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4 hours ago, Vixen Eyes said:

i hate seeing the trans card getting pulled. it has nothing to do with her being trans. we went after doja cat before but we know that shes stuck in a contract with him since before Kesha's lawsuits in 2014. kim is different. she was an independent artist without a contract, actively seeking him after 2014. and then in 2020 she signed a contract with a smaller label that has ties to luke.

as forr the other people working with him, theyre either not on our radar or dont have enough fame to be on anyone else's

The Weeknd and Mariah aren't on your radar and doesn't have fame? :yeah: What rock have you been living under girl?

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5 hours ago, Vixen Eyes said:

i hate seeing the trans card getting pulled. it has nothing to do with her being trans. we went after doja cat before but we know that shes stuck in a contract with him since before Kesha's lawsuits in 2014. kim is different. she was an independent artist without a contract, actively seeking him after 2014. and then in 2020 she signed a contract with a smaller label that has ties to luke.

as forr the other people working with him, theyre either not on our radar or dont have enough fame to be on anyone else's

no, but i´ve seen people be transphobic towards her when calling her out. it doesn´t happen majorly, but it does happen. :(

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On 4/5/2022 at 6:44 AM, Leaving said:

I do remember you posting these somewhere but it's sad to be reading it again. Again, I really don't support Luke and I try to avoid streaming his music (at least legally :cackle:) but that doesn't mean I feel comfortable calling him a rapist with 100% certainty and cancelling not only him but anyone who chooses to work with him.

For me as a Kim stan it's incredibly annoying to see this brought up as an attack on her anytime she does literally anything in her career. Her entire last EP drop was ruined by people talking about this when she's already made her stance on it clear and I don't think it's an unfair one. The worst part is that when literally anyone other than her works with him (or the hundreds of other gross people in Hollywood like Cardi B, Chris Brown or even Jay-Z who literally tried to stab someone to death) they always get a free pass, and it only ends up being the trans girl suffering.

Still love you boo but I appreciate the healthy debate <3 

this doesn't have anything to do with me. but i just wanted to add. i like kims music she has a great voice. what bothered me about the ep was her bringing up gagas name on a song produced by dr luke given the history. working with him is fine he makes great music. he is talented. and she doesn't have to believe her. but she shouldn't have brought that up in my opinion. 

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2 hours ago, Leaving said:

The Weeknd and Mariah aren't on your radar and doesn't have fame? :yeah: What rock have you been living under girl?

i dont listen to the weeknd at all for one.

as for miss mariah (copy + paste from another forum)

On 4/1/2022 at 8:38 PM, Billie Frank said:

However it doesn't help that certain Twitter stans are cropping the live stream and taking certain parts of it out of context. Through most of the life stream Mariah had been shading Dr. Luke's production, in the clip that is going about Mariah was talking about how she was disappointed with the vocal production on the remix saying in particular that she wished her background vocals during the verses were louder in the mix, it was at this point she said "but we love you Luke" in a sarcastic tone (she often says this in a non-literal sense after shading someone she has previously known or worked with). After that some lambs started mentioning not to say his name along with some other things Mariah briefly said "i have my own opinions on him that i will keep to myself" and moved on. For the rest of the stream including up to that point she had referred to him as "the producer" however sadly when you crop out 90 seconds of a 60 minute plus livestream it can give a false impression of the reality and it's easy for things to be taken out of context. She made no mention of the Kesha situation at all. 

With that being said i'm disappointed in Mariah, i know she wouldn't have meant any harm and certainly won't support the actions of Dr. Luke however she shouldn't have mentioned his name at all as it just gives certain stan bases (Brabz & Fighters) bait to run their preconceived narrative with. I know she said she has her own opinions on him that she will keep to herself but she really needs to put out a statement as soon as possible and apologise. 

 

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1 hour ago, BonnieMcChicken said:

this doesn't have anything to do with me. but i just wanted to add. i like kims music she has a great voice. what bothered me about the ep was her bringing up gagas name on a song produced by dr luke given the history. working with him is fine he makes great music. he is talented. and she doesn't have to believe her. but she shouldn't have brought that up in my opinion. 

I think that's a fair point! I'm willing to give her the benefit of the doubt and say she might not have known all the details, but if I was her I probably would have released an edited version of that song by now. On the flip side, Gaga still has Jewels N Drugs up on streaming and we all know about the literal dozens of accusations against TI so I find it hard to get angry at one and not the other

13 minutes ago, Vixen Eyes said:

i dont listen to the weeknd at all for one.

as for miss mariah (copy + paste from another forum)

 

I don't understand why you're giving Mariah a free pass? She worked on the remix of this song knowing full well who it was produced by and where the money from the remix would be going, regardless of what she actually thinks about the case. There's literally no difference between what she did and what Kim did, other than the fact that when Kim did it she was a trending topic on Twitter for days and when Mariah did it...crickets. Again, it's the double standards that are exhausting to deal with here

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6 minutes ago, Leaving said:

On the flip side, Gaga still has Jewels N Drugs up on streaming and we all know about the literal dozens of accusations against TI so I find it hard to get angry at one and not the other

very true. 

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5 minutes ago, Leaving said:

I think that's a fair point! I'm willing to give her the benefit of the doubt and say she might not have known all the details, but if I was her I probably would have released an edited version of that song by now. On the flip side, Gaga still has Jewels N Drugs up on streaming and we all know about the literal dozens of accusations against TI so I find it hard to get angry at one and not the other

I don't understand why you're giving Mariah a free pass? She worked on the remix of this song knowing full well who it was produced by and where the money from the remix would be going, regardless of what she actually thinks about the case. There's literally no difference between what she did and what Kim did, other than the fact that when Kim did it she was a trending topic on Twitter for days and when Mariah did it...crickets. Again, it's the double standards that are exhausting to deal with here

i agree with the ti comment. i love kesha and gaga and hate dr luke so i am biased. she would go so much farther in music if she stopped working with him in my opinion. but she is allowed to work with who she wants to. 

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2 minutes ago, BonnieMcChicken said:

i agree with the ti comment. i love kesha and gaga and hate dr luke so i am biased. she would go so much farther in music if she stopped working with him in my opinion. but she is allowed to work with who she wants to. 

It's hard to say isn't it? I honestly don't think she would have ever been able to break through into pop music if she hadn't worked with Luke in the first place, but I do think at this point she could probably drop him and go down some kind of PC Music route and still have success. Imo the collabs she's done without Luke as a writer/producer are just as good as the ones with him.

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2 minutes ago, Leaving said:

It's hard to say isn't it? I honestly don't think she would have ever been able to break through into pop music if she hadn't worked with Luke in the first place, but I do think at this point she could probably drop him and go down some kind of PC Music route and still have success. Imo the collabs she's done without Luke as a writer/producer are just as good as the ones with him.

my fave songs are the luke ones i have to admit. but she can make great music without him. she has it in her. she is a star. a star is born when she drops luke lol jk

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personally, i understand where she´s coming from. apparently Luke was the only person who was willing to work with her, not caring about the fact she´s trans. 

 

but her little ¨circle¨ concerns me. like her new manager is Larry Rudolph, and she´s working with all these abusers (one of them who used to be an ex-conversion therapist and introduced her to Luke) ....i wonder what´s really going on behind closed doors. 

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2 hours ago, bearsbummer said:

personally, i understand where she´s coming from. apparently Luke was the only person who was willing to work with her, not caring about the fact she´s trans. 

 

but her little ¨circle¨ concerns me. like her new manager is Larry Rudolph, and she´s working with all these abusers (one of them who used to be an ex-conversion therapist and introduced her to Luke) ....i wonder what´s really going on behind closed doors. 

I didn't know she was working with Larry Rudolph :orly: That could either go really well and/or really badly just judging from how things went with Britney :yeah: But who's the conversion therapist you're talking about? I remember the story about how Kim and Luke got in contact and it seemed to be all via email rather than someone introducing them

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14 hours ago, Leaving said:

I didn't know she was working with Larry Rudolph :orly: That could either go really well and/or really badly just judging from how things went with Britney :yeah: But who's the conversion therapist you're talking about? I remember the story about how Kim and Luke got in contact and it seemed to be all via email rather than someone introducing them

https://kim-petras.fandom.com/wiki/Aaron_Joseph

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      Mariah Carey wearing a cast after her rib and shoulder injury at the premiere of The Butler
      While it's not uncommon for many of the videos on this list to feature two versions, '#Beautiful' is one of the rare exceptions which has three. The original and most well-known music video for the track was directed by Joseph Kahn on April 21st and 22nd, 2013, and debuted the next month on the Carey-judged American Idol. In June, a totally different music video was filmed for the Spanglish version of the song, which features Mariah and Miguel rollicking around Capri, Italy.
      The third and most "elusive" of the '#Beautiful' videos was intended to be for the "urban" remix of the track featuring Young Jeezy. Again shot a month later by Carey's husband Nick Cannon, the music video was filmed at Avenue and Artichoke Pizza in Chelsea, New York. Midway through the shoot, Carey suffered an injury which put production of the clip temporarily on hold. "She was in this nice, beautiful gown, heels on and everything, and was kind of on this platform and reached and slipped and fell on her whole side," said Cannon later. "It was pretty serious. Not only did she dislocate her shoulder, she actually cracked a rib, and chipped her shoulder bone". Despite the injury, Mariah continued to shoot the music video.; and even after eventually going to hospital to have her shoulder realigned, she returned to the set early the next morning to complete filming.
      Despite all the hard work and suffering that went into completing the music video, however, no clip was ever released for the '#Beautiful' remix. Mariah confirmed on the 23rd of July that editing on the video had been completed, so it's likely that a final cut does exist; but there has been no word on the video ever being released, or on why it was scrapped in the first place.
      Which scrapped music video would you most like to see from Mariah? Let us know in the comments section down below!
    • By Leaving
      “I don’t know her.”
      It was the throwaway sentence - delivered with seeming sincerity, a simpering smile and an innocent nod of the head that was either sarcastic or supportive depending on interpretation - that went on to become one of the Internet’s first real memes. Mariah Carey’s simple proclamation, in response to an interviewer's question about Jennifer Lopez, is one of the finest textbook definitions of shade that anyone could ever ask for.
      And yet, behind those four words is a world of pain, heartbreak and jealousy that most people know nothing about. It’s a world that reads like something straight out of a telenovela, populated by characters like a long-suffering wife, a controlling patriarch, and a young ingenue who tears them apart. This is the real story behind the infamous Mariah Carey and Jennifer Lopez feud.
      Our story starts with an 18 year old Mariah Carey, who with her classically trained operatic voice and long tousled curls had big dreams of being a superstar. In 1988, Carey found her way into a record label executive's gala, where she handed her Ben Margulies-produced demo tape over to the head of Sony Records Tommy Mottola. Carey and Margulies would later go on to have a meeting with Mottola, who, believing that Margulies was Carey’s boyfriend, made it his mission to push him out of the picture as he signed her to a $350 000 recording deal for ten albums.
      Mottola quickly took a large hand in Carey’s career, to the extent that it was said that the two were barely ever seen without each other. Later in life, Mottola would admit that he was “obsessive” when it came to Carey, but with the caveat that “that was the reason for her success”. Rumours of a romance began to fly about the 39 year old married man and his 18 year old muse, and it wasn’t long before they were proven to be true; Mottola proposed Carey in 1992, two years after her first album release and only shortly after the dissolution of his nineteen year marriage.

      Carey and Mottola at their $500 000 wedding ceremony in 2003
      Sadly, the marriage was not to be a happy one. Carey suffered from non-stop reports of favouritism, with more than one reporter suggesting that she had married Mottola only for his connections. Even more troubling was the fact that Carey, who had never been in a serious relationship prior to Mottola, was facing emotional abuse almost daily by her husband that left her "miserable, crying, and alone" and dreaming that someone would "kidnap" her. Carey would later recount that she was forced to remain "sequestered" from the outside world by Mottola, and that she had to "get permission to leave" the house. “He didn't even know why I always had my bag with me,” she would say years later. “But in my mind I thought, 'If something jumps off...I'm ready.'”
      Although Carey finally managed to escape her marriage to Mottola in 1997, that wouldn’t be the end of their relationship. After all, Mottola was head of Sony Records, and still wielded great power over her career. After some conflict over the direction Carey's career would take, Butterfly was released in late 1997, introducing the sexy image and breathy vocals that would become her signature in later years. But by the time Rainbow - the last album Carey would record for Sony - was released in 1999, her relationship with the label had completely deteriorated. The label wanted a big pop song to be released as the third single to heat up the lukewarm radio play for the album, but fittingly Mariah wanted 'Can't Take That Away (Mariah's Theme)' - a ballad about finding your inner strength based on her seperation from Mottola - to be released instead. She told her fans about the dispute and instructed they request the song on radio to force Sony into an official release, which they eventually did only half heartedly and with a limited promotional budget.
      Carey would soon sign a record-breaking $100 million contract with EMI, but money couldn’t buy her happiness. By 2001, Carey had begun work on a semi-autobiographical film called Glitter, and the film and it’s accompanying soundtrack had created a workload that she couldn’t sustain. After breaking up with her boyfriend of three years Luis Miguel, Carey began posting disturbing voice messages on her official website announcing that she would quit music. An erratic appearance on Total Request Live in which Carey handed out ice cream and performed a striptease for Carson Daly did nothing to help her public image. And meanwhile, Mottola back at Sony was doing everything he could to destroy her.
      Mottola had first discovered Jennifer Lopez in 1997, when she was fresh off the heels of her star turn in Selena and sending Spanish-language demos to various record labels. By this point, Mottola had recently separated from Carey, and it seemed his self-proclaimed “obsession” with her had been transferred to Lopez. Mottola sent J. Lo to the top of the charts with On the 6 and the international smash hit 'Waiting for Tonight', but he wasn’t done yet.
      Lopez’s sophomore album J. Lo was released in 2001, and it featured a song entitled ‘I’m Real’. The song sampled Yellow Magic Orchestra’s ‘Firecracker’ - a song which strangely hadn’t been requested for sample at all up until three weeks before it's recording, when Mariah Carey had requested to use it for her song ‘Loverboy’.
      This was a deliberate ploy by Tommy Mottola to sabotage Carey’s ‘Loverboy’ release, which was already scheduled to be the first single from the Glitter soundtrack and an instrumental part of the film itself. Unable to reshoot the scenes containing 'Loverboy', Mariah scrambled to find a new sample to base it on, settling on Cameo’s ‘Candy’. However, she would go on to release a single remix of 'Loverboy' with Da Brat which utilised ‘Firecracker’ in the melody, with Da Brat rapping, “Hate on me much as you want to/You can't do what the fuck I do/Bitches be emulating me daily.”
      This wasn’t the only way in which Mottola undercut Mariah’s Glitter campaign. Mariah had recorded a track called ‘If We’ for the project with Ja Rule, which was his first foray into R&B. Irv Gotti would later recall that shortly after the record was finished, he was contacted by Mottola “obscenely early” in the morning and instructed to make a collaboration for Jennifer and Ja Rule "in the same style" of 'If We'.
      “He calls me because he found out that me and [Ja] Rule cut a record with Mariah Carey,” Gotti would later say. “And at the time he hated Mariah Carey. So he was pumping Jennifer Lopez to compete.” Mottola even loaned Gotti the company jet to ensure that Ja Rule, who was on tour at the time, would be able to film scenes for the music video for this collaboration. Gotti worked with Ashanti and Ja Rule to craft ‘I’m Real (Murder Remix)’, which was released shortly after to huge success and which sounded more than a little similar to ‘If We’.
      While J. Lo topped charts, Mariah began a downward spiral which started with the lukewarm reception to ‘Loverboy’ and only continued when the Glitter soundtrack was released on September 11th, 2001 (yes, that September 11). Matters only got worse when her father, who she had had little contact with since childhood, died of cancer, and she was bought out of her contract with EMI for $50 million.
      Despite this, Carey didn’t speak about the situation between her, Mottola and Lopez publicly until some time later. Speaking to MTV about the ‘Firecracker’ fiasco in 2002, Carey stated “Let's just say they did me a favor. And they know who they are. And thank you, sweetie. And your friend who did it with you!" The infamous “I don’t know her” remark wasn’t uttered until an interview on the shoot of 'Bringin' on the Heartbreak' in 2003, when Carey had clearly moved from sadness onto pettiness; and since then it’s been reiterated many times in many different ways.

      Which leaves us wondering: will this story ever have a happy ending for Carey and Lopez? Carey’s annoyance towards her manipulative ex-husband’s new plaything was understandable at the time, but this many years on it seems obvious that Lopez was only a pawn in Mottola’s game, and that he was the only one to blame for her career downfall. Lopez, who for her part has alternated between supportive and shady when asked about Mariah, is still on top years later, and we’re sure that Mariah could use some girl power to help her image recover from that New Year’s Eve fiasco. Here’s hoping that in the age of #MeToo and #TimesUp, the two will someday put this feud to rest and come out with an anti-Mottola duet of their own. ‘I Never Knew Him’, perhaps?
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