anonymous asked:

Hi :) I know everyone's going on about Kiwi being about babygate, but I really think it might be about the music industry in general, using stunts as an inspiration. If you consider the female in the song being the industry it makes sense because it appears in a way tempting and desireable (but in the end it's really not as great as it seems), but he is also being pushed and has no control (and will in a way regret getting involved with it). I love your blog and I hope you'll consider the idea!

Hi!

Thank you for your kind words.

Your point about the music industry is a really good one. I think “Kiwi” is, in a way, about the unsavory aspects of the industry.

“MMITH” expresses the ambivalence of being caught in between– wanting to advance, but knowing there are consequences. It can be interpreted as an addiction of sorts (with mentions of morphine).

“Kiwi” offers another take on this addiction. The metaphor is an addiction to the sort of girl/ love that everyone likes.

The cigarettes, the intellect, the hard liquor, the marks of a glamorous rock ‘n roll life– the groupies, the available sex, the available drugs (so much cocaine, it can constantly fill up the Holland Tunnel!)– they all seem like irresistible lures. All the boys (the musicians) are drawn to it. These are the goodies associated with a rocker’s life, and glamorized by journalists like Cameron Crowe.

But the beautiful girl is an illusion. The music industry is a façade, like a beautiful girl who goes home to a cactus– a plant that requires no maintenance. It’s a plant for lonely people who want companionship without the work. It’s an empty life.

The girl is an actress, someone whose warmth is completely fake.

She’s like the music industry executives, managers, PR machine who talk about taking care of musicians, but really just want their baby– their music, their revenue.

“I’m having your baby, it’s none of your business.”

The music executives seduce the musicians and take their babies. They behave like prostitutes. But instead of a straightforward sex transaction, where a customer pays for sex, and the sex-worker gets money, in this case, the executives just want the product. They want the music and the revenue. They don’t care how they get it.

“It’s none of your business.”

Once the baby is conceived, the industry takes care of business, the financial aspects. It’s out of the musicians’ hands.

The ironic, bitter reference to babygate isn’t so different from this interpretation, really.

Stunts are a way for the industry boosts revenue, through PR.

Fans are interested in stunts. Stunts fan the fandom flame. Stunts keep the fandom alive when there’s no music. Stunts stir emotions.

This isn’t limited to the 1D fandom. Almost every celebrity pairing can represent a stunt, always tied to selling something– an album, a movie, a project.

Fake relationships are par for the course. We’ve seen many of them. In fact, reviewers and interviewers can’t stop referring to Taylor Swift. Stunts have legs (pun intended). A two-month stunt can create news for years. Pathetic, right? But there’s money in it.

Can stunts go too far? Fake babies, for instance?

“I’m having your baby.”

Do these words refer to a real-life situation?

The words are so specific, and so connected to the One Direction fandom, that I don’t see how they can represent an innocent metaphor. Every reviewer states that these are strange words.

But they’re not RANDOMLY strange. They’re pointedly, knowingly, bitterly, coyly strange.

The words are savage, and sung in a savage way.

The words sound like a threat and a boast.

I’m having your baby. What are you going to do about it? Nothing, because it’s out of your hands. You signed on the dotted line. You’re going to pay and pay, and there’s not a damn thing you can do.

I don’t think Harry is making fun of Louis’s situation, at all. I think he’s FURIOUS. Louis is suffering unimaginably, and Harry sees it. He suffers too. It’s a call-out to the people who put them in this situation.

Who pushed the Babygate narrative hardest? Who was earliest with the news?

Answer: the media associated with 1DHQ.

Who in the celebrity gossip media most associated with 1DHQ?

Dan Wooton.

Where is he from?

New Zealand. He’s a Kiwi.

I don’t know if this is the correct guess, but it’s something @larry-god-mother told me, and I think it’s pretty brilliant!

GUYS

today i spent the day with my grandma because i cant stay home alone anymore and she asked me what kind of music i was into and i told her about all the bands i liked and 5SOS especially and she loved them. like, she asked me all sorts of questions and she wanted to know the meaning behind every song and everything and we talked about fanbases too and i realize that things havent changed that much since she was my age when it comes to bands and music fandoms. she said she used to feel like she was the only one who understood herself other than the artists. she said her and other fans would keep notebooks and write everything down about their favorite bands or members. she said she still had one somewhere and she remembers every time someone got a haircut or a girlfriend she would write down every detail and what she was feeling about it and her thoughts on it and she said when they released songs she would fill entire journals talking about them and i told her things were exactly the same now. we document everything online. she told me that as i get older people will tell me to grow up and stop obsessing over bands and she said to never listen to them. she said if she had stopped listening to the music she did when people told her to that she would be an overall unhappier person today. shes in her 60′s and understands me better than my parents and some friends even. she fell in love with 5SOS today and she said she felt like she was 15 again, listening to The Beatles in her room on her new record player. again, my 60-something year old grandmother was moved and felt young again listening to 5SOS. thats what music is all about. 

her fav was ashton btw 

@5sos

please boost this, i want 5sos to see their impact is huge and i need them to see how important they are

“they are not going anywhere anytime soon and damn it Emily if you stop listening to them i will raise hell until you pick them up again.” 

Artists always talk about music bringing people together, but ironically I feel like a lot of the time artists are so competitive with each other in our own industry,” she says.
“We want to do that for the world but we don’t do it between ourselves.
“I remember when I went to an awards show for the first time and I expected for everybody to be like, ‘Hey how are you’, but everybody was with their own team and unless you’re already friends nobody really talks to each other.
“If we’re trying to unify the world, why can’t we just start with the room we’re in?
—  Camila speaking to the BBC while in London
OPEN LETTER....................

To Epic Records and Syco Entertainment,

Let me start by saying, you are two Labels in the Music Industry who sign young talent who want nothing more than a chance to make their dreams come true. On the face of it, that should garner you appreciation from the young talent and the fans who rally behind said young talent. That should be a wonderful trait that you possess, to want to make young people’s dreams come true. Unfortunatly, I can’t give you the accolades you think you so rightly deserve. Instead of taking young talent and working diligently to make them successful in the field of their talent and life dream, you suck the life blood out of them, and squeeze every cent you can make out of them. You turn them into “literal slaves”.

If that abhorrent behavior wasn’t bad enough, you turn the younger impressionable fans into slaves, by manipulating them into doing your dirty work for you. The Music Industry sells more lies than it does actual music. You create false narratives and PR stunts, to change images and boost numbers. It’s not something new. You have been doing it, as an Industry, for decades. It has simply become a lot easier with the help of the internet and Social Media.

I single the two of you out, not because you are the only soul sucking Labels that exist, but because you are the Labels who have contractual control over five of my favorite young female artists. They are not the first young artists you have taken advantage of, and they won’t be the last, unfortunately.

The truth is, you don’t have to destroy young people’s innocence. You don’t have to bleed their souls, or destroy their spirits. You don’t have to kill their passion. You don’t have to do any of these things, to help them become successful artists. YOU CHOOSE TO. What’s worse, you all work together to do it.

I am just a fan blog, who writes theories and tries to educate the fans about the dark side of the Music Industry. You know, the side you make everyone and their dog sign a NDA to keep their mouths shut about.

If the fans and GP knew just how much the big three work together to remain the big three, it would boggle their minds. People don’t even question how a world wide Industry, that used to be made up of thousands of independently owned record labels, first became the big six, then became the big three, If they knew just how much Sony Music Entertainment, Universal Music Group, and Warner Music Group, worked together to remain a Big Three, they would have a better understanding of the dark side of the Industry.

There are some goodhearted people out there, who are in positions of power, who actually put the well-being of their signed artists first. Those are hard to find though. Most of you are all about the money. I understand, that’s how business works. If you’re not making money, they’re not making money. I know you take a chance on investing on young talent, but you always make sure you find a way to at least break even on that investment. It’s usually hidden in the fine print of the contracts.

I get that it’s business. What I don’t get, is the way you go about destroying people from the inside out, to make that business a success. You perfected the art of doing just that, on the young and impressionable people with a love for music and the talent to chase their dreams. In the case of my favorites, you took five young talented ladies who decided to take a leap of faith and chase their passion and dream, and you managed to, in the span of less than five years, make them question their passion for music, and wonder why they ever took a chance on themselves.

You change their image, and make them conform into who you want them to became, because in your minds, they aren’t good enough as their true selves to make you top dollar. You sexualize young women, and have the audacity to disguise it as “women’s empowerment”  You parade the young women around in skimpy outfits and have them bumping and grinding on guys in music videos, even though they are uncomfortable doing so, because sex sells.

You create “feuds” between young girls, and female artists in general, because who doesn’t like a good cat fight. You do all this crap to create false narratives, and false images, not because you want whats best for the young talented female artist, but because you are an Industry run by greedy Bastards.

I wish I could just be a fan who could put my head down and simply enjoy the music, but I can’t because you lying manipulative misogynistic greedy fucks won’t change your ways. I’m going to keep trying to do what I’ve been doing. I’m sure you laugh at my efforts, so be it. I’m just one person trying to fight against a multi billion dollar machine.

I’ll keep doing what I’m doing, and you can laugh all the way to the bank. I just wanted to tell you YOU SUCK! If Epic folds, good, you deserved it. If Simon never does another damn talent show, good. You’ve sucked the life out of enough young souls. I really hope all five of the girls achieve their desired goals, and I hope they achieve that goal under any Label other than Epic/Syco. They deserve so much better.

5

In the beginning Selena was criticized by Tejano fans and record companies for being a female lead-singer in a male-dominated genre, she was even booed off stage while food was thrown at her, in one of her concerts. Selena had to face male opposition and traditional barriers in the Latin music world. She won Female Vocalist of the Year at the 1987 Tejano Music Awards and landed a recording contract with EMI a few years later and her fame grew throughout the early 1990s. In 1994 she won a Grammy being the first person from that male dominant genre to do so. -W

….We wrote songs we loved and we toured because we loved to travel and play our music. That was that. Of course we always dreamed of “making it” but no one is really ever inches from breaking out. Most of this music industry is fabricated bullshit. Most “bands”, like, the “bands that can really make it”, are the ones that are born at a conference room table not a garage anymore. Sad.
—  Nickolas Madore

We live in a world where: 

  • Chris Brown got away with the most minimal sentence after horrifically beating Rihanna. 
  • Roman Polanski raped a 13 year old girl but still won an oscar to a standing ovation. 
  • R Kelly raped several under-age girls but was acquitted on all charges. 
  • Woody Allen had an affair with his wife’s 17 year old daughter only to end up getting away with it and beginning a relationship with her shortly after. 
  • John Lennon is one of the most worshipped artists to have ever drawn breath but has admitted to battering the shit out of women. 

And in that world it’s no surprise that Kesha’s freedom was denied. That her psychological and sexual safety were reduced to nothing. That she’s been forced to produce six more albums with her abuser. That she’s been forced to remain the creative property of the man who drugged and raped her. Because in this world our courts and culture still have a hard enough time believing women’s accusations of sexual assault even in the most clear-cut of circumstances. And when a woman as powerful and high status as Kesha can’t win, the rest of us stand even less of a chance. 

npr.org
The Struggles Of Austin's Music Scene Mirror A Widened World
As the face of Austin's music office prepares to depart, the city's problems and successes may offer a lesson for the world at large about globalization and technology.

The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, drawing outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them.

Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.