job in fashion.

It took time for his work to be noticed, but within the space of five years, he became one of the most renowned young photographers in the city, working at the likes of Vogue, Elle and GQ, while side-lining as Burberry’s main photographer. His true passion would always be landscape, but he found he had a particular knack when it came to working with the models, not to mention spending time with them after hours at The Chiltern Firehouse.

That was when he met Annie and things soon changed. After a few brief flings during university, it was the first time he’d really put any effort into a relationship, the first time that he’d actually wanted to. But it wasn’t to last, nothing ever really did for Elliot when it came to relationships, and that was okay. He found joy in his work and for the most part, it was enough for him.

It wasn’t until years later that he really made an effort to try again and the one he ended up with, unbeknownst to him at first, was his previous girlfriends sister. When this came to light, he pulled away and things ended suddenly and bitterly. It was a breakup straight from a movie; lots of screaming, tears and swearing.

Six months ago she turned up on his doorstep with an almost 3-year-old Janey, informing him that she was his and it was his job to take care of her now. That was pretty much that. He’s been playing dad ever since.

Since then he’s taken several steps back from the fashion industry and put on his first exhibition. Sited in Shoreditch, seeing his work on display for all to enjoy is one of his proudest moments, not to mention a welcome distraction amongst the chaos that his life has become. He knows it won’t last, but for now, he’s happy, he’s content, and that really is all he needs.

WANTED CONNECTIONS.

- mother of his daughter/ex - her sister (because hey, chaos) - other random exes/hook-ups/whatevers - three close friends from home - his old uni flatmate - friends  - anyone who’s willing to help him through the chaos of fatherhood

[alarrytale]

Imagine how different things would be if Zayn was the one tasked with dating TS to help 1D break America, or if Louis was the one in the BBC deal with Nick Grimshaw, or if Niall was the one to attend fashion shows, if H was made to date E and Liam dated Kendall Jenner. Sony gave all this to Harry so that he'd be ready to go solo after 1D. //

Zayn dated Gigi Hadid for four years and he has a child with her. She's a hugely high profile model known by everyone in the US, more popular than Swift was in 2012. Harry only dated Taylor for two months and Kendall on and off.

Zayn isn't as successful as Harry or Niall because he doesn't want to promote his work on tv and radio or sing outside the studio. If he toured he would be huge but he doesn't want to because he has anxiety. Not the fault of the label.

Niall could have attended fashion shows, nobody was stopping him. He dated the famous Irish model Barbara Palvin which gave him publicity and then Selena Gomez and Hailee Steinfeld. The latter two are very famous and gave him more exposure than attending a fashion show or than Harry got from dating the less well known Nadine Leopold and Camille Rowe.

Liam dated Cheryl who at the time was the most successful female singer in the UK.

All of them have had high profile relationships including Louis' with Danielle Campbell

Hi, anon!

It's important to distinguish between the time before and after the band. In the band they were restricted if the activity they wanted to do were against their image (or could lead to them to surpass Harry in popularity). Niall couldn’t go to a fashion show because that wasn't his image and he'd take away attention from H by his attendance. You'd also have to secure an invitation and either the label did so for Harry, or he was invited because of his popularity and image.

What Zayn did was after he quit the band. He needed a type of exposure in the US that he wasn't really afforded while in 1D. Gi*i has never been more popular than TS. It's also not about the length of the relationship, but about the impact and number of headlines it can get them. Zayns issues that stops him from touring and exposing himself more are due to his time in 1D. He's carrying around trauma from that time, like Liam and Louis does as well. The only reason Niall doesn’t carry that amount of trauma is because he wasn't burdened with heavy stunting and fake babies. He got off because he's straight passing and not rumoured to be in a relationship with a bandmate. Zayn's anxiety isn't the fault of RCA but the fault of Sony, Syco and Columbia.

With Niall, again you need to distinguish between in and out of the band. He was linked to Palvin (she is hungarian not irish) and rumoured to be dating ellie gou*ding. All the others were after the band. He did date celebrities on his level or higher that are american after the band to get exposure in the US, like zayn. Harry dated no names after the band for the relationships to seem more real (he wasn't dating for exposure, but he needed a beard and a muse for his album).

And about Liam. Cheryl was not the most famous singer in the UK at the time. Not even close. That would be Adele. Cheryl is a laughing stock in the UK and always has been. No one takes her seriously and she isn't liked much for being racist and is a terrible person. She's also mocked for her autotune use. She was high profile (in the uk) and gave Liam some headlines, but not the good kind of headlines unfortunatly...

And again with Louis and D. That was after the band, and she was not high profile. Not internationally known. She was the only one willing and she was american.

My point is, during the band Harry was set up by 1D's label to gain himself attention and be in a position to launch a successful solo career when the time came. The others had to play catch up to do what H did during the band days now that they were solo artist. So H had a head start.

I have to say, again, that i don't blame H for any of this. I also think he deserves his current success. I'm just uncomfortable that it had to happen at the expense of the other band members. It is what it is though.

[mollytatlisu]

Bibliography

Emily Chan (2022) 16 Things Everyone Should Know About Sustainable Fashion. Available at: https://www.vogue.co.uk/fashion/article/sustainable-fashion (20/12/22)