#sony music uk

[richardarmitagefanpage]

Soundtrack Album for ITV’s ‘Red Eye’ by Film Music Reporter.

[rocknroll2024]

Everyone is welcome! Come on in!🤠🎸🎶🎤🎧

[newleasemusic]

Jessica Wilde 'Freak Out' in brand new single

Jessica Wilde 'Freak Out' in brand new single

JESSICA WILDE is a torchbearer for a fresh true bred style of rap, soul & RnB. She bares all with some brutally honest lyrics, melding her sharp-witted lyricism through spoken word/rap alongside her more familiar husky and powerful singing vocals. A native of South London, Wilde’s first concept album told her story like diary entries from mad parties, addiction, toxic relationships, to…

[theyjustv2callmynameillcumrunnin]

Here's a nice little Shawn Mashup😏

Piece Of You _Another One Bites the Dust - Shawn Mendes x Queen

[yeniyeniseyler]

Clean Bandit feat. Anne-Marie & David Guetta - Cry Baby (Video Klip)

Clean Bandit, Anne-Marie ve David Guetta‘nın 9 Ağustos 2024’te B1 Records UK / Ministry of Sound Recordings / Sony Music Entertainment UK etiketiyle çıkan yeni single çalışmaları “Cry Baby“nin video klibi yayınlandı. Yapımcılığını ve yönetmenliğini Clean Bandit’in üstlendiği şarkının video klibinde Ruger, Francis Bourgeois, Anne-Marie, Cartia Mallan, David Guetta ve Clean Bandit yer aldı. Clean…

[doyoulikethissong-poll]

Nirvana - The Man Who Sold the World 1993

"The Man Who Sold the World" is the title track of David Bowie's third studio album, which was released in 1970 in the US and in 1971 in the UK. Although no singles were issued from the album, the song appeared as the B-side on the 1973 reissue US single release of "Space Oddity" and UK single release of "Life on Mars?".

In his journals, Kurt Cobain of the American grunge band Nirvana ranked the album The Man Who Sold the World at number 45 in his top 50 favourite albums. Nirvana subsequently recorded a live rendition of the song during their MTV Unplugged appearance at Sony Music Studios in New York City on 18 November 1993 and it was included on their MTV Unplugged in New York album released on November 1, 1994, nearly seven months following the death of Cobain. The song was also released as a promotional single for the album in 1995.

Nirvana's cover received considerable airplay on alternative rock radio stations and was also placed into heavy rotation on MTV, peaking at number 3 on MTV's most played videos on 18 February 1995; it also peaked for two weeks at number 7 on Canada's MuchMusic Countdown in March 1995. Nirvana regularly covered the song during live sets after their MTV Unplugged performance up until Cobain's death. In 2002, the song was re-released on Nirvana's self-titled "best of" compilation.

Bowie said of Nirvana's cover: "I was simply blown away when I found that Kurt Cobain liked my work, and have always wanted to talk to him about his reasons for covering 'The Man Who Sold the World'" and that "it was a good straight forward rendition and sounded somehow very honest." Bowie called Nirvana's cover "heartfelt", noting that "until this [cover], it hadn't occurred to me that I was part of America's musical landscape. I always felt my weight in Europe, but not [in the US]." In the wake of its release, Bowie bemoaned the fact that when he performed the number himself, he would encounter "kids that come up afterwards and say, 'It's cool you're doing a Nirvana song.' And I think, 'Fuck you, you little tosser!'"

At a pre–Grammy Awards party on 14 February 2016, Nirvana band members Krist Novoselic, Dave Grohl, and Pat Smear teamed up with Beck to perform "The Man Who Sold the World" in tribute to Bowie – who had died the month before — with Beck performing vocals.

"The Man Who Sold the World" received a total of 77,6% yes votes! Dave Grohl has previously been featured in the polls with Foo Fighter's "The Pretender" at #111 and as a drummer on Queens of the Stone Age's "No One Knows" at #87, and David Bowie has been featured with "I'm Afraid of Americans" at #33.

[sgiandubh]

Lallybroch: copyright vs. trademark

An excellent question was asked by our friend @rosfrank in the comments thread to 'The door faces North' post and given the cosmic amount of uninformed bullshit being ventilated for almost ten years in this fandom, I think it's time to answer it once and for all:

Whenever we are informally talking about 'owning the rights to something', I think it's very important to bear in mind a fundamental distinction between two different categories of ownership rights: copyright and trademark.

The copyright is the most familiar one to many of you. It is what you usually find on those annoying and apparently useless first or last pages of all the printed or digital editions on this planet. Something like this:

In the US, copyright issues are regulated by the Copyright Act of 1976, as included in Title 17 of the US Code. The US public authority competent for registering and managing copyright is, as predictable, the US Copyright Office.

Perhaps the most seminal US Supreme Court decision, as far as copyright is concerned, is the 1991 Feist Publications, Inc., v. Rural Telephone Service Co. In it, the Court ruled that mere compilations of information or facts (such as, for example, telephone books) are not protected by copyright, according to US law. In other words, the ancient legal concept of 'sweat of the brow' (which simply means the amount of work required to gather and compile those facts/information) is not enough to qualify a work for copyright protection, if no creative effort is added to enhance its content. This is why I have always considered absolutely ridiculous Marple's efforts to watermark public information screenshots: it is useless (to the extent that it legally protects her from nothing) and, as her timelines, a mere compilation of facts (legally ditto). A similar approach is preferred by the UK and also by many Roman law legal systems, such as the French one - just making things clearer, here, by the way.

See how 'Erself is roughly doing, right now, in this department:

But I am rambling. In my view, Lallybroch, as a pivotal concept used in Diana Gabaldon's books, is protected by the copyright granted to each and every of her books mentioning it, according to the Roman law principle 'accessorium sequitur principale' (the accessory follows the principal). So it will remain protected for at least 70 years since the last of her books mentioning it would have been published under copyright. Unless she chooses to separately protect the entire finished cycle as a whole, once Book Ten (fingers crossed) is published, preferably during our foreseeable lifetimes.

That being said, that goes only for one copyright category: (published) text - you cannot copyright that secret diary in your drawer, LOL. This is why, the current US Copyright Office records concerning Lallybroch look like this:

Sony Pictures Television Inc owns the copyright to the fictional name Lallybroch in the motion pictures category, as it is the title of the Episode 12, in Season 1 - DG has been handsomely compensated for this, no worries. And someone I have no idea about owns the rights to an original musical score she has written and titled Lallybroch in the music category, since October 2013.

Onwards to the trademark. This is something different and this is all about making your name/concept/idea profitable. It is all about branding it, putting it on a product and selling it under that brand. It includes all the graphic elements and the logo of the brand (accessorium...) - in short, its visual identity to the consumers. In the US, trademark issues are regulated by the 1946 Lanham Act and the public competent authority is the good old US Patent and Trade Office (USPTO).

Right now, the situation for the Lallybroch trademark is as follows:

So, we see three different trademarks: two of them, owned by Diana Gabaldon, are classified as 'dead' (cancelled and/or abandoned) and the third, Lallybroch Spirits, owned by S's Great Glen Company is pending approval - he will not be able to label any booze bottle Lallybroch Drink Me before permission is granted by the USPTO.

Let's unpack:

Both Lallybroch trademarks formerly owned by Diana Gabaldon were filed at the USPTO on February 21, 2000 and granted on December 12, 2000. The first was aimed at producing 'tartan fabrics for the manufacturer of clothing' and it was abandoned in December 2003:

The reason is that the owner did not file in any Statement of Use after the trademark was granted. She had three years to do so, and since she chose not to do anything about it, the trademark was deemed abandoned (Stacy K. Smith is the attorney hired by Herself, btw). That means she specifically implied not to intend using it in the future. As such, she may claim NO rights on a now free to use mark:

The second trademark was aimed at producing 'clothing, namely, t-shirts, dresses and headwear' and also 'jewelry, namely, rings, pins and necklaces'- to cut the story short: OL merchandise - and it was cancelled on March 1st, 2013:

The reason is that the owner did not file the Section 8 declaration (of continuous use for five years) within the allowed legal timeframe (6 months after the fifth anniversary of the trademark granting renewal). Her trademark federal rights are now deemed canceled (but not her state law and/or common law rights!) and if she wants to ever use that name again, she would have to start the whole process over, bearing in mind the trademark could have been granted to someone else, in the meanwhile (not her case).

And for anyone who might ask, 'Erself does not own any other trademarks whatsoever:

The other (Doll Lab - LOL for ages) Diana Gabaldon is a pharmacist from Albuquerque, NM. Chill. 🤣🤣🤣

The owner of the copyright to the fictional toponym Lallybroch, as far as published text is concerned, is Diana Galabdon.

The owner of the copyright to the fictional toponym Lallybroch, as far as motion pictures are concerned, is Sony Pictures Television Inc.

The owner of the copyright to the fictional toponym Lallybroch, as a personal work of music, is Mrs. Kelly Ruth Davis, of Pennsylvania, USA.

The owner of the Lallybroch Spirits trademark will be Sam Roland Heughan, when that trademark is granted by the USPTO.

I hope this answers your question, @rosfrank. Thank you for asking.

[faith--in-the-future]

ok but I want to take a moment to say something

this isn't just about getting a n1 this is about showing to the entire industry that they were wrong about him !! it's to show Sony all the potential that they've wasted ! it's to scream at uk media/radio to fucking SEE HIM ! it's about every single time louis was told to give up, every single time he was made to feel insignificant and unimportant throughout his career, this is for the interviewers that asked him why didn't he just quit music, this is for all the fans who doubted him and his ambition, this is for all the radio hosts that made fun of him, for the journalists that run smear campaigns against him, this is for the festivals that wouldn't book him and the the radios that make him play gigs in a parking lot, for the music reviewers who never gave him a chance

this is for every single time that louis picked himself up from the ground, every single time that he didn't give up, every single time that he took the shit that was thrown at him and made something beautiful out of it, this is for every single time that he got hurt and then turned the other cheek and forgave even those who didn't support him, this is for every time he didn't let the dark times obscure his hope, this is for all the growth that he went through both as an artist and a person, this is for his music, his passion, his kindness, his fairness, his talent, his heart, his life

this is for louis ♡

[turtleations]

Interview with I.N.A. (Spread Beaver / Manipulator, Percussion; Music producer) (summarized)

Published in the hide BIBLE (by Akemi Oshima) 2008

Note: INA calls hide “hide-chan” throughout the interview, and in the spirit of being as authentic as possible without actually giving a literal translation, I will, too.

Note 2: As with Sugizo’s interview, this is very, very close to an actual translation. Many of the things I give you here are INA’s exact words, just moved from first to third person. The prompts and questions of the interviewer are actual translations.

The reason why I stick with this format for now is because there are some parts where I can figure out the meaning but wouldn’t know how to accurately put them into English sentences. Doing it like this allows me to work around that. It also allows me to skip some small bits and fillers that I cannot figure out, although there were hardly any of those this time. There is nothing in terms of content value missing from this.

INA-san’s memories with hide-san must be like a mountain, aren’t they?

INA could talk about anything (laughing). When he’s given interviews since, he gets asked to recall memorable incidents, but it was all memorable, so he doesn’t know where to start.

You first met hide-san when you were working for X?

When INA was working with hide-chan for the first time, he was stage manipulator for X’s Jealousy-tour in 1991.

What kind of work did you do until then?

INA had been working on the recording of popular music. He was thinking that he would like to work more with actual artists, but of X he had never heard before, even though they were all the rage then. When he was shown a video of them, he thought “Eh?” and “What am I doing here?” But he did it anyway. Hide-chan he first met at the rehearsal studio. Since there were so many heroic stories about them, that was a little scary…

You heard a lot about them, didn’t you?

That had been a problem. But when he met them for real, they all turned out to be good people. Because they were with SONY then, there also was a lot of staff. But even though INA was the new guy, hide-chan often invited him to go drinking with them.

About the Jealousy-Tour

Ever since then, INA and hide-chan worked together, and that continues until now.

Any memories of the tour?

At that time, after the show, all the members would gather and go drinking together. Going outside in their full flashy set-up, clothes and all. Surprisingly, the fans went with them into town and would just have conversations in the bars as if that were normal. INA also went along.

Your working with hide-san

It started with INA sampling hide-chan’s voice for his solo corner “HIDE’s Room”.

“HIDE’s Room” started out as improvisation and developed from there, right?

So it seems. When INA got involved, “HIDE’s Room” already existed. But it was still pretty improvised. Hide-chan said he wanted to make a variety of noises and they sampled his voice like that. INA added keyboard and drums on top of it and it gradually developed from there. After that came the three days at Tokyo Dome that Taiji resigned with, and then, half a year later, INA went to LA for the recording of "Art of Life".

Wasn’t going to the US for "Art of Life" delayed by half a year?

In the meantime, they did things like Talk Live at Budoukan. For Talk Live, INA was on stage with the orchestra, tampering with the computer in a tuxedo (laughing). That was the time Yoshiki did "Art of Life" alone at the piano with the orchestra.

After Jealousy, getting involved with "Art of Life" happened naturally?

INA was told they wanted him to come along. Before that, he had helped Yoshiki with his solo-songs – that kind of progression.

Yoshiki’s solo?

Violet UK. INA was there for the very beginning. 15 years ago now? Even sooner than that.

After the Jealousy-tour, Violet UK already had a name, that’s amazing.

At that time, it probably didn’t have a name yet. The good thing about going to LA was that for the first three or four months, INA had nothing much to do and just went drinking with hide-chan and Heath. Various incidents happened. Fire trucks were involved.

Fire trucks?

Hide-chan, drunk, pulled the apartment building’s fire alarms in the middle of the night and a lot of fire trucks came, which made everyone flee into Heath’s room. Hide-chan then went to sleep on Heath’s bed, and the next day during the recording of "Art of Life", Heath reported, “He won’t wake up.” (laughing) Heath himself had gone to the studio having barely slept at all.

INA-san’s previous work?

When he thought about working for X, he had already stopped doing that. He thought those people were interesting. After that, hide-chan made a song for “Dance 2 Noise” with J and Inoran. At first, he was working with the machines himself. He always said to INA, “I don’t get it, I don’t get it. Please teach me how.” He did his best to do it on his own with the crappy hand-down equipment at his disposal, but he fell asleep during INA’s explanations. Then he asked INA to help him, because he didn’t understand it, and they decided to do it together. Hide-chan and INA were in LA for the recording of Art of Life, J and Inoran and the programmer were in Japan, so it was a constant back and forth with the data. INA’s professional working with hide-chan started there. They secretly went and used the studio X had claimed for themselves when it was empty. Song recording happened in Japan. Afterwards, INA went to the US again. At that time, he came and went. Next, hide-chan made that movie with Tusk, and the called INA and said, “Let’s make the soundtrack together.” They returned to Japan to create it during a one or two weeks long break in the recording of "Art of Life".

About making hide’s solo music

It started around that time. Hide-chan decided to go solo and was thinking about various things, like finding a producer, who should play the keyboard, and in the course of this, when hide-chan wasn’t able to find the right partner, INA was called to the collaboration that continues to this day. He now thinks the work on the first single went smoothly (laughing). Therefore, he now thinks it was fortunate he got invited to work with hide-chan. Back then, not so much.

What do you mean?

INA doesn’t know if it’s a good thing or not, but he was told to be open with hide-chan and during the vocal recording they basically had a fight. Because INA was also strict and insistently kept telling hide-chan, “No, wrong!” Good things came from it, thought, so hide ultimately didn’t resist it.

hide-san gave up on doing it on his own?

He probably still wanted to when he started to work on his solo. He borrowed a computer from INA, and then called him incessantly with things like, “It doesn’t work,” “I don’t understand this,” “It doesn’t have power.” At that time, he called INA wherever INA happened to be, it was a problem. It was a time without mobile phones, but he still managed to find him wherever, bafflingly. Even at his parents’ house (laughing). Then he accepted that he couldn’t do it alone and said, “Let’s do this together!”

Did you also act as vocal director?

Yes. INA had already done that on X’s demos, so it happened naturally from there. But even so, why him?

Hide-san rarely asked people to do tings like that, he must have trusted you from that time.

At that time, hide-chan still lacked self-confidence and didn’t want people to hear his voice.

In the beginning, he said he hated his own voice.

He sang a lot at that time. He practiced, recorded. Practiced, recorded. Over and over, until his voice was all rough. “Doubt” was recorded almost in one go, but other songs he had to sing hundreds of times. The music they listened to back then was similar, so talk was quick, but it was probably a good thing that their musical backgrounds were completely different. INA liked black music, hide was a rock guy. INA thinks hide-chan found it more interesting to work with people from different backgrounds, since he wanted to do a lot of different things.

What was music you both liked?

During that time, industrial rock and fusion came up and they talked a lot about how good they thought Nine Inch Nails, Prodigy, or Jesus Jones were, “I wonder how to go at it, to make something in that style,” and things like that.

Did you want to make that kind of music yourself?

INA did not know rock until he met X, and he thought it would be good to add another component to the things he liked. Hide-chan probably thought the same way. INA had things hide was looking for, and he also had a lot of experience in the technological aspects, so that was a perfect mixture.

What was your impression of hide-san at that time?

He went drinking a lot. He went drinking with INA. One way or another, there had been a strong impression of alcohol consumption. Returning from the studio, they absolutely had to go drinking until morning. Why did he have to drink so much? (laughing)

Did you also like drinking?

Yeah, INA liked it. He was a pretty heavy drinker.

It’s probably a happy thing that you two became friends.

They could go drinking together. In the course of doing so, they also took trips to Hakone and things like that.

Along with Pata-san?

No, others. Various other people came along. If they went somewhere for fun, it probably couldn’t be helped. In LA as well, people were always with them when they went out to drink.

Any episodes from that time?

Plenty. (laughing) The fun episodes with hide-chan are mostly stories of alcohol. A lot of memorable episodes from when he was drunk. He said he was going to drive the van on the vast grounds of their American apartment complex. Since it was private land, they figured it would be okay, and INA, Pata, and Heath got on the ride, except they somehow ended up in the mountains where there were no roads. Thus, Pata flipped out, yelled, “Asshole! Matsumoto, you fucker! This is going too far!” and everyone was surprised by how angry he could get. Because hide-chan was going up a cliff. (laughing) That was the first and the last time INA saw Pata get that angry. And then, there was stuff like throwing things into the pool.

Didn’t you also live together?

Of course not. In this, they practiced abstinence (laughing). But INA certainly spend more time at hide-chan’s studio than in his own home. In Japan it was the same. Since hide had a studio at home, that’s where they worked all the time. [Note: These studios, according to INA’s book “Kimi No Inai Sekai”, were simply little extra rooms that weren’t soundproof, and the neighbours having opinions about the noise level drastically limited what they could do in them.] They were among the first to record things at home. Equipment like that wasn’t really in use back then. In any case, they were early with it.

He liked new things.

Seriously, he was a person who did not know whether he was a commoner or a celebrity. He had opinions about the cost of alcohol that was several thousand yen, yet easily bought new equipment that cost tens of thousands of yen. He’d say, “INA-chan, here’s a new computer,” and bring it along with a smile, while INA went “How expensive was that?!” He was quite strange. In his heart he was a commoner, though, extremely so.

After you finished his first four solo songs

After that, they went drinking together. “We’ll do it together,” INA was told earnestly. And, “You’re not in my employment. I want you to openly tell me if something is good or bad.” And also, “I don’t want you to work for anyone else, INA-chan. I want you to use your talents only for me.” And INA thought this person was amazing, and replied, “I get it. Let’s do it together.” At the time, hide assembled a bunch of specialized people and created the prototype of LEMONed. Two weeks later, they went to the US, and it was like they were living in a new rock’n’roll castle. An apartment building where Toshi-kun and Heath and hide-chan all lived together. In a room there, they prepared a system for audio recording and the beginning of the first album was made. It was also around this time that the X Film Gig was happening in Japan, wasn’t it?

Ah, yes, that film gig that was an entire tour.

At that time, Yoshiki was still working on "Art of Life". INA’s work on it was done by then, so the year 1993 was entirely dedicated to hide-chan’s album. At that time, hide-chan became all well-behaved so as not to cause trouble anymore. They stopped going out and secluded themselves in hide’s room for a while, to work. Without taking a break either, from noon until two or three at night, only working. Every now and then they would go out to drink. This repeated every day for about half a year.

Still, you always went to Japanese bars.

They didn’t know LA very well at the time and rarely went to American bars. Just once, to a place that was like a giant disco. Later, they went to more places, but at that point, they were living in a pretty narrow world. After going back to Japan, they recorded the last three songs of HIDE YOUR FACE, then went on a nation-wide tour after.

That tour was your debut, INA-san?

Before, when hide was on TV for the promotion of his singles, INA was with him – maybe because hide-chan felt it would be better if there was someone else in addition to him, so INA had to do it. Since he had never done anything like that before, he hated it. There was a “?” constantly hanging over his head.

Can you elaborate on that?

Regarding his solo, hide-chan said he hated being on his own. When they had a live for the press at the tie-up of “Tell Me”, they did that together, too. INA doesn’t know what to make of that. (laughing)

How did you do it together?

INA was freestyling on all the machines (laughing). Because of this, he also joined the band for the tour, probably. Back then, programmers like INA never went out of stage like that.

Now that happens a lot, though.

INA wonders if they weren’t the first to do it. Since there was no one else doing it, they had to figure out how to go at it. At that time, scratching on DJ equipment wasn’t a thing yet, but INA had played drums as a student, so should he maybe beat those a bit? He was never really at the keyboard because they had DIE for that. INA thinks he did a good job overall. Since programmers didn’t go on stage, they were never seen in public. So, he created his own thing for himself to do. In regard to that, he wasn’t really told, “Do this,” or “Do that.” Maybe hide simply wanted more people on stage (laughing).

Or maybe he just wanted to be with you?

It’s funny. Just now, INA worked through the uncut MCs of the first and second solo tours on the DCR, and they are amazingly long. Second tour, ten hours altogether. INA is going to be busy with that for months. On the first tour, it was only 104 minutes of MC in total. But for the PSYENCE-tour, ten hours. At the end, there would be fifty minutes of talking in a two-and-a-half hour concert (laughing).

The MCs were that long?

Chatter. But it was interesting to listen to. During the first tour, INA searched and searched, but they barely talked at all.

The first tour’s rule of no alcohol the day before a live stuck around, right?

During the second tour, they had to abstain as well. They did that part when they were done (laughing). On X-tours, on the other hand, they drank a lot. They went through hotels and such until five or six in the morning.

After the first tour was finished, hide-san’s solo activities took a bit of a break, didn’t they?

Yeah. They went back to LA for X. For the recording of DAHLIA, they were there for a good while this time. 1995, wasn’t it? The solo tour ended in spring 1994, until summer they worked on videos, after that they went to LA. Zilch came into being at this time. X and zilch and the solo stuff… LEMONed was also started, they published a compilation, it was an extremely busy time.

You had to deal with all of that, right?

For real. INA went to Osaka for X, came back to Tokyo for solo recording, the next day it was off to the US for zilch… like that. And they travelled with all of their equipment. INA and hide-chan and the manager, all those people, and about 20 pieces of equipment, going to the US every week. At the end, the customs people only went, “There they come again” and waved them through. That was terrible. While INA finished the second album, hide-chan went to record the vocals for zilch. Then he had to go to the studio to play guitar for X. In this time, they mostly divided the work. If they worked together all the time, they felt they wouldn’t have been able to get it all done on time. The recording of Toshi’s vocals for "DRAIN" was also done at hide’s apartment. The bass was also recorded at home rather than going to the studio.

Was his home studio that enormous?

No, it was about the size of an 8-tatami room [Note: About 13 square meters or 142 square feet], where they crammed in all their equipment and recorded the sound.

What about zilch?

It was a mess (laughing). When INA and hide-chan came to the studio, they were earnestly there to work. They took what they did seriously. When the others were fooling around in the studio, hide-chan and Ray McVeigh often clashed. Hide then said, “INA-chan, I’m going to lose my temper today, so you better go home early,” and then they’d have a fight. It was quite interesting. Since zilch and hide’s solo activities happened at the same time, INA and hide-chan spread their work out between them. They had a producer as well, and the project grew as more and more people got involved.

Did you hear about the conception of LEMONed?

He didn’t. Only after the fact, just like with Spread Beaver. Hide just dropped that information casually in the middle of a conversation. When the LEMONed store opened, they were in LA. INA remembers how hide passed him a video and said, “It turned into this kind of business.” At the time, they did a bunch of things in Japan. The “Misery”-PV had a home-made feel to it because INA edited it himself from raw material of stuff the two of them had filmed at home. It was a time like that (laughing). The lip-syncing for that PV they filmed in front of a blue TV screen at hide-chan’s home. The staff just turned the light here and there. It cost 0 yen (laughing).

There had been a plan to make a video like that, huh?

INA thinks that a plan for filming a video like that already existed within hide-chan. But he had no plan for the actual contents.

Here, staff member Motoyama provides the information that they made the video by sending it to Japan for the design team t.o.L. to edit, and those then send it back to LA.

INA once again emphasizes that, seriously, it cost no money, and laughs. INA did not get a salary, of course, and he even had to be the chauffeur. “INA-chan, you got free time, right? Let’s go take some pictures together.” Also, in the desert, their car got stuck and they all had to work together to get it free. That time was really fun. It felt more like an extension of their playtime, not at all like work.

A lot of people said the same thing: That it was like playtime.

When INA was down with a fever, hide-chan got worried and came by to make him rice noodles. At that time, they lived in a world made up of ca. four to five people, in LA and Japan. At the time of PSYENCE, hide-chan said he wanted to create “The best possible work with the least possible number of people in the shortest possible amount of time.” Song creation aside, they needed about one month to finish the recording. Which was pretty terrible, actually. They finished work at five in the morning and started again at eleven… like that (laughing).

And when you were done at the end of the day, you couldn’t even go drinking.

They could not. It was hard, but they pulled through.

How was the second tour?

Combined with the LEMONed event, there were nearly twenty shows. Strangely enough, while INA had his doubts about how to handle it in the beginning, in the end it turned out to be fun. At first, he was concerned with how to proceed, but as the tour continued, it all just fell together and solidified. Hide-chan was amazing when it came to bringing out people’s talents – not just with the musicians but also with the staff and everyone. He didn’t say, “Please do it this way because that’s the way to do it,” but instead, “This is want I want to do, but do you have any alternative suggestions?” And if a suggestion was made, he’d go, “That sounds good, let’s do it!” He had that stance towards everyone, so everyone enjoyed working with him and had a good time. Even if he ended up not doing what had been suggested, he gave it serious consideration. There aren’t many people who can say they were given a chance like that. Since hide-chan quickly realized the ideas he liked, everyone had fun and gave their best. By the time the tour was over, they had really grown close as a team. Even now, the staff from the PSYENCE-tour called it the most fun one they were ever involved with. Regardless of whether they contributed in big or in small ways. In this regard, hide-chan was amazing.

INA-san, your hairstyle became very flashy. Why was that?

Miyagi-kun, hairstylist at LEMONed, said, “This is gonna stand out!” and pained INA’s hair in fluorescent colours. But that paint would come off, so they decided it would be better to dye it if INA was to sport those colours every day. Miyahi-kun also went over the top (laughing).

It wasn’t done by hide-san?

Well, it had been kind of a spontaneous thing. But hide-chan also dyed INA’s hair. He had a beautician’s licence, after all. During the first tour, he also dyed DIE-chan’s hair. And Pata’s, way back.

And after the PSYENCE-tour?

The incident where hide-chan fractured his skull. All of a sudden, he just stopped contacting INA one day. Usually, they were in contact every day even after the tour to make up a time for INA to come to hide-chan’s place to work on songs. But now, there was no phone call at all, and INA was told by the office, “hide-san got injured, so we’re taking a break for now.” They didn’t give him any details and he didn’t hear anything else for about a month. INA didn’t do anything, but he wondered what was going on until hide-chan himself contacted him one day and told him that he had been hospitalized. INA was surprised to hear this (“Eeh, what happened?”), while hide was rather dispassionate about it (“Broken skull.”). INA was startled, even though he only heard about it after the worst was over. They were talking about going to the US to resume work and start recording for zilch, but the doctor told hide he wasn’t allowed to fly. Regardless, hide went anyway, then told INA that there was this terrible ringing noise in his ears during the flight. When INA heard that, he went pale and thought, “It’s over.” But it was okay; after this they stayed over there for a while. In fact, that was their longest stay. They resumed the work with zilch that had been postponed for the PSYENCE-tour and only returned to Japan in Summer.  [Note: They had left for LA around February.] After that, X JAPAN announced its dissolution.

He just went about song making as if there were nothing happening, though?

Basically. Get it done, get it done… he worked like that all the time. He finished one song about every one or two weeks. But when they were in Tokyo, he just wanted to play around. Abroad, he calmly worked in the studio every day, but in Japan, things immediately got in the way and no work was done. Kiyoshi or whoever would come over to hang out and they wouldn’t work. One day during the creation of “Ja, Zoo”, in order to get them to focus, the record company send INA and hide to a camp at Lake Yamanaka. It was supposed to be refreshing, but since there was absolutely nothing around, the two of them turned a little weird about two days in. They were alone in that mountain hut, there was no one else around, outside was nothing. “I wonder if there isn’t anyone in Tokyo who can come to visit,” they said and kept making phone calls. Inevitably, they went out at night, but there were no establishments around, so they kept circling the lake in their car until morning. [ Note: INA makes it sound like they were the only people in the area, but according to “Owaranai Kizuna”, the book of hide’s former manager Kuma, there was an entire team with them, and also Kuma himself, who got stuck there when hide abducted him on the way to the retreat and set his mobile phone on fire. (More at eleven.)] Then, the people from the record company said, “Good work!” and invited them to the Atami Onsen as a reward. And thus, hide-chan, who had shown great restraint until then, let loose, went berserk while drunk, and broke his foot. And that just a couple of months before X JAPAN’s Last Live in Tokyo Dome. [Note: Actually, it seems that it was more like one month before the concert, as the accident happened in late November.] Just before that incident, INA, in a good mood, had warned hide’s brother and manager Hiroshi to make sure that hide did not, no matter what, injure his hands. And his hands were safe. Instead, he came back with a broken foot (laughing).

No kidding. (laughs)

But, at the time, it was adorable. When hide came back from the hospital and INA knocked on the car and asked if he was okay, hide pretended to be asleep (laughing). When INA later asked him about it, he explained, “I didn’t have a clear answer, so I decided to just feign sleeping for the moment.”

The photographs for the jacket of “Rocket Dive” were taken at that time, weren’t they?

Staff member Yamamoto again: That’s right. Hide-san just said, “I’m sorry” regarding those photographs.

INA: That day, his leg was still in a cast.

Yamamoto: They could only photograph the upper part of his body.

INA: At the Tokyo Dome, he was already well healed.

Yamamoto: He ate small fish all the time. He had put it in his mind that he would be healed for X JAPAN’s last live.

INA: Everyone brought calcium and such. But within a week, hide-chan already resumed pre-production at home. Since he needed to stand while singing, he did so while carefully balancing on his tip-toes.

Did you hear about X JAPAN braking up in advance?

INA did, by accident. Even hide’s manager didn’t know about it, no one knew about it, so he kept it a secret.

Did you say anything?

They didn’t speak much about this matter. Only after the press conference announcing the break-up. They walked home, worked on “Rocket Dive”. There was an air of “March on to the next thing” after they watched the press conference on TV. But then, in the afternoon, an old friend contacted hide and they decided to go for a drink (laughing). At that point, the Last Live had not been decided yet and it felt like it would end with that press conference, so INA thought it made sense that hide-chan wanted to drink.

X JAPAN’s Last Live was on New Year’s Eve 1997.

INA was there backstage. After that was the Kohaku-performance at NHK, so after the live was over they immediately had to move on to the NHK building. Those who, like INA, were left behind, were like, “There they go.” Afterwards, they had a closing party with the members. Ah, yeah. Pata-chan was there, too.

Yamamoto: There was a full -page advertisement for “hide with Spread Beaver coming…1998” in the morning issue of the Asahi Shinbun, so they waited for it in a pub while drinking.

INA: Except no one had heard about that yet (laughing). INA had known about it, but Joe was all, “Eeh, what’s Spread Beaver?” Since they had been working together all the time already, it wasn’t a problem to just turn them into a band, but everyone was still delightedly surprised. There was no formal contract, so at that point, nothing really changed. After that, they went to LA for recording again. Everyone was involved.

What did you record?

“Pink Spider”, “ever free”, and stuff for the album. But work on the album did not go as planned. “Pink Spider” and “ever free” were to be released in May, and it was decided that they should return to Japan for the promotion. The plan was to release the album and go on tour then, but now there was talk of doing something like a pre-tour, since the album wasn’t finished. First, a pre-tour with the three new songs, then the zilch-tour, then the real national tour once the album was finished. “No matter how you look at it, there isn’t enough time,” they said.

How come the completion of the album was delayed?

Basically, a sense of “Let’s make it better”. It was changed over and over, and the promotion of the singles also got in the way, so the time for recording just disappeared.  But they made it to the point where it should have been finished in a month, maybe a month and a half.

Did you hear anything regarding hide-san’s thoughts on the world?

He wanted to do western music, but by the time zilch was started, western music was already circulating in Japan, and he wondered if it wouldn’t be more interesting to take Spread Beaver aboard. He wasn’t just obsessed with “The World”. Rather, he’d said, when PSYENCE was completed, “This is great, INA-chan. If this doesn’t sell, we will go abroad, we will give up on Japan.” He’d always been conscious of foreign countries and the world as a whole, but it’s not like he absolutely had to make it there above all else.

INA-san, you continued participating in hide-san’s work after he died, didn’t you? Just now, you told me about listening to and editing ten hours of his MC.

That’s simply because it’s interesting. Separate INA from it for an hour and he’s already going back to it. Everyone else from Spread Beaver also comes at once if they are called back without warning. INA didn’t do anything for it for a bit, but this year [2008] there was a lot. He edited the live album and there were also lives to perform. Listening to it as music of today is strange.

Where there ever times when it was difficult?

That, too… There were times during the work on “Ja, Zoo”. And then, after, the tour without hide. That was hard. Because they had to keep smiling amongst the thousands, ten-thousands of people in the audience who were all crying. But it’s because of this that they are here now. Even if there were also grudges… There were a lot of people who held it against them that they did this. But there were also those who said it saved them, so he is now glad they did it.

In that sense, those were difficult circumstances, weren’t they?

To be honest, there were times when INA thought that he also wanted to be saved. However, they decided to do all the things hide-chan had wanted to do in 1998. They did the things they could do, like release a Best of-CD or re-release “Tell Me” with the band. And when things calmed down, they opened the hide museum. Altogether, they held a lot of events. Since INA is the one participating in the museum the most (laughing).

And so, DJ INA was born. (laughs)

At first, he was a false DJ. He did hide’s tour as a DJ. After all, there were people waiting for it who did not just want to listen to hide’s music at home but enjoyed experiencing it loudly with everyone else, and things would continue after this. There was the memorial summit with X JAPAN, Luna Sea and all the others, as well as tens of thousands of people. If there were things INA could do for that, he ought to do them.

There are too many memories, aren’t there?

When INA thinks about them, they rapidly come back. At the launch party for the memorial summit, he talked to Pata and it brought back a lot of stories. Things normally forgotten that none the less stayed in everyone’s heart.

Did you ever fight?

When it came to making music, there were things resembling fights, but never outside of that.

You were the same age?

Yes. Their birthdays were one day apart. INA’s is on 12 December.

INA-san, what kind of person was hide-san to you?

He honestly doesn’t know.

Anything you want to say to hide-san?

Things like “Thank you.” It was interesting, and it stayed interesting after hide-chan was gone. It’s strange, though… INA’s feelings haven’t changed now that he supports hide’s activities after his death as opposed to them working together when he was alive. What he wants to say is just “Thank you.”

[twopoppies]

heyy, i think my ask got lost but:

regarding the rob stringer ask that you answered, i was wondering why is rob stringer such a big deal.? also, this kinda got me intrigued, curious and angry(blacklisting of louis from uk radio) so i went on to research for myself and i fumbled upon this article: https://www.bbc.com/news/entertainment-arts-51360192

it was the very first article that showed up, i didn't even need to dig, and it's directly by BBC, so is this BBC not the same as BBC radio or what..?

it's a little confusing for me cuz in my country nobody really pays any mind to radios and what they are playing and we usually stay tuned to our fave artists via tv shows, social media or simply music apps etc etc

Hi love. Rob Stringer is “a big deal” because he was head of Columbia when 1D were together and then head of Sony (parent company of Columbia) when Harry went solo (and Louis got stuck with Syco). So he’s had his fingers all over whatever contracts were signed by all of the guys, and most likely had plenty of decision making power over the closeting of HL and the blocking of Louis’ solo career.

BBC Radio and BBC TV are both divisions of the British Broadcasting Company. Louis having that disastrous interview on the Morning Show wasn’t the beginning of his being blocked from BBC radio. I think his blacklisting and image damage extends as far back as XFactor and Simon Cowell. There are many people involved and I don’t know if you can really point a finger at Simon or Rob Stringer and say that’s this is the key person responsible for it all. But, him appearing on that show and that article being written is just part of a very complex pattern of abuse he’s been subject to.

As for radio being important… I really don’t know why it seems to make a difference. I do think being nominated for The Brits or The Grammys doesn’t have without radio airplay and even if we know The Grammys are bullshit, it’s still great advertising and it’s still seen as prestigious in that you’re “accepted” by the music industry insiders.

But I think when people complain about him being blacklisted, they mean that he’s almost entirely absent from everything—radio for sure, but also radio concert events like Jingle Bell Ball/Summertime Ball, British talk shows like Graham Norton etc., British award shows (even the Rolling Stone UK award show was tainted by his performance being removed and his interview being publicized using Harry’s name).

I don’t buy into a lot of the stuff some solo fans talk about in terms of Louis’ career blockades, but for an artist who has such an ardent fanbase to be shut out of so many ways of advancing his career, you can’t help but assume there’s something underhanded happening.

[rocknroll2024]

Make your voice heard! Vote for “Rockin In The City” in UK Charts!!!! Thank you guys!🤠🌎🇺🇸🇬🇧🎶🎵🎧

https://uktalkradio.org/chart/ukofficialnewmusichart/

[newleasemusic]

Song of the Day: Love Like This - Jessica Wilde x Josh Barry

Song of the Day: Love Like This - Jessica Wilde x Josh Barry

Highly acclaimed singer, songwriter, rapper, producer and South London native JESSICA WILDE kicks of her 2024 by joining forces with the incredible Josh Barry for a soulful release, ‘Love Like This’. Packed with soaring emotions and infused with smoky orchestral atmospheres, ‘Love Like This’ is a striking nu-soul gem which will be released on Wilde’s forthcoming album and follows her recent…

[dreamings-free]

"Taylor-made deals: how artists are following Swift’s rights example"

- The Guardian 9/1/24 [excerpt]

Prince and George Michael are bleak warnings from history, but the moves by Swift, Rodrigo and others can stand as roadmaps for the future. It also means the music industry has had to adapt away from contracts based on ownership. 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.

David Martin, CEO of the Featured Artists Coalition, says there is “a propensity towards owning rights” for artists, but some acts are still prepared to sign away ownership for what they think might be their only shot at the big time. “We have members who are still signing major label deals,” he says. “Some of the terms in some of those deals are terms that we’d expect artists to be thinking very carefully about.”

Message [,Brian - a partner at Courtyard Management] 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.

[..]

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 longterm partnership rather than owning something that failed.”

-> full article at theguardian.com

[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.]

[mostlysignssomeportents]

This day in history

THIS SATURDAY (July 20), I'm appearing in CHICAGO at Exile in Bookville.

#20yrsago Walkmen changed our social norms https://web.archive.org/web/20040803222231/http://www.belleville.com/mld/belleville/entertainment/music/9144361.htm

#20yrsago Ultima preservation efforts: a guide https://web.archive.org/web/20040721014058/http://www.nelson.monkey.org/~nelson/weblog/culture/games/ultimaPreservation.html

#15yrsago ATMs that spray attackers with pepper-spray https://www.theguardian.com/world/2009/jul/12/south-africa-cash-machine-pepper-spray

#10yrsago TSA employee to security theater skeptics: “You don’t have shit for rights” https://memex.craphound.com/2014/07/18/tsa-employee-to-security-theater-skeptics-you-dont-have-shit-for-rights/

#10yrsago Documentary on the making of the Homeland audiobook with Wil Wheaton https://vimeo.com/100956787

#10yrsago Ontario police’s Big Data assigns secret guilt to people looking for jobs, crossing borders https://www.thestar.com/news/canada/police-chiefs-call-for-presumed-innocence-in-background-checks/article_f479a149-f184-5824-80ee-0427abfe4b71.html

#10yrsago UK government “dries out” its “water damaged” CIA torture files https://www.telegraph.co.uk/news/worldnews/northamerica/usa/10969535/Lost-US-extraordinary-rendition-files-have-dried-out-Foreign-Office-says.html

#5yrsago SAMBA versus SMB: Adversarial interoperability is judo for network effects https://www.eff.org/deeplinks/2019/07/samba-versus-smb-adversarial-interoperability-judo-network-effects #5yrsago An Indian research university has assembled 73 million journal articles (without permission) and is offering the archive for unfettered scientific text-mining https://memex.craphound.com/2019/07/18/an-indian-research-university-has-assembled-73-million-journal-articles-without-permission-and-is-offering-the-archive-for-unfettered-scientific-text-mining/

#5yrsago How deceptive browser extensions snaffled up 4m users’ browsing history, including Nest videos, medical history and tax returns https://arstechnica.com/information-technology/2019/07/dataspii-inside-the-debacle-that-dished-private-data-from-apple-tesla-blue-origin-and-4m-people/

#5yrsago Thousands of elderly Hong Kongers march in solidarity with young human rights activists https://hongkongfp.com/2019/07/17/no-rioters-tyrannical-regime-thousands-hong-kong-seniors-march-support-young-extradition-law-protesters/

#5yrsago Interactive map of public facial recognition systems in America https://www.banfacialrecognition.com/map/

#5yrsago Sony’s copyright bots remove a band’s own release of its new video https://memex.craphound.com/2019/07/18/sonys-copyright-bots-remove-a-bands-own-release-of-its-new-video/

#1yrago Let the Platforms Burn https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

[sweetdreamsjeff]

Hero of the midnight hour; Jeff Buckley

Byline: Caitlin Moran

May 5, 1995

Caitlin Moran tries to find out why Jeff Buckley has dreams about having his skin flayed by a mad sculptor.

The last time I attempted to telescope the emotions that Jeff Buckley's music inspires into mere paragraphs and words, the phrase Soon to be awe-inspiringly famous'' crept up with as much regularity as the wordgenius''. That was last August, when Buckley's biggest UK gig to date was before an exceedingly cramped hundred people Upstairs at the Garage in London. Nine months later, and Buckley has sold out the 2,000-capacity Empire and had his debut album, Grace, lauded as the best of 1994 in several magazines.

``I told you so'' is such a pinched-mouth phrase I won't even begin to utter it; but …

And so my powers of cognition have brought me to New York, Buckley's adopted home town, and a conference room in the massive Sony Records building. Buckley's been doing phone interviews all day. He's grease-haired and his eyes are bruised with lack of sleep, but he's as polite as ever, leaping around trying to make everyone comfortable before dropping back into his chair and spilling his Bad Dream beans when requested.

I tend to forget my dreams,'' he says.They seep out of the room as I wake, and the more I try and clutch at them, the more ferociously they wriggle … but I had a dream a couple of nights ago where, to cut a long story short, this mad artist wanted to cut my skin into strips and weave me into rococo shapes. So I'd be like a living sculpture, beautiful in his eyes, but horribly disfigured and unable to do anything but die.''

Erm, that's a bit heavy. I was kind of expecting the old, ``Well, I'm walking naked through a supermarket when I see my old maths teacher …''

I have those kinds of dreams as well, I guess,'' he says.It's just I don't remember them.''

Does he think the bad dream had anything to do with the reams of cod-psychology written about him in the past year by people looking for his dark side; for the fissures in his personality that mean he will turn into another rock ghost whose untimely death will haunt us all?

No one has really come anywhere near to describing me as the person my friends know, let alone me,'' he says.Perhaps my personality is all in the inflections and can't be transcribed.''

So let's see if Jeff can do the impossible describe his own music. Go on, give it a go. Music affects people in different ways,'' he says.We've all got different chemicals swishing around in our bodies; we've all got different emotional imperatives. With some people, the chemistry will cause an explosion, or a breakdown, or lust, or extreme joy. I can talk about what I feel when the music takes hold of me my posture changes. I hold my head high, stick my chest out; my bones seem to bend easier; the shape of my face seems to change. I feel I can do anything. It's almost sexual.''

That is the end of the interview. Buckley starts striding around the building, muttering ``And what's wrong with being horny?'' under his breath. Nothing at all.

Jeff Buckley's new single, Last Goodbye, is released by Columbia on Monday

"Hero of the midnight hour; Jeff Buckley." Times [London, England], 5 May 1995, p. 40. Gale OneFile: News,