Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Marvel Studios, LLC is an American motion picture studio based at the Walt Disney Studios in Burbank, California and is a subsidiary of Walt Disney Studios, itself a wholly owned division of The Walt Disney Company, with film producer Kevin Feige serving as president. The studio was a subsidiary of Marvel Entertainment until Disney reorganized the companies in August 2015. Dedicated to producing films based on Marvel Comics characters, the studio has been involved in three Marvel-character film franchises to have exceeded $1 billion in North American revenue: the X-Men, Spider-Man, Marvel Cinematic Universe multi-film franchises; the Spider-Man franchise is licensed to Sony Pictures. Since 2012, Marvel Studios' films are distributed theatrically by Walt Disney Studios Motion Pictures, having been distributed by Paramount Pictures from 2008 to 2011. Universal Pictures distributed The Incredible Hulk and has the right of first refusal to distribute any future Hulk films produced by Marvel Studios, while Sony Pictures distributed Spider-Man: Homecoming and will distribute any future Spider-Man films produced in conjunction with Marvel Studios.
Marvel Studios has released 21 films since 2008 within the Marvel Cinematic Universe, from Iron Man to Captain Marvel. These films all share continuity with each other, along with the One-Shots produced by the studio and the television shows produced by Marvel Television; the series has grossed over $18 billion at the global box office, making it the highest-grossing film franchise of all time. During what is known as Marvel's Timely era, Captain America was licensed out to Republic Pictures for a serial just for the free advertising. Timely failed to provide any drawing of Captain America with his shield or any further background, Republic created a whole new background for the character, portrayed the character using a gun. In the late 1970s up to the early 1990s, Marvel Entertainment Group sold options to studios to produce films based on Marvel Comics characters. One of Marvel's superheroes, Spider-Man, was optioned in the late 1970s, rights reverted to Marvel without a film having been produced within the allocated timeframe.
From 1986 to 1996, most of Marvel's major characters had been optioned, including the Fantastic Four, X-Men, Hulk, Silver Surfer, Iron Man. A Howard the Duck film was a box-office flop. MEG was purchased by New World Entertainment in November 1986 and moved to produce films based on the Marvel characters, it released The Punisher. Two other films were produced: Captain America released in the United Kingdom on screens and direct to video in the United States, The Fantastic Four, not intended for release. Marvel's rival DC Comics, on the other hand, had success licensing its properties Superman and Batman into successful film franchises. Following Marvel Entertainment Group's ToyBiz deal in 1993, Avi Arad of ToyBiz was named President and CEO of Marvel Films division and of New World Family Filmworks, Inc. a New World Entertainment subsidiary. New World was MEG's former parent corporation and a fellow subsidiary of the Andrews Group. Marvel Productions became New World Animation by 1993 as Marvel would start up Marvel Films including Marvel Films Animation.
Marvel Films Animation shared Tom Tataranowicz with New World Animation as head of development and production. New World Animation and Marvel Films Animation each produced a Marvel series for television for the 1996–1997 season, it was Marvel Films Animation's only production. By the end of 1993, Arad and 20th Century Fox struck a deal to make a film based on the X-Men. New World Animation and Marvel Films Animation were sold along with the rest of New World by Andrews Group to News Corporation/Fox as announced in August 1996; as part of the deal, Marvel licensed the rights to Captain America and Silver Surfer to be on Fox Kids Network and produced by Saban. New World Animation continued producing a second season of The Incredible Hulk for UPN. In August 1996, Marvel created Marvel Studios, an incorporation of Marvel Films, due to the sale of New World Communications Group, Inc. Marvel's fellow Andrews Group subsidiary to News Corporation/Fox. Filing with the U. S. Securities and Exchange Commission to raise money to finance the new corporation, Isaac Perlmutter's Zib, Inc. and Avi Arad sold Toy Biz stocks, which Marvel had started and took public in February 1995.
Toy Biz filed an offering of 7.5 million shares with a closing price of $20.125 at the time, making the offering worth $150 million. Toy Biz sought to sell 1 million shares, Marvel sought to sell 2.5 million shares. Jerry Calabrese, the president of Marvel Entertainment Group and Avi Arad, head of Marvel Films and a director of Toy Biz, were assigned tandem control of Marvel Studios. Under Calabrese and Arad, Marvel sought to control pre-production by commissioning scripts, hiring directors, casting characters, providing the package to a major studio partner for filming and distribution. Arad said of the goal for control, "When you get into business with a big studio, they are developing a hundred or 500 projects; that isn't working for us. We're just not going to do it anymore. Period." Marvel Studios arranged a seven-year development deal with 20th Century Fox to cover markets in the United States and internationally. In the following December, Marvel Entertainment Group went through a reorganization plan, including Marvel Studios as part of its strategic investment.
By 1997, Marvel Studios was pu
The Day the World Went Away
"The Day the World Went Away" is a song by American industrial rock band Nine Inch Nails, released on July 20, 1999 as the lead single from their third studio album The Fragile. The song was the band's first top-forty hit on the US Billboard Hot 100, peaking at number 17, which remains their highest-ever position on the chart. "The Day the World Went Away" contains no drums. It was the only single credited to Nine Inch Nails to reach the top 20 on the Billboard Hot 100 until "Old Town Road" hit number one in 2019; the song was a staple in the encore during the Fragility tour, has been performed in many shows since. The compact disc single contains three songs: the original version and a "quiet" remix of "The Day the World Went Away" and "Starfuckers, Inc.", another song from The Fragile. The 12" vinyl single replaced "Starfuckers, Inc." with another version of "The Day the World Went Away", this one remixed by the electronic music duo Porter Ricks. The main version of the title track featured on the single is 30 seconds shorter than the version found on The Fragile and features different vocals.
The version of "Starfuckers, Inc." featured on the single is identical to the album version, except that this version ends with the sound of Paul Stanley yelling "Goodnight!" to a cheering crowd. The yelling and crowd cheering are sampled from a KISS concert recording; the opening to "Complication", the track which follows "Starfuckers, Inc." on The Fragile, can be heard faintly alongside the crowd noise, augmented to sound like part of the concert. The flower depicted on the cover of the single is a Kangaroo paw. A music video was never released. Still images that were used on the official NIN website indicate that the video takes place at a funeral. An alternate video for the song, using live audio and a combination of live and original footage, is included as an Easter egg on the second disc of the And All That Could Have Been DVD. A remixed version of the song entitled, "The Day the World Went Away" was featured in the third theatical trailer of Terminator Salvation, it is used again in the television series Person of Interest, from the episode of the same name.
The song is featured in the 2012 video game Spec Ops: The Line. Nothing Records / Interscope Records INTDS-97026 "The Day the World Went Away" – 4:03 "Starfuckers, Inc." – 5:24 "The Day the World Went Away" – 6:20 Nothing Records / Interscope Records INT12-97026 "The Day the World Went Away" – 4:01 "The Day the World Went Away" – 6:20 "The Day the World Went Away" – 7:04 Nine Inch Nails' official site The Day The World Went Away at the NinWiki Halo 13 at NINCollector.com "The Day the World Went Away" at Discogs.com "The Day the World Went Away" at Discogs.com
Low Profile was an American hip hop duo from Los Angeles, California. The group consisted of rapper William "W. C." Calhoun Jr. and record producer Alphonso "D. J. Aladdin" Henderson, who went on to pursue a career in visual arts; the duo made its debut with Rhyme $yndicate Records, on a compilation album produced by Ice-T and Afrika Islam, before becoming a duo on Profile Records. The group was a influential West Coast hip hop duo. Together, they released one album, We're in This Together, before breaking up, they appeared on the Rhyme Syndicate compilation Rhyme Syndicate Comin' Through. DJ Aladdin began working with Ice-T, WC formed a group called WC and the Maad Circle which included a then-unknown rapper named Coolio. Studio album 1989 – We're in This Together Singles 1987 – "Hip Hop I Crave" 1989 – "Pay Ya Dues" 1990 – "Funky Song" Low Profile at Discogs
David Carson (graphic designer)
David Carson is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, use of experimental typography, he was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout approach for which he is known. In particular, his imitated aesthetic defined the so-called "grunge typography" era. Carson was born on September 1955 in Corpus Christi, Texas, he attended Cocoa Beach High School, was class president for three years, still considers Cocoa Beach, Florida to be the place he is "most from". He attended San Diego State University, graduating with "Honors and Distinction" a Bachelor of Arts in Sociology. Carson's first contact with graphic design was in 1980 at the University of Arizona during a two-week graphics course, taught by Jackson Boelts. From 1982 to 1987, Carson worked as a teacher in Torrey Pines High School in California. During that time, he was a professional surfer, reached a 9th in the WSA pro 4A division Carson had his own signature model surfboard with Infinity surfboards, his own signature model fin with rainbow fin co.
He still surfs at his property in the Caribbean. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California, he attended the Oregon College of Commercial Art, only for a couple months before accepting an unpaid internship with Action Now magazine Skateboarder magazine. That year, he went to Switzerland to attend a three-week workshop in graphic design; the teacher of the workshop, Hans-Rudolf Lutz, became his first great influence. Carson became the art director of Transworld Skateboarding magazine in 1984, remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had started to develop his signature style, using "dirty" type and non-mainstream photographic techniques, he was the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987. Steve and Debbee Pezman, publishers of Surfer magazine tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement.
Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fineman—allowed Carson to make his first significant impact on the world of graphic design and typography—with ideas that were called innovative by those that were not fond of his work, in which legibility relied on readers' strict attention. For one feature on a blind surfer, Carson opened with a two-page spread covered in black. After Beach Culture, Carson re-designed Surfer magazine and art directed and design it for the next two years, before starting Ray Gun Magazine for three years. Carson relocated his studio to New York City for seven years, he splits his time between the West Indies and Europe. Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and lifestyle magazine that debuted in 1992, he designed and art directed the magazine for over 3 years, sending a completed issue to be printed when he finished designing it, with no one approving his designs before printing.
In one issue, he notoriously used Dingbat, a font containing only symbols, as the font for what he considered a rather dull interview with Bryan Ferry. Ray Gun attracted new admirers to his work. In this period, he was featured in publications such as Newsweek. In 1995, Carson left Ray Gun to found David Carson Design, in New York City, he started to attract major clients from all over the United States. During the next three years, Carson was doing work for Pepsi Cola, Ray Ban, Microsoft, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, worked for a variety of new clients, including AT&T Corporation, British Airways, Lycra, Packard Bell, Suzuki, Warner Bros. CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Lotus Software, Fox TV, Quiksilver, Mercedes-Benz, MGM Studios and Nine Inch Nails, he named and designed the adventure lifestyle magazine Blue, in 1997. David designed the first three covers. Carson's cover design for the first issue was selected as one of the "top 40 magazine covers of all time" by the American Society of Magazine Editors.
In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since he has lived in San Diego, Seattle and Tortola, he lives and works in Europe and Tortola. He continues to lecture worldwide on creativity and design. In 2004, Carson was the freelance Creative Director of the Gibbes Museum of Art in Charleston; that year, he designed the special "Exploration" edition of Surfing Magazine and directed a variety of TV commercials, including Lucent Technologies, American Airlines, Xerox, UMPQUA Bank and numerous others. In 2011 Carson worked as worldwide creative director for Bose Corporation, he served as Design Director for the 2011 Quiksilver Pro Surfing contest in Biarritz and designed the branding for the 2012 Quiksilver Pro in New York City. He designed a set of three posters for the San Sebastián International Film Festival in Spain and the covers for Huck, Little White Lies, Monster Children magazines. In 2015, Carson was commissioned to design the posters and publicity for the Harvard Graduate School of Design, for the 2015–2016 school year.
Since 2010, Carson has lectured and held workshops and exhibitions a
The Perfect Drug
"The Perfect Drug" is a song by Nine Inch Nails written for the David Lynch film Lost Highway and appearing on the Lost Highway soundtrack as well as a single from the score in 1997. Remixes of the song were released in an EP, "The Perfect Drug" Versions. Though "The Perfect Drug" Versions acts as a single for the titular song, the original version does not appear on the American single. Unusually, the track has been included on international singles "We're in This Together, Part 3" and "Into the Void" without the ending truncated. A music video for it was directed by Mark Romanek, included with Closure, a VHS compilation and The Work of Director Mark Romanek. In 2002, American post-hardcore band the Blood Brothers sampled the song in their song "Kiss of the Octopus". In 2011, the song was used as the entrance song for Japanese mixed martial artist Michihiro Omigawa at UFC 131. American deathcore band Fit for an Autopsy covered the song for the split EP The Depression Sessions in 2016. Despite being a single, "The Perfect Drug" did not appear live until September 18th, 2018 at Red Rocks Amphitheatre in Colorado.
On the official NIN website, a fan asked whether the track hadn't been performed live is because "the drum solo would make Jerome's arms fall off." Then-drummer Jerome Dillon replied that they "never rule out the possibility of playing any of the songs live."On April 6, 2005, while presenting the late-night BBC Radio 1 Rock Show in the UK, Trent Reznor responded to the question, "Which piece of your own work are you least satisfied with and why?" by saying: "The only thing I think I don't like that much is "The Perfect Drug" song. It was one of those things where you have a week to do a track for a movie, the mindset that you kind of adapt in that situation, or I did, was'let's go in and experiment and see what happens, it's not, y'know, whatever comes out of it, it's not the end of the world', and I think what came out of it, married with a bloated, over-budget video, feels like... the least thing that I would play to somebody if they said play me, y'know, the top hundred songs you've written, that wouldn't be in the top hundred.
I'm not cringing about it, but it's not my favorite piece." The song is one of 31 music files in the Sony BMG v. Tenenbaum case, which resulted in finding the individual file-sharer liable for copyright infringement in July 2009, demanding an award of $22,500 a song. A music video for the single was directed by Mark Romanek and released on January 18, 1997; the theme was inspired by the illustrations of 20th-century artist Edward Gorey, with familiar Gorey elements including oversized urns and glum, pale characters in full Edwardian costume. The most obvious reference to Gorey is the boy sitting on a cushion in front of a painting. Other references include an unidentified painting resembling Gustav Klimt's The Kiss and a "Scanning Machine" designed by Frenchman François Willème in 1860; the video is interpreted as showing Trent Reznor portraying a man mourning the death of a child and detaching himself from reality through absinthe. Charlie Clouser, Danny Lohner, Chris Vrenna appear in the video, most notably playing string instruments at the beginning of the video.
The entire video was filmed with a blue tint, with the exception of the drum breakdown, which uses flashing green light instead. Joanne Gair's work with Nine Inch Nails on "The Perfect Drug" won her the makeup portion of the award for best hair/makeup in a music video at the Music Video Production Awards. "The Perfect Drug" Versions is the eleventh official Nine Inch Nails release and consists of five remixes of the song "The Perfect Drug." The European and Japanese releases append the original version of the song, while a promotional vinyl set adds an exclusive sixth remix, by Aphrodite. Available as United States, Japan or EU single; the Perfect Drug at nin.com, the official website The Perfect Drug at the NinWiki Clip of the making of "The Perfect Drug" video with Mark Romanek Halo 11 at NIN collector discogs.com: The Perfect Drug discogs.com: "The Perfect Drug" Versions discogs.com: "The Perfect Drug" Versions discogs.com: "The Perfect Drug" Versions
Nothing Records was an American record label specializing in industrial rock and electronic music, founded by John Malm Jr. and Trent Reznor in 1992. It is considered an example of a vanity label, where an artist is able to run a label with some degree of independence from within a larger parent company, in this case being Interscope Records. Nothing Records went defunct in 2004 after a lawsuit by Reznor against John Malm; the label became inactive as a whole following several further releases. Nothing Records is most famous for its two original signings, Trent Reznor's own band Nine Inch Nails and Marilyn Manson; the label gained semi-iconic status within the industrial rock scene, acquired its own online-fanzine in Sick Among the Pure, although this became a more general industrial fanzine, ceased to exist at all in 2005. The Nothing label would reward its fanbase over the Internet — one form of this outreach was Radio Nothing: an exclusive collection of free MP3 music streams, compiled by Nothing label artists and fans.
In September 2004, coinciding with Trent Reznor leaving New Orleans for the west coast, the Nine Inch Nails website announced "nothing studios: 1994-2004", suggesting that Nothing Studios was closed. This proved to be the end of the associated record label as well. Speculation among listeners that the label could continue ceased when Reznor sued co-founder John Malm for fraud and breach of fiduciary duty, ensuring that the Nothing era was over. In a May 5, 2005 post to nin.com, Trent wrote, "To be clear: my involvement with Nothing Records is over. Is Nothing Records alive or an entity? You'd have to ask John Malm... Nothing studios is still in New Orleans and I'm not sure what I'll do with it. I'll figure that out when I finish touring." While With Teeth and its following singles carry the Nothing Records logo, Reznor has publicly stated that this was at the insistence of John Malm. Beside You In Time was the last release to carry the Nothing Records logo on its packaging; the logo appears in the end credits.
The "Survivalism" single is the first Nine Inch Nails release not to be released with the Nothing Records logo. Since early 2004, the official website, NothingRecords.com, has been closed down. In addition to Nine Inch Nails and Marilyn Manson, the label signed and released albums from 2wo, Pop Will Eat Itself, Prick, 12 Rounds, Einstürzende Neubauten, The The, Meat Beat Manifesto. Additionally, Coil was under contract for a record but it was never delivered. John Bergin was signed under the name Trust Obey, but the album he recorded was instead released in 1996 on Fifth Colvmn Records with a sticker that quoted Reznor's reaction to the completed work: "Not a great commercial potential." Nothing distributed music from Warp Records, England's venerable electronic music label, under an exclusive license in the U. S. with albums by Autechre and Squarepusher. This distribution deal ended when Warp expanded operations into the U. S. market in 2001. Nothing managed to secure the U. S. release of two albums from England's Blue Planet Recordings.
The two albums were different than the UK releases. Plug's "Drum and Bass for Papa" included an extra disc of tracks from earlier EPs, The Bowling Green's "One Pound Note" omitted one track from the UK release due to problems with sample clearance. Nothing Records was founded by Trent Reznor and his former manager John Malm Jr. in 1992. Amid pressure from Nine Inch Nails' then-label TVT to produce a follow-up to Pretty Hate Machine, Reznor began to feel the label was hindering his control of the band and requested to terminate their contract, to which they ignored his plea. In response, Reznor secretly began recording under various pseudonyms to avoid record company interference. TVT put together a deal with Interscope Records, in which they would still retain some financial stake, while Reznor worked creatively under a new label. However, Interscope President Jimmy Iovine looked to allow him more creative freedom. Reznor stated: We made it clear we were not doing another record for TVT, but they made it pretty clear.
So I felt like, well, I've got this thing going but it's dead. Flood and I had to record Broken under a different band name, because if TVT found out we were recording, they could confiscate all our shit and release it. Jimmy Iovine got involved with Interscope, we kind of got slave-traded, it wasn't my doing. I didn't know anything about Interscope, and I was real pissed off at him at first because it was going from one bad situation to another one. But Interscope went into it like they wanted to know what I wanted, it was good. Part of the deal included allowing Reznor the run his own boutique label under the Interscope umbrella, which became Nothing Records. Reznor and Malm began a series of signings to the label, which included the likes of Marilyn Manson, Prick, Trust Obey, Pop Will Eat Itself and Mondo Vanilli. Reznor stated of the label, "The whole thing I want to do right now is provide a shell to other bands where they can have the benefit of a major label without being fucked with creatively in any way.
Let them do what they want to do, make them aware of the business side of things ho