unnamed band

carolina she’s my lady

anonymous asked:

hi idk if you discussed this already but i looked up triple stringles on the endole wesbite and it says that they trademarked "did alice call" on august 4th, and wasn't there something about the girlband making an ig account with that same name?? so maybe that really is their band's name?

LOL!  I knew it would happen eventually. And no, I haven’t discussed it.

I’ve been holding this information for bit now and didn’t want to post about it because I didn’t want to be the one to interfere with their marketing plan, but I figured once someone else found it, I’d spill.

Yes, Triple Strings trademarked “Did Alice Call” on August 4 in the US and EU. The trademark covers music, clothing, and items that would be ordinarily made as “merch” - jewelry, mechanical items, etc..  Additionally, Sony UK has registered didalicecall.com as a website and there’s a twitter account didalicecall, I think I’m the only follower right now.

We don’t know for sure that it’s the name of the band, it could be their first song or they could be doing a TV show (the name makes more sense for TV than a band name, but idk).

But that’s the reason when Louis & Simon were made directors of Triple Strings that I strongly believed that Triple Strings would be signing the band. And since the drummer made that comment about a major label signing the band, I figured it would probably be in conjunction with Columbia or one of the other Sony US labels.

Cat’s out of the bag.

bookgal13  asked:

How about Jamie and Claire take Manhattan (mid-20th century AU)?

We Live For Love

Two hours into their first rehearsal, Jamie Fraser asked Claire Beauchamp for a break.

Ever since he had shuffled out of The Broch and shrugged his shoulders against the cold wind pushing toward the East River, heading to catch the IRT back downtown, his mind had been swirling.

At this time yesterday he had been ironing his jeans, dreaming of taking the stage at Madison Square Garden. Standing by the side of some faceless frontman whose wails matched those of his guitar.

Now he was sweating in a third-floor room of a run-down factory, in between the flophouses and Chinese restaurants which reminded him why he always steered clear of the Bowery, praying the electricity wouldn’t fry his only amp – and trying for the life of him to figure out how to coax Claire into sounding like a rock and roll star.

Claire looked from Jamie to Ian – sweating behind his drum kit – to Willie Coulter, another guy from The Broch who Ian had quickly pressed into service as a bassist.

“Sure – I don’t mind if you guys smoke. But I could use some lunch.”

Willie set down his bass and Ian stood, stretching. “Want us to bring you something? I gotta take a walk.”

“The Chinese place two doors down has good lo mein. I’ll pay you back.”

“Get me one, too?” Jamie met Ian’s eyes in silent understanding. “And a Coke?”

“Sure.” Willie nodded, and soon his and Ian’s footsteps echoed in the stairwell.

Jamie shifted his guitar and turned to face Claire. She was perched on a high stool – just like she had been last night – pursing her lips.

“Look – you got a gorgeous voice, Claire.”

“I hear a ‘but’ coming,” she sighed.

He licked his lips. “But you can’t just sing like you’re on a Broadway stage, or in a cabaret. Your voice is too thin above the music that way. It’ll get lost. And you *can’t* get overpowered by the music.”

“I’m not overpowered – ”

“It’s not *you,* Claire!” He stepped a bit closer to her, feeling the ancient floorboards give a little. “Nothing is about you. It’s your *voice.* It’s about how you present your voice – it’s about your attitude. You have to really *feel* what the song is. To really *feel* the instruments – the rumble of the bass, the thump of the drums.”

She stood then, holding her ground. “I don’t want to yell or scream. I can’t lose my voice.”

“You won’t,” he promised. “I won’t let you. Look – you brought me here to help you. Let me help you.”

His eyes searched for hers, pleading. Willing her to understand what he was saying.

Wanting more than anything to establish that connection.

He launched into the opening riff of Blondie’s “Call Me” – the song they’d picked as the first to rehearse.

“One, two, three, four, five, six, seven, eight,” he counted, watching her. “One more! One, two, three, four, five, six, seven, eight – GO!”

“Color me your color, baby, color me your car,” she sang. “Color me your – ”

Abruptly he stopped. “No, Claire – no. You can’t just sway into it – it’s not supposed to be a smooth transition from note to note. That’s not how Debbie Harry does it – that’s not how you’ll do it. Make it choppier. Again.”

She frowned, nodded. Wanting to argue back – but willing to learn. Open to his advice.

Four bars – sixteen beats for the intro. He nodded her cue.

“Color me your color, baby – ”

Again he stopped. “No, Claire. Too much. Too choppy.”

She folded her arms over her chest. “Show me, then.”

“You’ve got to remember that this is a song about a gigolo, Claire. It’s not a nice topic. Put yourself in his shoes. ‘Color me your color, baby…’”

Then she tried it again.

“Closer. Getting there. You have to just let it out, Claire. Forget every fucking thing your fancy voice coaches ever taught you. Push yourself into it. Let that beautiful voice just GO.”

She looked like she wanted to say something – but then thought again. Steeled herself.

Holy God, she was a warrior.

He plucked the opening chords again – and then –

Magic.

Her gorgeous soprano floated aggressively over his raw guitar. Ethereal.

“Keep going!” he yelled over the chord progression between the chorus and next verse. “You got this. Keep going!”

She smiled triumphantly. So radiant. And drew from some spirit dwelling deep within her, and sang her heart out.

“Come up off your color chart – I know where you’re coming from – Call me!”

“Call me!” Jamie echoed the backing vocal.

“On the line, call me, call me any, anytime. Call me!”

Her eyes locked with his.

“Call me!”

It happened then – a connection sparking between them. In an instant, he recognized himself in her. Saw his future in her.

“My love, you can call me any day or night. Call me!”

And from the stunned look in her eyes, she did as well.

They finished the song, transfixed in each other.

Shaking with adrenaline.

And woke to the enthusiastic whoops and whistles of Ian and Willie, arms weighed down with paper bags full of egg rolls and lo mein and fortune cookies.

By three o’clock they’d nailed down not just “Call Me,” but also a fun, rollicking version of John Cougar Mellencamp’s “I Need A Lover.” A more traditional rock song, but with much different timing and tempos than Blondie.

It wasn’t too difficult for Willie or Ian – but Claire was clearly exhausted. She was too stubborn to admit it, but the last thing Jamie wanted was for her to truly blow out her voice on their first day.

“Hey – let’s call it a day?” he suggested after they’d finished yet another run-through, watching Claire quietly lean against the stool for support. She had been on her feet since they’d finished lunch – rocking and lunging and strutting as she sang. Her voice – and, more importantly, her confidence – seemed to grow stronger and stronger with each song.

But there was such a thing as too much practice. And Jamie desperately wanted to get some time alone with her.

“Yeah, fine by me,” she agreed, bending over to take a sip from her Coke. “You guys OK with that? Will you be ready for Murtagh to visit in the morning?”

“Not a problem.” Willie was already packing up his bass, and Ian reached for the bag where he kept his drumsticks. “You OK, Claire? Want me to walk you to the subway?”

“We’re going to stay back a bit,” Jamie interrupted, slipping his guitar off his shoulder and nonchalantly unplugging his amp. “Want to pick another song for tomorrow. Three is always better than two.”

He turned back to Claire, who had climbed back up on the stool, watching the three men put away their instruments.

“I want to thank all of you,” she said quietly. Voice strong, but a bit subdued. Awed.

“Oh, it’s nothing, Claire,” Ian smiled back. “We’re happy to – ”

“With respect, Ian,” she interrupted, “You don’t understand. This is – I’ve waited for this day for so long. It’s a dream I’ve risked a lot for. And you’re helping make that dream come true. So thank you.”

Willie picked up his case and softly crossed the room to gently lay a hand on Claire’s shoulder.

“We’re not done yet – tomorrow’s another day.”

She smiled at him – suddenly looking so tired. “Indeed it is. See you here at ten sharp?”

Ian shrugged into his backpack, clapped Jamie on the shoulder, and once again the drummer and bassist for their still-unnamed band slipped out of the rehearsal space.

Jamie knelt to close his guitar case, then stood to face Claire.

How to keep her by his side now, for even a few more minutes? How to extend this indescribable, incredible day?

“You want to get a drink somewhere?” he heard himself say.

This time when she smiled, it went all the way to her eyes.

God, she was beautiful.

“Definitely.”

—–


Blondie, “Call Me”:

https://www.youtube.com/watch?v=StKVS0eI85I


John Mellencamp, “I Need A Lover”:

https://www.youtube.com/watch?v=uGPP2PbayJc

Ninjavember day 13: Background/Minor Character

Every single background character in this show is such a cutie, but this one has stolen my soul since the first time I saw it.

Have some Cowbell~

The next issue of JUSTICE LEAGUE OF AMERICA that arrived in my mailbox continued that year’s regular team-up between the JLA and their historic fore bearers in the Justice Society of America. And this time, as had become the pattern, a third group of heroes was also in the mix. This unnamed band was comprised of the super heroes published in the 1940s by Fawcett Comics, original publishers of Captain Marvel and the Marvel Family, who were also on hand in spirit. That’s the Earth-2 Batman slugging the Joker on this cover, his oval-less chest insignia giving the game away

This particular chapter focused on four pairs of partners working in tandem: Hawkman and Hawkgirl of the JLA (the League’s nonsensical regulation preventing Hawkgirl from joining the team suspended for the duration), the older Batman and Robin of Earth-2′s Justice Society, and both Bulletman and Bulletgirl and Mister Scarlet and Pinky from Earth-S, the world of Captain Marvel named after his benefactor, Shazam. I don’t know why, but I’ve always had a fondness for Bulletman and Bulletgirl. When the G.I.Joe line of action figures came out with their own version of the character as their entry into the super hero doll derby, he became a prized possession (until his leg broke off at the knee–a career-ending tragedy!)

King Kull has already been hard at work, causing volcanic eruptions that are not only causing citizens of Earth-S to flee in panic, but which are also petrifying them remotely somehow. Hawkman gets a taste of this as he soars too close to the volcano and his shoulder begins to turn to stone. Elsewhere, other bizarre phenomena are causing similar disasters, which reporter Billy Batson reports on. But he is helpless to intervene, his magic word no longer functioning. He’s also drawn in a bit of an odd middle stage between his typical cartoony appearance and something more in line with the other characters in this story. It doesn’t really work at all.

Acting as the on-site talent of King Kull are one of Bulletman’s old foes, the Weeper, who has been teamed up with Earth-2′s Joker to cause mayhem. Mr. Scarlet and Batman and Robin give chase, finding the pair’s victims horrifyingly transformed into diamond, and so the vengeful quartet takes the fight to their foes. But even defeating them and analyzing a sample of the gas that they’ve been spreading gives them a clue as to how to prevent these incredible transformations. Now, batman’s jaw has turned to steel, and Pinky’s hair has become diamond.

Turns out that there are other minion villains at work: the darkness-loving Shade of Earth-2 and his opposite number from Earth-1, Doctor Light. The four flying heroes race across the world to engage these new enemies while the four earthbound crusaders continue their investigations. Hawkman and Bulletman battle the Shade at the Louvre where people are being transformed into living paintings–and Bulletman gets a taste of the experience himself.

And in Yellowstone National Park, in a bit of prophetic casting, Bulletgirl and Hawkgirl go after Doctor Light (in his pre-rapist days–here, he’s simply a colorful super-villain.) In the same way that the Shade has created a zone of perpetual darkness, Dr. Light has set up an area of 24-Hour daylight. Hawkgirl and Bulletgirl evade destruction, but before they can capture Light, he himself is petrified–and the quartet is no closer to coming up with an answer.

It’s clear that the two giant satellites the villains have set up to create night and day are the source of the transformative radiations–so Hawkman and Bulletman divert them towards each other, causing them to collide and destroy one another. And so, Earth-S is saved, and the various heroes regain the use of their altered body parts. But King Kull isn’t finished yet–he’s failed to destroy two Earths, but there’s still Earth-1 left. And in the very final frames, in a bit of foreshadowing that was even too obvious for me as a 9-year-old, the Marvel Family kids are startled by the appearance of Johnny Thunder, who knows the secret of their magic transformations! Now, why do you think Johnny’s been sent to them on Earth-S, do you suppose? Whatever your thoughts, they’ll have to wait until the final chapter!

anonymous asked:

Sea, I'm watching the denial video on replay. He does not hear a denial at any time, just a manipulation of words. But I noticed that Louis was prepared for this question, it seemed like a staging. And Dan who pulled the subject in the tweet, which leads me to think that this was set. There must be something coming. Louis is not upset about the video, but reading a script. Do not you think it's strange that this video comes out today?

Yes, I felt like it was scripted, and that’s why it was a videotaped answer rather than a live interview– this way, Louis has several chances to get the words just right. The tip-off was the article today, which used similar words in Louis’ “quotes” : disrespectful to Eleanor, fan conspiracy, etc.

But the words weren’t exactly the same, so the quotes weren’t taken from the videotape today. Did Dan ask the Larry question on two separate occasions then? Or were the “quotes” in the Sun “paraphrased” but put into quotation marks, as if they were actual, attributable “quotes” rather than Simon’s talking points?

The talking-points Louis is almost unrecognizable from the Louis we know. He’s a person who defends James Arthur’s lyrics as honest and sensitive. Who wishes he could be just like Simon. Whose idea of being a music mogul is to have an unnamed girl band that spontaneously combusts. Every interview connected to Syco/ Simon hits these talking points.

Why?

That’s the interesting question. Why make him do it? I feel like they’re scared that Louis will veer off script, which is why the points keep getting repeated ad nauseum. Every time Simon does something like this, it makes me feel like something is about to happen. Dan could exclusively reveal that Liam is ready to sign with Syco– then he wasn’t. Or that Niall was about to sign with Syco– then he got signed to Capitol Records.

Louis’ album and tour are coming. Are they going to sabotage Louis, or do they want to profit from him?

anonymous asked:

Julia, would you mind explaining to me the theme or problem of the girlband? I have never understood it, but when Alice or Annika are named; saying that they are broken up and other things; I'm a little lost in the space

sure, i have a tag that you can look through if you want but i would definitely recommend @parodiesofuktabloids’ blog for more details. 

the gist of it is that louis started being subtly connected to this band (then called breaking 27, later an officially unnamed all girl band that we found was supposed to be called ‘did alice call’) in july 2015 and was dubbed their mentor by various media outlets and simon cowell. louis has attended a few of their studio sessions, got papped at two or three gigs and liked some of their social media posts over time. there’s never been an official connection or promo though. the band never released any original music or had a name (even when they played on stage the calling card only read grrrlband if i remember correctly), louis never promoted them outside of the stuff that would only reach the fandom - sometimes there even were stunt and girlband mergers (speaking of the fandom: annika’s sister is or used to be a UA co-owner and coveniently “leaked” footage before). we know they had a connection to syco/sony through an A&R liaison (alice) and my assumption is that they were led to believe they were gonna be launched and taken on as a new syco act. it has been almost two years though and it seems like there has been a lot of disharmony - between the band members, their families, the label - in the last few months leading up to what is now believed to be the disbanding of the band.

Fandom Manipulation

I was talking with @parodiesofuktabloids about the allegedly unnamed band and thinking about that recent post about the Sony guy being SO PROUD of how they manipulate fans for marketing purposes. And how that post ended up with the very true statement that we play into their hands more often than not.

But while Sony thinks they understand us (and they do get that the more we think our boys are the underdogs, the harder we go in support of them), what they do not get is that because we perceive Sony/Syco as treating them like dogs for years on end (and rightfully so), we will not blindly support any other act that they try to push on us. 

The unnamed band, James Arthur, Cheryl, and even Little Mix only got widespread fandom support after Zayn and Perrie split because they overplayed that hand so hard that no one could stomach it. The only real exception is Steve because he’s a wonderful guy that honestly loves Louis and was complimentary of the band long before he met them.

So while yeah, we do play into their hands with our overly enthusiastic support of 1D based on our perception of their situation, they ended up playing themselves.  Because if we thought they were a good team, we’d be a fantastic marketing base for other artists, but as it stands, we’re actively hostile to anyone they try to foist on us.

We can be manipulated, but we’re aware of it, and we only will play along so far. Then we start fighting back.

anonymous asked:

Hi! So, I was wondering if you think there's a reason that Harry and Louis are the only ones signed (as solo artists) with Sony Music UK? Or do you think it's just a coincidence? I also saw that One Direction were still listed under "current artists", wasn't there talk of their contract ending? I've honestly come to love your opinions and pov so I thought I'd come to you to pick your brain about it. Thanks and have a lovely day! (God knows you've made some days of mine better by a whole lot)

Hi!

I consider a few things. These are only my opinions.

1. The lack of label announcement from Harry/ his representatives until the very last minute, even though various Sony personnel were chomping at the bit to announce it (Rob Stringer talked about it in summer 2016. That’s where we got the $80 million number). This was shady to the extent that Full Stop Management did not even acknowledge its own existence, taking down a preliminary website. In the end, we find that Harry has a distribution deal, likely for three albums.

2. The likelihood there was a Right of First Refusal for Harry’s contract.

3. The “frontman” push for solo!Harry from Sony within 2 years of One Direction’s formation

My take from observing the sequence of this information is that negotiation was ongoing between Harry and Columbia very early (likely starting before hiatus). Columbia/ Sony has the right of first refusal. Harry was negotiating to have no affiliation with Syco and to have a distribution deal.

As for Louis, here is what I considered.

It’s pretty clear to me that Syco is not Louis’ preference, since none of the other boys chose the label. So why did he ultimately sign with Syco/ Sony?

1. Syco clearly wanted Louis. Throughout the summer of 2016, we had events (AGT) and articles pushing a Louis/ Simon relationship. Also, Triple Strings was formed before Louis’ stunts became ridiculous, before Louis realized where BG was headed. Even in 2016-17, TS was pushed as another factor showing Louis’ closeness with Simon/ Syco. So was the unnamed girl band. It’s telling that ultimately Louis also negotiated a distribution deal, with his own company, 78 Productions.

2. Why did Syco want Louis?
a. They really wanted Harry. They weren’t going to get Harry.
b. They wanted to rein Louis in, to prevent his going to a rival label and starting direct competition
c. They recognize Louis’ economic value
d. To promote others Syco artists
e. To shut down his hope of leaving

3. Why did Louis sign with Syco?
a. Right of First Refusal
b. Legal reasons– if Louis violated his 1D contract, the Syco contract could be a negotiated compromise. This could explain why the negotiations took so long. It could also explain the smears to his personal image (Dan W’s articles) before the label announcement, and the lack of any more articles post-announcement. In fact, Dan’s article in Harry was surprisingly mild– again, probably after negotiations ended.
c. The possibility of cross-promotion with Harry
d. The possibility that BG could be wound down in a fashion with least damage to Louis and to Syco

Those are the only reasons I can think of. I’m on mobile, so I’m not thinking comprehensively. Maybe some additions later. Again– these are just my thoughts.

Thanks,

Sea

anonymous asked:

This it's Louis *something* so you have to support it mentality needs to stop the fuck now! If you're a fan of Louis but he does something you do not agree with you don't have to support him. If Louis does something you're not interested in you don't have to support it. You just don't. Being someone fan and being supportive no matter what are two very different things and the second one is not healthy.

YES THANK YOU. AND THIS APPLIES TO ALL THE BOYS AS WELL.

i don’t like the niall/modest golf thing. i also don’t like the continued link between niall and simon jones. i don’t know if it was his choice or part of a larger compromise but i think it’s a terrible decision if it was solely up to him and i’m not going to pretend otherwise.

that doesn’t mean i don’t support *niall* or that i don’t wish him all the success in the world. it means i have a brain and the ability to think for myself and that i’m choosing not to be excited about niall tying himself to simon jones and modest management after all the shit they’ve put the boys and the fandom through over the past 6 years.

Today, 40 Years Ago, THE CLASH is born.

On May 30th 1976 Bernie Rhodes and Keith Levene meet Joe Strummer after a 101ers gig, offering him a spot as the front man of an unnamed and unknown punk band. Strummer grabs Keith enthusiastically proclaiming “I’ll do it, I’ll do it, I’m gonna do it.”

Joe: I went along and I met Paul and Mick and I kind of decided there and then to throw my lot in.

And the rest, as they say, was history.