#sony music global

[tofuthebold]

Sgshsjfjdhshs it sounds so different listening on my phone than on my pc the heck (it's waaaaay more bass heavy and the piano doesn't have the same clarity on my phone for some reason? Using same headphones :/ [tbh I never listened to the mp3 after exporting either so maybe it's that, sometimes it does sound a little different])

morning edit i am seriously considering getting a dedicated mp3 player lmao

[fidenciojesusfan92]

Blythe Baxter

[bauerntanz]

Immer mehr

Immer mehr Medien machen Schluss mit @Twitter_de (jetzt X).

Netzpolitik.org weiß: Immer mehr Medien machen Schluss mit Twitter (jetzt X). Von Krankenkassen über große Städte bis hin zu Universitäten laufen der Plattform X die Nutzer weg. Nun kehrt mit Correctiv die erste größere Redaktion Elon Musk aus Protest den Rücken. Auch andere Medien verabschieden sich oder überlegen, ob sie noch weitermachen. Mit der Rechercheplattform verlässt das erste größere…

[sonyclasica]

SONY MUSIC MASTERWORKS

Sony Music Masterworks, una división de Sony Music Entertainment (SME), ha anunciado hoy una nueva inversión mayoritaria en MAC Global, la galardonada empresa panregional de promoción de conciertos, gestión de talentos, eventos y producción con sede en Dubai, Emiratos Árabes Unidos.

Fundada en 2014 por Rob McIntosh y Daniel Goldberg, MAC Global es reconocida como líder en el sector de la música y el entretenimiento en directo en Oriente Medio, y destaca por traer a la región a grandes artistas internacionales en gira, como Ed Sheeran, Michael Bublé, Drake y Sia, entre otros. Con clientes como la Ópera de Dubai, Saudi Aramco, el Anfiteatro Al Dana y el Coca-Cola Arena, MAC Global produce conciertos en los lugares más prestigiosos de los EAU, Omán, Bahréin, Qatar, India y Arabia Saudí.

Las operaciones diarias de la empresa seguirán siendo dirigidas por McIntosh y Goldberg, que a su vez trabajarán en estrecha colaboración con Mark Cavell, Presidente de Sony Music Masterworks, Josh Lerman, Vicepresidente Senior de Desarrollo de Negocio de Masterworks y Ollie Rosenblatt, Director General de Senbla.

Con este acuerdo, Sony Music Masterworks amplía aún más su presencia en la producción de música en directo y de eventos en todo el mundo. El talento combinado de los equipos de MAC Global y Masterworks creará nuevas y novedosas oportunidades de experiencia para el público de toda la región de Oriente Medio. Las competencias de MAC Global también se ampliarán para incluir la comedia, los deportes, los eventos virtuales, los eventos orquestales y las experiencias cinematográficas inmersivas.

El anuncio de hoy coincide con el inicio de la nueva temporada de conciertos de MAC Global. Dos espectáculos de George Ezra y la leyenda de la EDM Tiesto ya han agotado el aforo, y Lewis Capaldi actuará en Dubai y Bahréin en las próximas semanas.

Cavell dijo: "Estamos encantados de asociarnos con Rob, Dan y el equipo de MAC Global para llevar lo mejor del entretenimiento en vivo a Oriente Medio y el Norte de África. Su incomparable experiencia en la región de Oriente Medio y Norte de África, combinada con la gran experiencia, los recursos y la amplia oferta de entretenimiento en directo de Sony Music, proporcionará un mayor beneficio a los artistas en gira, a las producciones y al público."

McIntosh y Goldberg comentaron: "Tras haber establecido la marca MAC Global a lo largo de muchos años, asegurando su posición en la vanguardia de la industria de la música en directo en Oriente Medio, estamos encantados de llevar nuestra empresa al siguiente nivel de desarrollo y crecimiento uniéndonos a la familia de Sony Music Masterworks. Tenemos muchas ganas de trabajar con Mark Cavell y el equipo de Masterworks en general para desarrollar nuevas propuestas en materia de eventos, junto con nuestra visión principal de llevar los nombres más importantes del mundo del espectáculo a la región de Oriente Medio y Norte de África y más allá".

La relación con MAC Global es la última de una serie de alianzas y acuerdos estratégicos que impulsan el crecimiento de Sony Music Masterwork como negocio multifacético de entretenimiento mundial. Entre las inversiones recientes se encuentran The Luna Cinema, productora británica de experiencias de cine al aire libre, pop-up y autocine; Seaview, empresa de producción teatral; Terrapin Station Entertainment, empresa de gestión y producción de artistas; RoadCo Entertainment, agencia de contratación; Backyard Cinema, productora de eventos cinematográficos basados en experiencias; GEA Live, agente y promotora con sede en Holanda; Senbla, empresa británica de promoción y producción de conciertos; y Raymond Gubbay Ltd. (RGL), el promotor de la música, la danza y Christmas Light Trail.

Sony Music Masterworks comprende los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. Para recibir información y actualizaciones por correo electrónico, visita www.sonymusicmasterworks.com/.

Para más información y próximos anuncios sobre MAC Global visita www.macglobal.com y sigue a MAC Global en Facebook: @MAC-Global

[tutyayilmazz]

The sheer number of older and more experienced professionals involved in Måneskin introduces a tension between the rock conventions that characterize their songwriting and the fundamentally pop circumstances under which those songs are produced. They are four friends in a band, but that band is inside an enormous machine. From their perspective, though, the machine is good.

The American visitor to Rome arrives with certain preconceptions that feel like stereotypes but turn out to be basically accurate. There really are mopeds flying around everywhere, and traffic seems governed by the principle that anyone can be replaced. Breakfast is coffee and cigarettes. Despite these orthopedic and nutritional hazards, everyone is better looking — not literally everyone, of course, but statistically, as if whatever selective forces that emerge from urban density have had an extra hundred generations or so to work. And they really do talk like that, an emphatic mix of vowels, gestures and car horns known as “Italian.” To be scolded in this language by a driver who wants to park in the crosswalk is to realize that some popular ideas are actually true. Also, it is hot.

The triumphant return to Rome of Måneskin — arguably the only rock stars of their generation, and almost certainly the biggest Italian rock band of all time — coincided with a heat wave across Southern Europe. On that Tuesday in July the temperature hit 107 degrees. The Tiber looked thick, rippled in places and still in others, as if it were reducing. By Thursday morning the band’s vast management team was officially concerned that the night’s sold-out performance at the Stadio Olimpico would be delayed. When Måneskin finally took the stage around 9:30 p.m., it was still well into the 90s — which was too bad, because there would be pyro.

There was no opening act, possibly because no rock band operating at this level is within 10 years of Måneskin’s age. The guitarist Thomas Raggi played the riff to “Don’t Wanna Sleep,” the lights came up and 60,000 Italians screamed. Damiano David — the band’s singer and, at age 24, its oldest member — charged out in black flared trousers and a mesh top that bisected his torso diagonally, his heavy brow and hypersymmetrical features making him look like some futuristic nomad who hunted the fishnet mammoth. Victoria De Angelis, the bassist, wore a minidress made from strips of leather or possibly bungee cords. Raggi wore nonporous pants and a black button-down he quickly discarded, while Ethan Torchio drummed in a vest with no shirt underneath, his hair flying. For the next several minutes of alternately disciplined and frenzied noise, they sounded as if Motley Crüe had been cryogenically frozen, then revived in 2010 with Rob Thomas on vocals.

That hypothetical will appeal to some while repelling others, and which category you fall into is, with all due respect, not my business here. Rolling Stone, for its part, said that Måneskin “only manage to confirm how hard rock & roll has to work these days to be noticed,” and a viral Pitchfork review called their most recent album “absolutely terrible at every conceivable level.” But this kind of thumbs up/thumbs down criticism is pretty much vestigial now that music is free. If you want to know whether you like Måneskin — the name is Danish and pronounced MOAN-eh-skin — you can fire up the internet and add to the more than nine billion streams Sony Music claims the band has accumulated across Spotify, YouTube, et cetera. As for whether Måneskin is good, de gustibus non est disputandum, as previous Italians once said: In matters of taste, there can be no arguments.

You should know, though, that even though their music has been heard most often through phone and laptop speakers, Måneskin sounds better on a soccer field. That is what tens of thousands of fans came to the Stadio Olimpico on an eyelid-scorching Thursday to experience: the culturally-if-not-personally-familiar commodity of a stadium rock show, delivered by the unprecedented phenomenon of a stadium-level Italian rock band. The pyro — 20-foot jets of swivel-articulated flame that you could feel all the way up in the mezzanine — kicked in on “Gasoline,” a song Måneskin wrote to protest Vladimir Putin’s invasion of Ukraine. From a thrust platform in the center of the field, David poured his full emotive powers into the pre-chorus: “Standing alone on that hill/using your fuel to kill/we won’t take it standing still/watch us dance.”

The effect these words will have on President Putin is unknown. They capture something, though, about rock ’n’ roll, which has established certain conventions over the last seven decades. One of those conventions is an atmosphere of rebellion. It doesn’t have to be real — you probably don’t even want it to be — but neither can it seem too contrived, because the defining constraint of rock as a genre is that you have to feel it. The successful rock song creates in listeners the sensation of defying consensus, even if they are right in step with it.

The need to feel the rock may explain the documented problem of fans’ taste becoming frozen in whatever era was happening when they were between the ages of 15 and 25. Anyone who adolesced after Spotify, however, did not grow up with rock as an organically developing form and is likely to have experienced the whole catalog simultaneously, listening to Led Zeppelin at the same time they listened to Pixies and Franz Ferdinand — i.e. as a genre rather than as particular artists, the way my generation (I’m 46) experienced jazz. The members of Måneskin belong to this post-Spotify cohort. As the youngest and most prominent custodians of the rock tradition, their job is to sell new, guitar-driven songs of 100 to 150 beats per minute to a larger and larger audience, many of whom are young people who primarily think of such music as a historical artifact. Starting this month, Måneskin will take this business on a multivenue tour of the United States — a market where they are considerably less known — whose first stop is Madison Square Garden.

“I think the genre thing is like ... ” Torchio said to me backstage in Rome, making a gesture that conveyed translingual complexity. “We can do a metaphor: If you eat fish, meat and peanuts every day, like for years, and then you discover potatoes one day, you’ll be like: ‘Wow, potatoes! I like potatoes; potatoes are great.’ But potatoes have been there the whole time.” Rock was the potato in this metaphor, and he seemed to be saying that even though many people were just now discovering that they liked it, it had actually been around for a long time. It was a revealing analogy: The implication was that rock, like the potato, is here to stay; but what if rock is, like the potato in our age of abundance, comparatively bland and no longer anyone’s favorite?

Which rock song came first is a topic of disagreement, but one strong candidate is “Rocket 88,” recorded by Ike Turner and his Kings of Rhythym band in 1951. It’s about a car and, in its final verse, about drinking in the car. These themes capture the context in which rock ’n’ roll emerged: a period when household incomes, availability of consumer goods and the share of Americans experiencing adolescence all increased simultaneously.

Although and possibly because rock started as Black music, it found a gigantic audience of white teenagers during the so-called British Invasion of the mid-1960s (the Beatles, the Rolling Stones, the Who), which made it the dominant form of pop music for the next two decades. The stadium/progressive era (Journey, Fleetwood Mac, Foreigner) that now constitutes the bulk of classic-rock radio gave way, eventually, to punk (the Ramones, Patti Smith, Minor Threat) and then glam metal: Twisted Sister, Guns N’ Roses and various other hair-intensive bands that were obliterated by the success of Nirvana and Pearl Jam in 1991. This shift can be understood as the ultimate triumph of punk, both in its return to emotive content expressed through simpler arrangements and in its professed hostility toward the music industry itself. After 1991, suspicion of anything resembling pop became a mark of seriousness among both rock critics and fans.

It is probably not a coincidence that this period is also when rock’s cultural hegemony began to wane. As the ’90s progressed, larger and again whiter audiences embraced hip-hop, and the last song classified as “rock” to reach No. 1 on the Billboard Hot 100 was Nickelback’s “How You Remind Me” in 2001. The run of bands that became popular during the ’00s — the Strokes, the Killers, Kings of Leon — constituted rock’s last great commercial gasp, but none of their singles charted higher than No. 4. Let us say, then, that the era of rock as pop music lasted from 1951 to 2011. That’s a three-generation run, if you take seriously rock’s advice to get drunk and have sex in the car and therefore produce children at around age 20. Baby boomers were the generation that made rock a zillion-dollar industry; Gen X saved it from that industry with punk and indie, and millennials closed it all out playing Guitar Hero.

The members of Måneskin are between the ages of 22 and 24, situating them firmly within the cadre of people who understand rock in the past tense. De Angelis, the bassist, and Raggi, the guitarist, formed the band when they were both attending a music-oriented middle school; David was a friend of friends, while Torchio was the only person who responded to their Facebook ad seeking a drummer. There are few entry-level rock venues in Rome, so they started by busking on the streets. In 2017, they entered the cattle-call audition for the Italian version of “The X Factor.” They eventually finished as runners-up to the balladeer Lorenzo Licitra, and an EP of songs they performed on the show was released by Sony Music and went triple platinum.

In 2021, Måneskin won the Sanremo Music Festival, earning the right to represent Italy with their song “Zitti e Buoni” (whose title roughly translates to “shut up and behave”) in that year’s Eurovision Song Contest. This program is not widely viewed in the United States, but it is a gigantic deal in Europe, and Måneskin won. Not long after, they began to appear on international singles charts, and “I Wanna Be Your Slave” broke the British Top 10. A European tour followed, as well as U.S. appearances at festivals and historic venues.

This ascent to stardom was not unmarred by controversy. The Eurovison live broadcast caught David bending over a table offstage, and members of the media accused him of snorting cocaine. David insisted he was innocent and took a drug test, which he passed, but Måneskin and their management still seem indignant about the whole affair. It’s exactly this kind of incongruous detail — this damaging rumor that a rock star did cocaine — that highlights how the Italian music-consuming public differs from the American one. Many elements of Måneskin’s presentation, like the cross-dressing and the occasional male-on-male kiss, are genuinely upsetting to older Italians, even as they seem familiar or even hackneyed to audiences in the United States.

“They see a band of young, good-looking guys that are dressing up too much, and then it’s not pure rock ’n’ roll, because you’re not in a garage, looking ugly,” De Angelis says. “The more conservative side, they’re shocked because of how we dress or move onstage, or the boys wear makeup.”

She and her bandmates are caught between two demographics: the relatively conservative European audience that made them famous and the more tolerant if not downright desensitized American audience that they must impress to keep the ride moving. And they do have to keep it moving, because — like many rock stars before them — most of the band dropped out of high school to do this. At one point, Raggi told me that he had sat in on some classes at a university, “Just to try to understand, ‘What is that?’”

One question that emerged early in my discussions with Måneskin’s friendly and professional management team was whether I was going to say that their music was bad. This concern seemed related to the aforementioned viral Pitchfork review, in which the editor Jeremy Larson wrote that their new album, “RUSH!” sounds “like it’s made for introducing the all-new Ford F-150” and “seems to be optimized for getting busy in a Buffalo Wild Wings bathroom” en route to a score of 2.0 (out of 10). While the members of Måneskin seemed to take this review philosophically, their press liaisons were concerned that I was coming to Italy to have a similar type of fun.

Here I should disclose that Larson edited an essay I wrote for Pitchfork about the Talking Heads album “Remain in Light” (score: 10.0) and that I think of myself as his friend. Possibly because of these biases, I read his review as reflecting his deeply held and, among rock fans, widely shared need to feel the music, something that the many pop/commercial elements of “RUSH!” (e.g. familiar song structures, lyrics that seem to have emerged from a collaboration between Google Translate and Nikki Sixx, compulsive use of multiband compression) left him unable to do.

This perspective reflects the post-’90s rock consensus (PNRC) that anything that sounds too much like a mass-market product is no good. The PNRC is premised on the idea that rock is not just a structure of song but also a structure of relationship between the band and society. From rock’s earliest days as Black music, the real or perceived opposition between rocker and society has been central to its appeal; this adversarial relationship animated the youth and counterculture eras of the ’60s and then, when the economic dominance of mass-market rock made it impossible to believe in, provoked the revitalizing backlash of punk. Even major labels felt obliged to play into this paradoxical worldview, e.g. that period after Nirvana when the most popular genre of music was called “alternative.” Måneskin, however, are defined by their isolation from the PNRC. They play rock music, but operate according to the logic of pop.

In Milan, where Måneskin would finish their Italian minitour, I had lunch with the band, as well as two of their managers, Marica Casalinuovo and Fabrizio Ferraguzzo. Casalinuovo had been an executive producer working on “The X Factor,” and Ferraguzzo was its musical director; around the time that Måneskin broke through, Casalinuovo and Ferraguzzo left the show and began working with the stars it had made. We were at the in-house restaurant of Moysa, the combination recording studio, soundstage, rehearsal space, offices, party venue and “creative playground” that Ferraguzzo opened two months earlier. After clarifying that he was in no way criticizing major record labels and the many vendors they engaged to record, promote and distribute albums, he laid out his vision for Moysa, a place where all those functions were performed by a single corporate entity — basically describing the concept of vertical integration.

Ferraguzzo oversaw the recording of “RUSH!” along with a group of producers that included Max Martin, the Swedish hitmaker best known for his work with Backstreet Boys and Britney Spears. At Moysa, Ferraguzzo played for me Måneskin’s then-unreleased new single, “Honey (Are U Coming?)” which features many of the band’s signature moves — guitar and bass playing the same melodic phrases at the same time, unswung boogie-type rhythm of the post-Strokes style — but also has David singing in a higher register than usual. I listened to it first on studio monitors and then through the speaker of Ferraguzzo’s phone, and it sounded clean and well produced both times, as if a team of industry veterans with unlimited access to espresso had come together to perfect it.

The sheer number of older and more experienced professionals involved in Måneskin introduces a tension between the rock conventions that characterize their songwriting and the fundamentally pop circumstances under which those songs are produced. They are four friends in a band, but that band is inside an enormous machine. From their perspective, though, the machine is good.

“There’s hundreds of people working and talking about you and giving opinions,” De Angelis said at lunch. “So if you start to get in this loop of wanting to know and control and being anxious about it, it really ruins everything.” Here lies the conflict between what the PNRC wants from a band — resistance to outside influences, contempt for commerce, authenticity as measured in doing everything themselves — and what any sane 23-year-old would want, which is to have someone with an M.B.A. make all the decisions so she can concentrate on playing bass.

The other way Måneskin is isolated from the PNRC is geographic. Over the course of lunch, it became clear that they had encyclopedic knowledge of certain eras in American rock history but were only dimly aware of others. Raggi, for instance, loves Motley Crüe and has an album-by-album command of the Los Angeles hair-metal band Skid Row, which he and his bandmates seemed to understand were supposed to be guilty pleasures. But none of them had ever heard of Fugazi, the post-hardcore band whose hatred of major labels, refusal to sell merchandise and commitment to keeping ticket prices as low as possible set the standard for a generation of American rock snobs. In general, Måneskin’s timeline of influences seems to break off around 1990, when the rock most respected by Anglophone critics was produced by independent labels that did not have strong overseas distribution. It picks up again with Franz Ferdinand and the “emo” era of mainstream pop rock. This retrospect leaves them unaware of the indie/punk/D.I.Y. period that was probably most important in forming the PNRC.

The question is whether that consensus still matters. While snobs like Larson and me are overrepresented in journalism, we never constituted a majority of rock fans. That’s the whole point of being a snob. And snobbery is obsolete anyway; digital distribution ended the correlation between how obscure your favorite band was and how much effort you put into listening to them. The longevity of rock ’n’ roll as a genre, meanwhile, has solidified a core audience that is now between the ages of 40 and 80, rendering the fan-versus-society dimension of the PNRC impossible to believe. And the economics of the industry — in which streaming has reduced the profit margin on recorded music, and the closure of small venues has made stadiums and big auditoriums the only reliable way to make money on tour — have decimated the indie model. All these forces have converged to make rock, for the first time in its history, merely a way of writing songs instead of a way of life.

Yet rock as a cluster of signifiers retains its power around the world. In the same way everyone knows what a castle is and what it signifies, even though actual castles are no longer a meaningful force in our lives, rock remains a shared language of cultural expression even though it is no longer determining our friendships, turning children against their parents, yelling truth at power, et cetera. Also like a castle, a lot of people will pay good money to see a preserved historical example of rock or even a convincing replica of it, especially in Europe.

In Milan, the temperature had dropped 20 degrees, and Måneskin’s show at Stadio Giuseppe Meazza — commonly known as San Siro, the largest stadium in Italy, sold out that night at 60,000 — was threatened by thunderstorms instead of record-breaking heat. Fans remained undaunted: Many camped in the parking lot the night before in order to be among the first to enter the stadium. One of them was Tamara, an American who reported her age as 60½ and said she had skipped a reservation to see da Vinci’s “Last Supper” in order to stay in line. “When you get to knocking on the door, you kind of want to do what you want,” she said.

The threat of rain was made good at pretty much the exact moment the show began. The sea of black T-shirts on the pitch became a field of multicolored ponchos, and raindrops were bouncing visibly off the surface of the stage. David lost his footing near the end of “I Wanna Be Your Slave,” briefly rolling to his back, while De Angelis — who is very good at making lips-parted-in-ecstasy-type rock faces — played with her eyes turned upward to the flashing sky, like a martyr.

The rain stopped in time for “Kool Kids,” a punk-inspired song in which David affects a Cockney accent to sing about the vexed cultural position of rock ’n’ roll: “Cool kids, they do not like rock/they only listen to trap and pop.” These are probably the Måneskin lyrics most quoted by music journalists, although they should probably be taken with a grain of salt, considering that the song also contains lyrics like “I like doin’ things I love, yeah” and “Cool kids, they do not vomit.”

“Kool Kids” was the last song before the encore, and each night a few dozen good-looking 20-somethings were released onto the stage to dance and then, as the band walked off, to make we’re-not-worthy bows around Raggi’s abandoned guitar. The whole thing looked at least semichoreographed, but management assured me that the Kool Kids were not professional dancers — just enthusiastic fans who had been asked if they wanted to be part of the show. I kept trying to meet the person in charge of wrangling these Kool Kids, and there kept being new reasons that was not possible.

The regular kids, on the other hand, were available and friendly throughout. In Rome, Dorca and Sara, two young members of a Måneskin fan club, saw my notebook and shot right over to tell me they loved the band because, as Sara put it, “they allow you to be yourself.” When asked whether they felt their culture was conservative in ways that prevented them from being themselves, Dorca — who was 21 and wearing eyeglasses that looked like part of her daily wardrobe and a mesh top that didn’t — said: “Maybe it turns out that you can be yourself. But you don’t know that at first. You feel like you can’t.”

Here lies the element of rock that functions independently from the economics of the industry or the shifting preferences of critics, the part that is maybe independent from time itself: the continually renewed experience of adolescence, of hearing and therefore feeling it all for the first time. But how disorienting must those feelings be when they have been fully monetized, fully sanctioned — when the response to your demand to rock ’n’ roll all night and party every day is, “Great, exactly, thank you.” In a culture where defying consensus is the dominant value, anything is possible except rebellion. It must be strange, in this post-everything century, to finally become yourself and discover that no one has any problem with that.

[g5mlp]

Four new songs from My Little Pony: Tell Your Tale have apparently been released via a Google Photos folder linked by the officialmlp Genius account.

Those four songs were purportedly removed from the track list of Tell Your Tale: The Second Album, which was released on Friday.

The songs are:

Bestie Kinda Night

Find My Way Right Back

I Choose You

Lost

Along with these songs, the folder also includes the album cover, an animated album cover and some visuals for each song.

A description was included with the Google Photos link on Genius:

Tell Your Tale: The Second Album is an album that contains songs from TYT Volume 3, TYT Volume 4 and a additional track, Besties 4Eva, totalling 9 songs. This album was being programmed to be released globally on March 15 (Consumers' Day) with 5 additional songs (Besties 4Eva, Bestie Kinda Night, Find My Way Right Back, I Choose You and Lost), but at this moment, only the song Besties 4Eva was kept on the tracklist. This album is released on midnight from May 10 in the streaming platforms, 2 days after the release of Make Your Mark (Original Score).

Interestingly enough, the folder says that Sony Music uploaded the files, so whoever is behind the Genius account may be an employee for Sony, instead of Hasbro.

[filthforfriends]

Chapter 3: Medicinal Properties

The Sun is the Center of Everything

Read Author's Note (CW: addiction)

Word count: 2.9k

Damiano David x Y/n

He O.D.ed again. This time it wasn’t nearly as serious, but it still lit a fire under SME’s collective billionaire ass. Somebody was always keeping you updated: Ronnie, Ethan, Mia, Dami’s mother. Considering their commitment to conveying information, a person would assume you had outright requested the latest news on Damiano David’s epic, drug-fueled raging dumpster fire of a downfall. This was not the case. 

Regardless, it was through these channels that you found out Maneskin’s management was willing to renegotiate their contract. Damiano had ascended to a new level of self-destruction: drinking, drugs, unprotected sex, fighting, partying, smoking. He’d nearly been arrested. 

The antics had thoroughly trashed his voice, appearance, reputation, and marketability. Vic, Tom, and Ethan had lost their patience, turning first on Dami, then each other. Sony saw the writing on the wall and Maneskin had a great lawyer this time. Less press, guaranteed time off, more control over their music, and the focus of scheduling shifting to the band’s convenience. SME still demanded a minimum of 35 tour dates, which would be in addition to promotional performances in the year following an album release. It was still extreme, but not outright inhumane.

In return, Maneskin would go to a set of award shows every year with no exceptions. Each album for the rest of their contract would include a single with a featured artist, to be agreed upon by both parties. The exact number wasn’t disclosed, but the band agreed to profit several million dollars yearly in paid promotions and sponsorships. Finally, fix their image, which included Damiano going to rehab. Part of you wondered if the entire deal would fall through because he refused.

Luckily that didn’t happen. Dami went to rehab of his own volition, and checked himself out as soon as possible. Some idiot had contractually obligated Damiano to a mere two weeks, half a program. So he got out on day 15, just past nine in the morning and he did exactly what any knowledgeable person would predict. He went on a bender. 

However, he couldn’t be sloppy this time, and that left you in a constant state of anxiety-induced nausea. While everyone else seemed thrilled not to see him drunk at some club, you knew the reality of the situation. He was doing the same stuff, but alone in his hotel room. There was no one to turn him on his side or administer Narcan. If he made a mistake he was gonna die.

On the nights you managed to sleep, the morning was spent in terror. You refreshed Twitter compulsively, bracing for the news that they had found him cold and stiff, probably covered in the content’s of his stomach. That would forever be the way his light was extinguished. Your manager sat you down for a talk. Your therapist had even more very accurate and totally unhelpful advice.

“What if I can never move on? Like, I never get over him?”

“Tell me about that fear.” She sits back in her teal armchair, legs crossed, loafers polished.

“I thought he was my soulmate. It's like the more I try to get over him, the more of my day is consumed by thinking about him.”

“Addiction doesn’t make him not your soul mate. It gives you another person to contend with. Sometimes you’ll go decades only seeing the occasional glimmer of that person. Other times they can take complete control.”

“How does he get back control?” you ask in exasperation.

“He has to be brave enough to face himself.”

“He’s never going to do that!”

“Really?” She furrows her brow, skeptical.

“He’s an international rockstar and sex symbol. He’s celebrated on a global scale. In addition to that, it takes some prompting for Damiano to be self-reflective. He’s not gonna realize he’s doing the wrong thing because nobody’s telling him that.”

“His friends and family are. You are.”

“Well, what I think doesn’t matter.”

“I doubt that’s true.”

“He used our entire relationship as a tool to justify doing heroin. He doesn’t give a shit about what I think or feel.”

“The hardest thing about loving someone with Substance Use Disorder is forgiveness. What addicts do to feed their addiction isn’t representative of them. It's not fair and it can be very difficult to find that forgiveness when you’re wounded.”

“If he would just act like himself and apologize, I think I’d forgive him.”

“That's very gracious. Unfortunately, addiction is a self-perpetuating cycle. The addict betrays a loved one and knows the only absolution is to apologize and to be forgiven. However, they harbor so much self-loathing for using that they think they’re unforgivable. The idea that the people you love won’t love you back if they knew the real you –”

“That's awful. That's a terrible thing to feel.”

“And because they are using substances to regulate their emotions, an addict will use as a way to escape that feeling, then possibly do something worse. Which creates an even greater weight and that makes them less likely to ask for forgiveness.”   

“‘Because I couldn’t bear you knowing that I was a piece of shit.’” Instead of getting a tissue, you watch as teardrops stain your pants darker.

“Hard drug users always have a reason. A normal person isn’t willing to commit a crime and ingest a possibly deadly substance just to get out of their own head. What Damiano does for work, that would lead most people with addictive personalities to substance abuse. We’ve seen evidence of that over and over.” There's a long pause as you process. “Also, it sounds like he’s already realized he doesn’t like himself on drugs.”

***

Three nights later, the emotional turmoil is tearing up your insides. After worrying on repeat, you get a feeling of certainty that tonight is when it's gonna happen. Dami is gonna combine coke with heroin with alcohol and he’s going to die alone in his hotel room, terrified and thinking he’s unforgivable. You slip in and out of vivid nightmares before waking up with stabbing chest pains.

He’s gone. You know he’s gone because you can feel the death of his body in your own. Finally you break and unblock his number with trembling hands. After two rings you’re sure Damiano won’t pick up, but he does.

“Y/n?” He doesn’t sound like he’s slurring his words, but he’s at a club somewhere, probably exclusive enough that Dami doesn’t worry about prying eyes. “Give me a sec.” You hear a couple doors open and shut as electronic music fades. “Hey, are you okay?”

“Can you just talk to me?”

“Um…okay, I wrote a terrible song today and the label liked it so now I have to burn all the harddrives. A couple shows from now I will be wearing the assless chaps and thong combo from MTV. Somewhat nervous about that because I looked pasty as hell last time and I’ve never used a self tanner. The hotel we stayed at in France had some of the best coffee ever, but the croissants were miniature which was extremely disappointing.” This used to be part of your normal routine while he was on tour. Dami’s voice had this cadence and tone to it that could distract you from anxiety. It was especially nice when you could lay your head on his chest and feel the vibrations of his words as he stroked your hair. Fuck.

“Should I keep going or are you gonna tell me why you called. I thought you had my number blocked.”

“I did,” you try to keep the tears out of your voice. 

“Up until when?”

“10 seconds before I called.”

“What’s going on?” His concern sounded exactly the same, the same affection. I thought you died. 

“I tho – “ You don’t even get to the third syllable before sobbing. It's slightly cathartic, to do what you’ve wanted to: curl in a ball and ugly cry so hard that you’re gasping for air like a toddler. 

“Baby,” he coos. “What happened, baby?”

“I’m not your baby!”

“I – you’re right. I’m sorry, sweetheart – y/n.”

“You don’t have to deal with me being a mess.” He was alive. Your concern was negated.

“No, don’t hang up!” he rushes. “I’ve been wanting to apologize and – wait, why did that make you upset, sweet – y/n?”

“I thought you were dead!” you sob.

“Is there something online?”

“No! I’ve just been so fucking scared that you were gonna die, like every night. I can’t sleep and I just lay here in our fucking bed wondering if every moment is the moment you O.D. I’m powerless! I just have to wonder if you’re fucking dying and, and – and you’d just be gone!”

“Y/n, I am so sorry,” His voice is heavy with emotion.

“You can’t die thinking you’re a piece of shit, or that I couldn’t forgive you, or that I wouldn’t love you, or that I don’t still love you.”

“Baby –”

“You can’t die alone in your hotel room, because you’ll be scar – ared and there'll be no one to hold you. And that thought just makes me wanna” you scream into the bedding. “You have a fucking disease, Damia! You can’t O.D. because you can still heal. You have a whole life,” you whimper. “You’re supposed to have a whole life so you can’t fu – uck –cking die.”

“I won’t, y/n. I’m being careful now, and I’m not using as often. It’s just medicinal now, more than anything.”

“Because cocaine is just so well known for its medicinal properties.”

“I won’t end up in the hospital again. I’m not gonna overdose. You can sleep. I kept my promise.” You feel like an idiot, because of course he’s still an addict, even if he’s high functioning. Damiano is still deluding himself into thinking he can control it. Your emotions get away from you so easily.

“I’m still completely in love with you.”

“Fucking asshole,” is all you can manage. He chuckles and lights a cigarette.

“You said it first. I was gonna keep it to myself.”

“Is that why you wanted to break up? The drugs and how they made you act?”

“Umm,” he takes a puff and exhales the smoke. “That was part of it. The biggest part. You know, plus the booze and I think fame…took its toll on us.” 

“All of your stuff is still here. I boxed a bunch of it up, so it’s sitting in the corner.”

“By the radiator?”

“Yep.”

“Don’t do that, you’re gonna set the apartment on fire.” You roll your eyes.

“We have central heating. The radiator doesn’t even work, it’s just there because the building is old.”

“I miss having this argument with you. Especially at Christmas, when you try to put lights on the damn thing.”

“It’s festive!”

“It’s a fire hazard.” You groan, and flip onto your back. “How’s Princess?” 

“She’s good. Took her to the vet to get her claws trimmed and the rest of her shots. It was traumatizing for both of us.” Again he chuckles, and you know exactly the face he’s making. A shy smile that reveals his gums and the tops of his teeth, eyes crinkled. You know the way he’s got his head slightly bowed forward, gaze downcast. You know exactly how he’s holding his cigarette. 

“I actually have two cats now. Princess got out and led me to a mom and her kittens behind the dumpster. Everyone wanted the kittens, but I wanted Cheeto.”

“Cheeto? Is she orange?”

“No, she’s black with white mittens.”

“Then why, for the love of god, did you name her Cheeto?” he laughs.

“She’d just rolled in an empty bag of Cheetos when I found her. I'm pretty positive it wasn’t the first time because her feet are still stained a little orange.” 

“You’re joking.”

“I’m not, I swear! I’ll send you a picture right now.” You find the first picture ever taken of Cheeto and hit send, only to realize that you can see all of your past text conversations now that Dami’s number is unblocked.

“Hah! I can’t believe that. She’s got that little spot of white right between her ears, too. I love it, she’s adorable. They get along?”

“Yeah, but Cheeto is kind of a garbage gremlin and it's a bad influence on Princess.”

“You expected her not to be a garbage gremlin?”

“Okay! Well, when you put it that way.” You’re smiling, without even trying.

“I miss Princess. I miss you.” 

“Rude.” You’re still smiling. Damn it.

“I know I’m sorry.” You realize why Damiano is being so himself and it's like having cold water thrown over your head.

“How drunk are you right now?”

“Like a 4/10. I am not nearly fucked up enough for any of this to be disingenuous.”

“High?”

“No.” He wasn’t even saying anything and he was convincing you. Or perhaps you were convincing yourself, which is much worse.

“I wish I was sober right now, though,” cue heartbeat skip. “So you wouldn’t be suspicious of what I’m saying.”

“It’s been a while since you sounded like yourself.”

“And I’m really sorry about that. I’ve gotten past the live fast die, young stage.”

“Thank fuck.”

“I’m so sorry. The way I treated you last time was abominable.”

“Correct.”

“And imagining that day without you there still puts me on the edge of a panic attack. When I first woke up and heard your voice, I thought I’d died. I thought I’d gone to heaven because you were there, acting like I hadn’t fucked it all up.” Stand your motherfucking ground, bitch. 

“Spending six hours on the train was angelic, I agree.” There's a pause in the conversation and that moment is all it takes to land you back in reality. Playing house over the phone made you feel better now, but later you’d be angry at yourself for giving Damiano even an inch of acceptance for how he was living his life.

“Are you going to block my number again?” Right now you are leaning towards no, which is probably a sign that your judgment is impaired.

“I’ll decide tomorrow.”

“You can call me. If you’re having a panic attack or you’re upset, you can call me and I won’t make it about…our relationship or my habits. I can be a friend and I don’t expect it to go the other way.” You let out a long sigh and follow the texture of the ceiling with your eyes.

“I don’t know.”

“I hate the idea of you being anxious at night and wanting to call me for reassurance, but stopping yourself.”

“Well I hate it too, but you’re not sober or trying to be sober. You won’t even admit that you need sobriety.”

“I understand that some people need it.”

“But not you? No, I can’t do this. I’ll just get hurt again and this time it’ll be my own fault, because I know better.” You sit up with a groan and look out the window. It was starting to get light outside, the very beginning of dawn.

“Y/n, I’m not self-destructing for the fuck of it anymore. I’m past using drugs that way. I even have a therapist.”

“I need you to be past using drugs full stop.”

“Y/n –”

“Let me finish. The self destructive thing is half of it and even though I may sound pissy right now, I can’t describe the happiness and relief I get knowing that part is over. Truly, Damia. I don’t want to just skip over that because it's huge.”

“I – thank you.” He sounds bashful.

“I’m serious and the fact that you’re back in therapy, chef’s kiss. I know how exhausting it is to dig through that shit and you’re doing it while under more pressure than the rest of the human race. The relief at you answering this phone call and being you? Incredible, but you’re still an addict.”

“So if I got sober, you’d give me another chance?”

“I can’t be the reason you get sober, Dami. It won’t stick and it’ll destroy our relationship.”

“Fine, but hypothetically, if I was sober, could we try again? Because I didn’t agree to end it for the right reasons.”

“If you had been sober for six months, with regular drug tests, and were in therapy, then yes. If you did the work to get sober and stay sober there is a high likelihood that I would try again.”

“Okay,” you can hear his smile. “Has trying to move on from us been absolute hell for you too?”

 “Oh, 100%.”

“Good. Give Princess and Cheeto a kiss for me.” The first thing you do when you get off the phone is unblock him on Whatsapp. All the messages that he sent while blocked roll in through your notifications. Immediately you know this was a terrible idea, but can’t stop reading. At least half of it is inebriated, misspelled confessions of his feelings for you. Those hurt deep in your chest. An apology always comes the next day. There's a couple probably sober messages where he admits to missing you, more delicately. Dami even sent the occasional anecdote that he knew you’d enjoy if on speaking terms.

At 5:02 AM you reblock him and fall asleep, but wake up feeling surprisingly hopeful. He was thinking about sobriety, maybe a lot. Damiano wasn’t mindlessly destroying his body and reputation for all the world to see. He was on a saner schedule. These were all really good things that indicated he was moving in the right direction, so a phone call three weeks later was a surprise.

Notes: Okay, confession time. I haven't actually finished this novel, but I have finished the first 17 chapters, so ya'll will be getting bi-weekly updates for a couple months at least. The response I've received has been excellent motivation. I am both moved and sorry for how many of you relate deeply to this story.

P.S. My taglist is evolving via this post.

-XOXO Eden

Read the rest on my Masterlist!

@surelyfreedombound @shinshans @lonnybunnys @davianos-blog @hauntedpostpersona @lizzylynch1 @kammerstx @harryssshouseee @slavicgoddess13 @persona1read1ng @katyldamusic @whore4damia @the-chaotic-cow @icarodamiano @gr8rainbowpunk @elvirabelle @bright-shiningstar @maneslut @stardustingold @little-moonbeam-666 @que--sera--sera

[louisupdates]

…

There are two kinds of rights at stake here: the rights to the master recordings of an artist’s work, and songwriting rights, known as publishing. One senior music publishing executive says their part of the business was ahead of the curve, explaining that publishing deals tend to work on exclusive licensing terms or retention periods. “Publishers pivoted from a rights-ownership business to the servicing of rights,” they say. Those retention periods are getting shorter, they add, down from about 25 years three decades ago to between 12 and 15 years today.

Message says he steers acts away from ownership-based contracts. “We have a default position that we won’t advise our artists to do life-of-copyright deals,” he says. “It’s not that we wouldn’t do them, but our strong advice would always be to come up with a licence arrangement of some description.”

This is the ideological underpinning of BMG and AWAL (Artists Without a Label), which is now under the ownership of Sony Music Entertainment. “The philosophy is flipping the relationship,” says Alistair Norbury, president of repertoire and marketing at BMG UK. “There had to be a fairer and more transparent way to work with the creative community.”

Acts on BMG’s roster – notably Kylie Minogue, Suede, Sigur Rós and Louis Tomlinson – are on licensing or assignment deals, so ownership of the recordings eventually reverts to them. “They want to be with a record label where they have creative control and ownership coming back to them at some point,” says Norbury.

AWAL sings from a similar hymn sheet. “AWAL emerged to help what we now call ‘independent artists’ to remain independent,” says Paul Hitchman, the company’s global COO. “Independent in the sense of owning their rights and retaining control over their career, but without having to compromise in terms of the expertise and support they can tap into, without having to compromise on the global reach and success that they can achieve.”

Norbury believes that, with more choices for acts, music companies have to repeatedly prove their worth and think about mutual gains rather than offering one-sided deals that are land grabs for all the rights. He says, “You want something successful in a long-term partnership rather than owning something that failed.”

In light of all this, the majors increasingly have to offer more flexible deal terms. They are also heavily investing in other artist and label services companies to gain a share of the boom in DIY and independent acts. Sony owns Awal and the Orchard. UMG has both Virgin Music Label & Artist Services and Ingrooves. Warner Music Group has Ada.

-

[Ed.: Louis Tomlinson’s licensing deal is with BMG. His publishing is through LT Publishing administered by Kobalt Music Group. This article implies that all rights for masters and publishing belong to Louis, and are licensed for a contracted period to BMG.]

[Ed.: In the second quarter of 2024, BMG has switched to in-house digital distribution and download services, and changed partners for physical distribution from Warner to UMG.]

[rebootgrimm]

Brands that are Pro-Israel under cut!!! Boycott them!!

Accenture

AccuWeather

ActionIQ

Ahava

AirBnB

Alaska Air

AllianceBernstein

Allianz

Amazon

Amdocs

American Airlines

American Eagle

American Wire Group

Amwell

Apollo

Apple

Aramis

ArentFox Schiff

Ariel

Atlassian

Authentic Brands

Aveda

Avery Dennison

Axel Springer

Bain & Company

Bank of America

Bank of New York Mellon

Baskin Robins

Bath & Body Works

Baupost Group

Bayer

BBC

BCG

Bioventus

Blackrock

Blackstone

Black & Decker

Bloomberg

Bobby Brown Essentials

Boeing

Bosch

Bounty

Bristol Myers Squibb

Bumble and Bumble

Burger King

Cadbury

Caltex

Capri Holdings

CareTrust REIT

Caterpillar

CeraVe

Chanel

Chapman and Cutler

Cisco

Citadel

Citi

Clinique

CNN

Coca-Cola

Comcast

Condé Nast

CV Starr

Cytokinetics

Davis Polk

Dell

Deloitte

Delta Air Lines

Deutsche Bank

Deutsche Telekom

DeviantArt

DHL Group

Disney

Donna Karan Cosmetics

Douglas Elliman

Dove

Edelman

Eli Lily

Endeavor

Energizer

Estée Lauder

EY

Facebook

Fanta

Fiverr

Forbes

Ford

Fox Corp

Gamida Cell

GE

General Catalyst

General Motors

Genesys

Gillette

Goldman Sachs

Google

Hardee’s

Hearst

Henkel

Herbert Smith Freehills

Hewlett Packard

Hewlett Packard Enterprise

HP

HubSpot

Huntsman Corp

H&M

IBM

Insight Partners

Instacart

Instagram

Intel

Intermedia

Interpublic Group

Intuit

Jane

Jazwares

Jefferies

Johnson & Johnson

Jo Malone

JP Morgan

Kate Spade

Kenon Holdings

Kit-Kat

KKR

KPMG

La Mer

Lays

Lego

Lemonade

Levi Strauss

Lifebouy

LinkedIn

Lipton

Live Nation Entertainment

L’Oréal

MAC Cosmetics

Maggie

Major League Baseball

Mango

Manpower Group

Mars

Marsh & McLennan

Mastercard

Mattel

McDermont Will & Emery

McDonalds

McKinsey

Merck

Merck KGaA

Meta

MeUndies

Microsoft

Milo

Morgan Lewis

Morgan Stanley

Motorola

MRC

Nasdaq

National Basketball association (NBA)

National Geographic

NeoGames

Nescafé

Nestle (and anything that stems from them)

Netflix

NFL

Nido

Nike

Nokia

Novartis

Nvidia

Okta

Omnicon Group

Oracle

Oreo

Origins Natural Resources

Palantir

Pampers (Procter & Gamble)

Paramount Global

Paul Weiss

PepsiCo

Perishing Square

Pfizer

Philips (66)

Pillsbury

Prescriptives

Progressive

Pringles

Puma

PVH

Raytheon

Regeneration Pharmaceuticals

Related Companies

Revlon

Ribbon

Riskified

Sabra Hummus

Sales Force

SAP

Sequoia Capital

Seyfarth Shaw

Siemens

Signal

Simons Property Group

Skydance

Snickers

SodaStream

Sony

SoulCycle

Sprite

StagWell

Starbucks

State Street

Stila Cosmetics

Subway

Sweet Green

Synovus

Tang

Tesla

Teva Pharmaceuticals

Thermo Fisher Scientific

Tieks by Gavreli

Tide

Toblerone

Tommy Hilfiger Toiletries

Tory Burch

Tribe Hummus

Troutman Pepper

Twin

UBS

United Airlines

Universal Music Group

UPS

UpWork

US Chamber of Commerce

Verizon

Victoria’s Secret 

Vim

Volkswagon

Volvo

Vontier

Wall’s

Walmart

Warby Parker

Warner Brothers Discovery

Wells Fargo

WhatsApp

Winston & Strawn

WiX

WWE

Zara

Zoff Davis

Zoom

[brokehorrorfan]

The Resident Evil films will be released in a Steelbook 4K Ultra HD (with Blu-ray) box set on November 3 via Sony Pictures. It includes all six movies in the action-horror franchise based on Capcom video game series.

The series kicked off with Resident Evil in 2002, followed by Resident Evil: Apocalypse in 2004, Resident Evil: Extinction in 2007, Resident Evil: Afterlife in 2010, Resident Evil: Retribution in 2012, and Resident Evil: The Final Chapter in 2016.

Paul W.S. Anderson (Death Race, Event Horizon) directed the first, fourth, fifth, and sixth installments, in addition to writing and producing the entire franchise. The second chapter was directed by Alexander Witt, while Russell Mulcahy (Highlander) helmed the third.

Milla Jovovich stars in all six movies. The cast also includes Sienna Guillory, Oded Fehr, Ali Larter, Michelle Rodriguez, Iain Glen, Shawn Roberts, Mike Epps, and Jason Isaacs.

All six films are presented with Dolby Vision HDR and Dolby Atmos audio. Both the theatrical and extended cuts of Apocalypse are included. Special features are listed below, where you can also see individual artwork.

Resident Evil 4K Ultra HD special features:

Theatrical Trailer

Resident Evil Blu-ray Blu-ray special features:

Cast and Filmmakers’ Commentary

Visual Effects Commentary

Alternate Ending with Director Paul W.S. Anderson’s Video Introduction

12 Featurettes

“My Plague” Music Video by Slipknot

Resident Evil: Apocalypse 4K Ultra HD special features:

Filmmaker Commentary

Cast Commentary

Writer/Producer Commentary

Deleted Scenes

Game Over: Resident Evil Reanimated Documentary

Corporate Malfeasance Featurette

Game Babes Featurette

Symphony of Evil Featurette

Resident Evil: Apocalypse Blu-ray special features:

Theatrical and Extended Cuts

Theatrical Trailers

Resident Evil: Extinction 4K Ultra HD special features:

Resident Road Map: Reflections on the Future of the Series

Theatrical Trailers

Resident Evil: Extinction Blu-ray special features:

Under the Umbrella Picture-in-Picture

Filmmaker Commentary

Deleted Scenes

4 Featurettes

Resident Evil: Afterlife 4K Ultra HD special features:

Alice Activated

Theatrical Trailers

Resident Evil: Afterlife Blu-ray special features:

Undead Vision Picture-in-Picture

Filmmaker Commentary

Deleted and Extended Scenes

Outtakes

7 Featurettes

Resident Evil: Retribution 4K Ultra HD special features:

Evil Goes Global

Undead Retribution

Theatrical Trailers

Resident Evil: Retribution Blu-ray special features:

Director and Cast Commentary

Filmmaker Commentary

Deleted and Extended Scenes

Outtakes

Project Alice: The Interactive Database

8 Featurettes

Resident Evil: The Final Chapter 4K Ultra HD special features:

Maximum Carnage: Best Kills

Creature Chronology

Theatrical Trailers

Resident Evil: The Final Chapter Blu-ray special features:

Retaliation Mode with Paul W.S. Anderson and Milla Jovovich

3 Featurettes

Based on the popular video game series by Capcom, the Resident Evil franchise stars Milla Jovovich as Alice, a superhuman security expert pitted against the sinister Umbrella Corporation as the world’s population is transformed into flesh-eating creatures by one of its most dangerous biological weapons.

Pre-order Resident Evil: 6-Movie Collection.

[fidenciojesusfan92]

Twilight Sparkle, Sunset Shimmer and Starlight Glimmer is in Equestria Girls on Nickelodeon and Nicktoons with Hasbro, Entertainment One and WildBrain Studios.

[sidowsobrino]

FOR IMMEDIATE RELEASE: The World's No.1 Superstar Dies After Choking on a French Fry.

Sidow Sobrino serves up a hilarious Halloween twist in the new "Happy Halloween" music video, now streaming on all primary services.

NEW YORK, LOS ANGELES, UNITED KINGDOM, AUSTRALIA, CANADA, MEXICO, COLOMBIA, & TOKYO. - September 10, 2024 — The internationally acclaimed Pop Icon returns with his most shocking and comedic project yet: The Happy Halloween Music Video. What starts as a casual visit to his niece Kylie in Dunbar, Pennsylvania, takes a gut-busting turn when the singer-songwriter meets his untimely demise—choking on a simple French fry. But in classic Sidow style, the tragedy transforms into an uproarious journey of resurrection, led by none other than Dr. Nulife, played by Richard Sidow-Sobrino.

The visual production introduces the unforgettable Monster Friken Fry, a wild character decked out in fishnet stockings and a vinyl leotard, dancing through a haze of smoke and laser lights. This playful parody of Frankenstein's monster is pure Sidow Sobrino—fun, flamboyant, and impossible to ignore.

"This video pushes the boundaries of what fans expect. We turned a simple horror concept into something outrageous, fun, and unforgettable," said the living legend. "Halloween is the perfect time for creating the unexpected, and this video delivers on all fronts!"

Richard Sidow-Sobrino, as the eccentric Dr. Nulife, hilariously brings the SAG-AFTRA member back to life. "Reviving my husband on-screen was a blast. Even with all the over-the-top modern methods available, it only took two fingers, making it as funny as it was bizarre. And trust me, the Monster Friken Fry is unlike anything you've ever seen," Richard quipped.

Happy Halloween, the song featured in the music video, is part of Sidow Sobrino's My Amir album, which is currently under consideration for two GRAMMY® Award nominations in the prestigious categories of Album of the Year and Best Pop Vocal Album (Pop & Dance/Electronic). The album is distributed globally by The Orchard, the leading distribution and services company that partners with independent labels and artists, and a subsidiary of Sony Music Entertainment.

Shot on location in California and Pennsylvania, with scenes from Uniontown, PA, the video packs in special effects, high-energy choreography, and Sidow's signature sound. Fans can stream *The Happy Halloween Music Video* now on TheWorldsNo1Superstar.com and major platforms worldwide.

###

[shefanispeculator]

18. Blake Shelton Net Worth - $60 million

Blake Shelton was born in June of 1976 in Ada, Oklahoma. His mother was a beauty salon owner and his father, a used car sales man. At the age of 12, he was already singing and was taught how to play the guitar by his uncle.

He wrote his first song at the age of 15, and by 16, he had received his first award, the Denbo Diamond Award, in his state of OK. He moved to Nashville after graduation, at age 17, to pursue his singing career.

He was able to get a contract with Sony Music, in 1997, with the help of Bobby Braddock and began releasing albums, with his first single debuting in 2001, titled, Austin. Since then, Shelton has carved out quite a career for himself, releasing multiple albums and singles that have topped the Country music charts and today, he has a net worth of $30 million.

12. Reba McEntire Net Worth - $95 million

Born on March 28, 1955 in Oklahoma. She comes from a lineage of champion steer ropers, and her mother was an aspiring singer who worked as a school teacher. She taught McEntire and her siblings how to sing and harmonize at a young age, and McEntire taught herself how to play the guitar.

She and some of her siblings sang at rodeos under the name, Singing McEntires. They sang a song, The Ballad of John, which was released under the indie label, Boss. It sold a 1,000 copies. 

McEntire went on to college and continued singing at rodeos during 1974, when she discovered by Red Steagall, who helped her launch her career in Nashville, TN.

Her first solo album was released in 1977 under Mercury Records, and five additional studio albums followed, until 1983. McEntire has won many awards in her lengthy career and had many hit songs and albums.

She has also branched out into film and television and had her hit series, titled, Reba, from 2001-2007. She is considered one of the best country singers, ever, with having sold over 85 million records globally and has a net worth of $65 million.

3. Toby Keith Net Worth - $365 million

Toby Keith was born in July of 1961 and is not only a singer, but a songwriter, record producer and actor. His first record release was a studio album back in 1993, titled, Toby Keith, followed by Boomtown in 1994, Blue Moon in 1996, and Dream Walkin' in 1997.

He's produced several singles that hit the charts and made his acting debut in 2006. Through the course of his country-singing career, Keith has released seventeen studio albums, four compilation albums and two Christmas albums.

He has had an incredible number of albums sold, reaching over 40 million sales worldwide. His net worth is $365 million, which makes Toby Keith the richest country music singer of all time.

[jenifersohowe]

🎙LABEL SONG "BREAKING UP" OF SONG WRITER TANNER PATRICK FROM HIS FAMILY ...

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[loonavrsl]

240404 [News] Modhaus signs contract with The Orchard for global distribution

The Orchard is a global music distributor under Sony Music Entertainment. Through this deal, The Orchard will play a role in expanding overseas distribution for ARTMS and tripleS albums, including US marketing and distribution for ARTMS' upcoming Dall album.

Source: OSEN via yooyeonglobal