Dita Von Teese interview with The Sunday Times

“I wish I were bisexual. Wouldn’t it be amazing if you could just love whoever you meet?”
Original article by Chrissy Iley Published: 14 February 2016 on The Sunday Times

Dita Von Teese greets me at her house, a mock-Tudor cottage in the Hollywood Hills. She is surprisingly composed — and rather perky — for someone who has just arrived back from a two-week stint at the Crazy Horse, the erotic cabaret venue in Paris.

The interior of her home is exactly what you’d expect from the world’s most famous burlesque star. It’s a playhouse with lots of feathery things — a stuffed peacock, a black swan and a white one wearing a little diamanté crown — as well as a stuffed tiger and a leopard welcome mat.

Dita is wearing her lounge outfit of black capri pants, form-hugging vintage sweater and black ballet pumps. Her alabaster legs complement a white velvet complexion; her look is completed by black, glossy hair and her trademark crimson lips. She’s softly spoken; shy, even — or is she just checking me out?

We met, briefly, at the photoshoot the previous day, for which she was plumped up and corseted. When I took a picture of her on my phone, she told me off. But that’s forgotten now: we’re here to talk about her latest project, a limited-edition vinyl album called Soundtrack for Seduction. The first side is the retro Von Teese; the music she uses in her burlesque shows when she bathes in a giant martini glass. Side two is moody, modern electronic music. She sings on some of the tracks. Her voice — think Peggy Lee on ice — is purring and sweet.

Sweet is actually her real name. Heather Sweet was born in Rochester, Michigan, with mousy-blonde hair. These days, you can’t tell where Heather ends and Dita begins — part of her power is the dichotomy of encompassing traditional values in a bad-girl body.

As I slump into her velvet sofa, she sits perfectly upright with the posture of a ballerina. Only her eyes move while she talks. “I like the word ‘seduction’,” she says of Soundtrack for Seduction. “People think seduction is going after someone and deciding you’re going to make them yours — but to me, the way to properly seduce someone is to be living on your own terms, to make your world a place others want to be invited to.”

Has she always been like this — super-confident, waiting for men to come to her? “Well, no… I’m a 43-year-old woman, it takes time to arrive at that.”

Indeed it did. It took years of working in lingerie shops and as a stripper before she discovered her own sexy and pulled Dita out of the Heather. And it took a flamboyant marriage to the goth-rocker Marilyn Manson and a subsequent divorce to break her heart and set her on a new learning curve. They exchanged vows in a castle in Ireland in December 2005, after being together for five years. In December 2006, she filed for divorce.

I find it intriguing that a woman who basically strips for a living is actually a feminist

A burlesque artist and a rocker may be the kind of people you’d expect to have an open relationship, but Von Teese and Manson did not. She doesn’t specify what went wrong, but has said in the past that she didn’t support his “party” lifestyle.

“I still believe in marriage. I’m a very traditional person,” she insists. She is now in a full-time relationship with a creative visual designer at Disney called Adam. They share their home with Aleister — a devon rex cat with a curly, poodle-like coat, who has 60,000 followers of his own on Instagram.

She goes on to talk about the song A Guy What Takes His Time, originally a Mae West song, which she performs on the album. Is that what she likes — guys who take their time? “Obviously,” she says. “I hate fast movers. And I love that moment when you get to the point when you really know someone, and they know you, and you can spend hours and hours… That’s when you can really get involved in the details of love-making, not just the ‘Ahhh-ahhh’. I think fast is fake.”

Dita Von Teese reclines in a giant martini — a staple of her burlesque routine. “I’m paid to sit inside a glass!” she says. Her debut album, Soundtrack for Seduction, is released todayDita Von Teese reclines in a giant martini — a staple of her burlesque routine. “I’m paid to sit inside a glass!” she says. Her debut album, Soundtrack for Seduction, is released today (Rex)

Really? “The longer you spend, the better the payoff is at the end.” Some women, I tell her, prefer multiple orgasms and not just one pay-off. She tries not to look shocked. “I hope you get to move with the fast movers and I get to meet the slow movers. Slow and meticulous.” Is Adam slow and meticulous? “Yes. He’s from Chicago. He’s not interested in showbiz. We’ve been together two years and he’s slow and steady.”

Does she think she’ll get married again? “I think about the pros and cons of marriage all the time. I have a list. The pros are: I love ceremony, ritual, promises, symbols. I don’t like the business and financial sides of things, or divorce. I don’t want to do that again.

“I also have a list of the pros and cons about children. I get anxiety about the state of the world — and it’s hard to have a child when you’re working. Sometimes I wish I’d had a child in my twenties, and now I’d have some amazing adult child that I like hanging out with. But that kind of slipped through my fingers.”

The album, she tells me, will come in pink vinyl, and if you want to pay extra, you can have one that she’s kissed with her vintage red lipstick. It comes out today, on Valentine’s Day . Is she a Valentine’s Day kind of person? “I’m not. It’s very much a Hallmark holiday, isn’t it?” she says, disparagingly. “Don’t buy lingerie for your sweetheart on Valentine’s Day.” Women, she argues, should buy their own lingerie.

I find it intriguing that a woman who basically strips for a living is actually a feminist.

Does she feel beautiful? “No, but I like to put my lipstick on to face the world. I wear it even to the dentist… wipe it off, put it back on. It takes so little time for a lot of payoff.”

Her old friends still call her Heather, as do her relatives. Is she still Heather Sweet? Is the red lipstick all about stepping into Dita? “No. People think I must be a great actress, but I’m not acting. I get my confidence when I get my make-up on. You can still see Heather Sweet on stage if you know what to look for.”

“If you’ve got pink walls you can look amazing naked in every room”

And what should we look for? “A girl saying, ‘This is hilarious, I’m getting paid to ride this mechanical bull and sit inside a champagne glass!’ ”

She discovered burlesque in the early 1990s and sees herself as inextricably linked to the pin-up girls from the 1930s and 1940s, who also worked as burlesque dancers. “I liked that I could create that look and be different to what I was. To me, this was art.”

She created Dita while working in a strip club. “I was also a go-go dancer at rave parties, because my then boyfriend was one of the biggest rave promoters here in LA. I discovered pictures of Bettie Page, so I decided that I wanted to be a retro-fetish star. Then I started doing bondage videos and things like that.”

How did the people around her react to her work? “They were, like, ‘What’s going on?’ My dad was disapproving. But then my dad was disapproving when I worked at a lingerie store.” She insists, however, that her father, a machinist, and her mother, a manicurist, are very proud of her today.

How difficult was it to incorporate bondage and boyfriends? “It was fine. If I started dating someone new and they were jealous of what I did, they simply wouldn’t last long. My love affairs have been for five or six years at a time. I’m a homebody and I like monogamy.”

I also heard she had enjoyed same-sex relationships. “I wouldn’t say many. I experimented. But unfortunately I’d call myself fully heterosexual. I wish I were bisexual.”

Really? “I find bisexuality super-evolved. Wouldn’t it be amazing if you could just love whoever you meet, if they just loved you? I think that’s supercool.”

She enjoys the company of other strong women. “I love women who are interesting and talented. I am not intimidated by them at all. The ones you have to worry about are the ones who seem unassuming. The ones you don’t think could steal your man. Those are the ones figuring out how they can.”

Are these conclusions from experience? “Yes!”

Is she intimidated by anyone? “Every time I talk to Madonna I’m super-intimidated. Same with Prince.”

She has to dye her hair black every two weeks to stop the blonde roots showing. “I’d love to be free of it, but if I change my colour now, I’d be considered a traitor [by her fans]. My fantasy is, one day, I’ll be a great silver fox.”

Ageing is not something that worries her. “Lighting is everything. You make a beautiful sacred space and if you have pink walls you can look amazing naked in every room.” She gestures to her own pink walls and I briefly imagine her patrolling naked among the stuffed birds.

Was she always so confident in her body? “I was raised in ballet. I was used to being in front of mirrors with very little clothes on, noticing how I could change how my body looks according to which posture I’m in. I noticed how to pay attention to carriage. You can totally manipulate how your body appears.”

It seems that Von Teese, or Sweet, is pretty good at manipulating not just her body but everything. She has created a whole person. It’s not just performance art, it’s living.

Click here to win one of 25 signed copies of Dita Von Teese’s specially curated and limited edition vinyl, Soundtrack for Seduction.The worlds’ most recognisable burlesque dancer has personally chosen a collection of songs including original and previously unreleased music from her own shows, as well as some of her favourite artists, both old and new

Soundtrack for Seduction is available as a limited edition for £15 plus p&p on 12on12.com/ditavonteese until March 14


Dita Von Teese & Cutting Edge Group

Burlesque dancer Dita Von Teese is getting ready to release a 12-song vinyl album called “Soundtrack for Seduction.” She hopes it is a must-have for fans—even though she doesn’t sing on most of the tracks.

Instead, the record is essentially a playlist of other artists’ songs, picked to set the mood for a romantic night at home. Among the tunes: “Here She Comes Again” by Norwegian electronic duo Röyksopp and “Is that All There Is?” by the late jazz singer Peggy Lee.

Ms. Von Teese is the first of a wide range of celebrities—some musical stars, some not—who are considering selling their own playlists on vinyl for between $20 and $150 a pop, depending on whether they autograph the record, kiss it or include a personal note to the buyer.

“I think there’s a lot of misconception about the kind of music I like,” Ms. Von Teese says in a promotional video for the album, which can’t be heard online.

It is a project spearheaded by Philip Moross, chief executive of the Cutting Edge Group, a music-and-media consulting firm that finances film and TV scores in exchange for the music rights.

He said the idea of marrying modern-day curated playlists with old-fashioned vinyl came to him after Cutting Edge Group several years ago acquired Varèse Sarabande, a soundtrack-focused label that had long produced and distributed many vinyl editions of its music. The label’s vinyl sales jumped 50% last year, so Mr. Moross decided to try updating the retro format.

Compilation albums are nothing new, but rarely have they centered so squarely on the tastes of celebrity curators. Cutting Edge’s “12on12” records are meant to be collector’s items for super fans, revealing their idol’s tastes and influences.

Mr. Moross said he’s in talks with a wide range of stars—from basketball players to supermodels—who are keen on issuing their own compilation records. Ms. Von Teese’s album is the pilot; no others have been made.

To promote the records, Mr. Moross is planning a show that features a different celebrity each episode talking about how they curated their album. It is unclear yet whether it will run only online or be carried on a cable channel.

Major record labels still reap less than 5% of their revenues from vinyl sales, despite the format’s recent boom. But Mr. Moross said it could be extremely profitable for a smaller company like his, as well as for individual acts with large, devoted fan bases.

Most such artists are constantly hunting for new ways to make money from their biggest fans, since the artists can only tour and release new music—or repackage their old music—so often, managers and booking agents say.

Fans can place orders for “Soundtrack for Seduction” starting on Valentine’s Day, Feb. 14, through March 14. The albums are made to order and will be delivered in about three months. Twenty dollars will fetch a regular copy. With an autograph, the price rises to $50. For an album kissed by Ms. Von Teese, lipstick and all, the price will be $100.

Ms. Von Teese performs vocals on three of the songs, including a cover of the Mae Westclassic “A Guy What Takes His Time.”

“It’s a big content play—if you put out another greatest-hits record on the shelf at Wal-Mart, you’re not connecting with fans,” said Scott Manson, chief operating officer of Scooter Braun Projects, which is in talks with Mr. Moross to issue vinyl playlists for its artists and is exploring ways to partner in the entire venture.

Alan Melina, who manages the producer RedOne, said some of his clients are interested in appearing on Mr. Moross’s show, which may air online or on TV. The concept reminds him of Desert Island Discs, a decades-old British radio show that has guests choose which eight recordings they would want if stranded on a desert island.

One catch: Celebrities won’t be able to put just any song on their playlists. Mr. Moross said he must obtain permission to use each track from the record label that issued it.

Cutting Edge Invests in ‘Everest,’ ‘Dirty Grandpa’

Music publishing rights specialist Cutting Edge Group and its investment arm Conduct have come on board six upcoming movies — “Everest,” “Message From the King,” “Dirty Grandpa,” “November Criminals,” “Unlocked” and “Army of One.”

“Everest,” due out September 18 from Universal, recaps the 1996 multi-expedition assault on Everest that left eight climbers dead. Jake Gyllenhaal, Jason Clarke, Josh Brolin and John Hawkes star.

“Dirty Grandpa,” due out February 26 from Lionsgate, stars Robert De Niro and Zac Efron.

“It was a very productive Cannes for us this year and we’re excited about the quality and talent associated with these films,” Conduct managing director James Gibb said. “We’re also not done with at least another six deals in the works and more beyond that.”

Cutting Edge recently renewed its slate deal with Basil Iwanyk’s Thunder Road Pictures.

Seven-year-old CEG has invested in “Whiplash,” “Fury,” “John Wick,” “The King’s Speech,” “Drive,” “Looper” and “End of Watch” in exchange for music publishing rights. It handles scoring, clearances and music supervision in films, then recoups from soundtrack and sheet-music sales; licensing and royalties from international ticket sales and TV deals; and rights in TV commercials.


See the original article here.

Thunder Road Pictures, Cutting Edge Group Renew Film Slate Agreement in Seven-Figure Deal

Cannes, France (May 14, 2015) – Two years after striking a five-film slate deal at the 2013 Cannes Film Festival, Thunder Road Pictures is renewing their agreement with Cutting Edge Group and CEG’s investment arm, Conduct, in a seven-figure deal to extend the partnership for an additional five films. In exchange for future music rights, Conduct will advance Thunder Road funds to enable the company to develop and expand their current slate of films in development.

“We are delighted to recommence our deal with the Cutting Edge Group and Conduct team,” said Thunder Road Pictures Principal Basil Iwanyk. “Their initial investment into Thunder Road was essential in building a terrific slate of film projects, including Sicario and John Wick, the former being in competition this year at the Cannes Film Festival.”

Cutting Edge Group CEO Philip Moross commented, “Thunder Road Pictures is a premier production company and a great partner to be in business with. We look forward to working with Basil and his team for many years to come.”

Thunder Road Pictures’ upcoming slate includes 3 Seconds, a $30 million action thriller starring Luke Evans (The Hobbit: The Battle of the Five Armies, Fast and Furious 6), shooting this summer and financed by PalmStar Media and Merced Media.

Under the aegis of Cutting Edge Group, Conduct offers a new paradigm by financing the music budgets of films and TV programs in exchange for intellectual property rights to each project‘s original music. As an investment fund with more than 400 credits to date, Conduct currently has over $100 million assets under management. Last year, Conduct set up slate financing deals with QED and with Brian Oliver’s Cross Creek Pictures. The company has also invested in hundreds of single pictures including Whiplash, Fury, That Awkward Moment and the upcoming Self/Less and Pride and Prejudice and Zombies.

Conduct Managing Director James Gibb said, “We intend to close at least four more slate deals this year, and hopefully one or two here at the Cannes Film Festival.”

The agreement negotiations were handled by Conduct’s Managing Director Tara Moross and Thunder Road Pictures’ Executive Vice President of Business Affairs Jonathan Fuhrman. Conduct is represented by UTA’s Rena Ronson and Alex Brunner.

About Cutting Edge

Cutting Edge Group (CEG) is a leading international music financier and services provider for film, television, and advertising, working directly with film and TV studios, independent producers, and global brands. CEG has provided its investment capital and music services to over 400 feature films, including The King’s Speech, which won the Best Picture Academy Award for 2010, Brad Pitt‘s Fury, John Wick, Drive, and the five-time BAFTA nominee and Golden Globe winner for Best Supporting Actor, Whiplash.  CEG’s group of companies include Conduct, a leading asset manager specializing in music for the media industries; Varese Sarabande Records, the preeminent film and TV music soundtrack label; and CORD Worldwide a best-in-class independent music department for filmmakers and studios, and a music planning and buying business for global brands such as Shell, Nestle, Unilever, Mattel and advertising agencies J. Walter Thompson, Grey and McCann. For more information about Cutting Edge Group, visit http://www.cuttingedgegroup.com.

About Thunder Road Pictures

Founded and owned by Basil Iwanyk, whose films have collectively grossed $1.8 billion worldwide, Thunder Road Pictures is currently in post-production on the tentpole film Gods of Egypt for Lionsgate, directed by Alex Proyas; and Sicario, directed by Denis Villeneuve and starring Benecio Del Toro, Emily Blunt and Josh Brolin. Also upcoming for Thunder Road is a feature version of the highly successful video game Splinter Cell, directed by Doug Liman and starring Tom Hardy. Previous films include the epic action adventure films Seventh Son and Clash of the Titans, along with the sequel, Wrath of the Titans, the Keanu Reeves actioner John Wick, three installments of The Expendables, Brooklyn’s Finest, We Are Marshall, Firewall and the critically acclaimed drama The Town, directed by Ben Affleck.

Original article from Variety.


(January 15, 2015; Los Angeles, Calif.)— Cutting Edge Group (CEG) today announced that subsidiary Air-Edel Associates Ltd has completed negotiations to part from CEG via a management buyout.
CEG, the leading international film music financier and services provider, bought Air-Edel, one of the world’s foremost composer and music supervision companies, in 2007. Longstanding Air-Edel managing director Maggie Rodford, backed by an investor group led by Robert Cope, will now return the company to its independent roots as it was when it was founded by Sir George Martin and Herman Edel. Terms of the deal were not disclosed.
Air-Edel was founded in 1969 with an initial focus on managing and representing composers writing music for commercials. In the early 1980s, the company expanded its operations to film and TV, and then into games and theatre. The company bought their own recording studios in 1991, and today represents many award-winning composers on a worldwide basis as well as managing a strong publishing catalogue.
CEG’s CEO Philip Moross said, “This deal is a friendly divestment, one that’s great for both parties. Air-Edel is now in the hands of Maggie Rodford, as it should be. We look forward to working with her great company in the future.”
Air-Edel’s Rodford added, “I am very proud to be leading an independent Air-Edel in this new chapter of our forty-five year history. It is a great honor for myself and our talented staff in London and Los Angeles to represent world-class composers and artists, and to be given the opportunity to ensure that our company can go from strength to strength.”
Air-Edel has offices in London and Los Angeles.
Cutting Edge Group (CEG) is a leading international music financier and services provider for film, television, and advertising, working directly with film and TV studios, independent producers, and global brands. CEG has provided its investment capital and music services to over 400 feature films, including “The King’s Speech,” which won the Best Picture Academy Award for 2010, Brad Pitts’ “Fury,” “John Wick,” “Drive,” and the five-time BAFTA nominee and Golden Globe winner (Best Supporting Actor), “Whiplash.” CEG’s group of companies include Varese Sarabande Records, the preeminent film and TV music soundtrack label; and CORD Worldwide, a music planning and buying business for global brands such as Apple, Shell, Nestle, and Unilever and ad agencies J. Walter Thompson and McCann.
Air-Edel, founded by Sir George Martin and Herman Edel in 1969, is Europe’s leading music production company representing composers, songwriters, film and music editors. Air-Edel also provides music supervision services and has an in-house publishing company. Air-Edel has offices in Los Angeles and London, and the London office also incorporates Air-Edel Recording Studios. The company represents many world famous composers whose recent credits include films “The Boxtrolls” (Dario Marianelli), “Cinderella” (Patrick Doyle), “Paper Planes” (Nigel Westlake), and “Enemy” (Danny Bensi & Saunder Jurriaans). Projects engineered or mixed at Air-Edel Recording Studios include “Mr Turner” and “Jack Ryan.” Recent music supervision credits include “Belle”, “Paddington” and “What We Did On Our Holiday.”
Maggie Rodford served as a PRS Director for many years and was an active member of the PRS Executive Board. She was a member of the BAFTA Film Committee for six years and is currently Chairman of the BAFTA Archive, Heritage and Exhibition Committee. In 2012, Maggie was awarded the prestigious APRS Sound Fellowship.
Press Queries
For Cutting Edge Group:
Ross Johnson, ross.johnson@johnsonpublic.com (310)854-4780,
For Air-Edel:Maggie Rodford, maggie.rodford@air-edel.co.uk +44 207 486 6466

Music Publishers Association Annual General Report

  • MPA holds AGM at Royal Institution, London
  • Sarah Osborn calls on YouTube to negotiate fairly with rights holders
  • Chris Butler highlights the contribution music publishers make to the UK economy
  • MPA Gold Badges awarded to Sally Groves and Peter Barnes

(read the original article here.)

The Music Publishers Association (MPA) held its Annual General Meeting today, Tuesday 24 June 2014, at the Royal Institution in London.

Speeches to the AGM

The formal business of the AGM included reports from MPA Chairman Chris Butler, MPA Chief Executive Sarah Osborn and Jane Dyball, CEO of MPA subsidiaries Mechanical-Copyright Protection Society (MCPS) and Printed Music Licensing Limited (PMLL).

In her first address as MPA Chief Executive Sarah Osborn added the support of the MPA to other voices across the industry in calling on YouTube to negotiate fairly with indie labels without abusing its market dominance. “If companies such as Google are now acting in the role of cultural gatekeepers, whether by accident or by design, they must bear some responsibility to not act against the interests of the creators upon whose labour large parts of their business are built”. She also spoke about the collective strength the members of the MPA draw from their diversity.

Chris Butler – who was re-elected unopposed as MPA Chairman at the meeting – opened the AGM by summarising a number of important developments over the past 12 months. The launch of the PMLL’s Schools Printed Music Licensing Scheme was a notable success for the Association, with a first round of distributions made to member music publishers in December 2013.  Chris noted that the music publishing industry contributed over £400m GVA to the UK economy in 2012, and that with emerging new digital business models this might be expected to grow. He also gave the full support of the MPA to the ongoing development of a Global Repertoire Database, saying that “in this digital licensing environment, data management to ensure the efficient administration of rights is crucial”.

Jane Dyball outlined her strategy for MCPS having been appointed CEO towards the end of 2013. Her message to licensees: “I’m going to make it as easy as I possibly can to get you a licence (at a fair market price) for mechanical rights, so that you can pay MCPS and we can pay the publishers and writers.  I’m then going to enjoy a long and fruitful relationship with you which is built on the common bond of a love for music”.

Board elections

A total of 9 MPA members stood for 6 elected director vacancies on the MPA Board. Results of the voting, which had taken place online in advance of the meeting, were announced, with Andy Heath (Beggars Music Ltd), Linda Hawken (Peters Edition Ltd), and Paulette Long (Long Term Music) all re-elected to the Board having been required to retire by rotation. Also elected to the Board were Judith Webb (Schott Music Ltd), Phil Hope (Cutting Edge Music (Holdings) Ltd) and Justin Perry (Proof Songs Ltd).

MPA Gold Badges

Chris Butler also presented two MPA Gold Badges. The award is made to individuals who have made an outstanding contribution to music publishing.

Sally Groves was the figurehead of the Schott London office for a period of four decades, attracting major composers and transforming the office in Great Marlborough Street into a creative home for a wealth of musicians and composers. She has given many talented young composers the foothold to a career, guiding them on their path with incredible generosity and commitment. She maintained long and fruitful working relationships with Michael Tippett, Hans Werner Henze, György Ligeti and Toru Takemitsu.

The second MPA Gold Badge recipient was Peter Barnes, Chairman of Pink Floyd Music Publishers Limited, the company he inaugurated in 1973. His own companies Rock Music Company Limited and later Plangent Visions Music Limited publish various writers whose works have been recorded by The Damned, Nick Lowe, The Specials, Scissor Sisters, Fat Les, The Eagles, Johnny Cash, Akon, Lily Allen, Amy Winehouse and many others.

MPA Richard Toeman Scholarship

Chris Butler presented the 2014 MPA Richard Toeman Scholarship Awards. The annual Scholarship, now in its ninth year, is designed to encourage those who are new to the business or seeking to join the business and who are committed to a career in music publishing.

This year Louisa Sullivan an employee of Schott Music, was the winner in the publisher category and Tierney Kirby, a recent music graduate, was the winner in the student category.

Guest speakers

The audience of MPA members and invited guests also heard from guest speakers Guillaume Arth and Will Page, respectively Director of Licensing and Director of Economics at Spotify in the UK.

Photograph of singer-songwriter Quinn Archer

Quinn Archer – Blog Feature on Australia Music Network!

She’s been described as “gothic soul”, but British born singer-songwriter Quinn Archer likes to think of her sound as a soulful; where the lyrics can take on a dark persona at times, in the acoustic setting anyway. When she performs with her full band though, her music takes on a rock vibe. Music is something that Archer has always loved and remembers a house filled with the music of Fleetwood Mac and Dire Straits.

The thought of pursuing it as a career herself came much later. It was a dream that she had for the longest time that culminated one day when her father put her on a plane to Los Angeles and said to her “if you are brave enough to do this, I will support you”. This saw Archer sing back up for a few artists and even pursuing her own band calledJuliet’s Royal Blood, before finally deciding to focus on her solo career once the band disbanded.

Archer takes inspiration from the likes of Janis Joplin, Bonnie Raitt, Etta James, Aretha Franklin, The Rolling Stones, Chris Cornell and Stevie Nicks just to name a few . Her pursuit of music is essentially an escape that can instantly take her back to a specific moment or person from the past. Archer especially likes how songs can mean different things to different people and this is something that comes across with her own music, such as her debut single Walk Through The Fire, that was released on 5 December 2013. Of the track, Archer says “that actually might be my only song to date that is not inspired by a relationship gone wrong”. It is the result of being asked to write something more “uplifting” and whilst it still maintains an emotional vibe, it’s about overcoming obstacles and hardships that life can throw at you; something that everyone can relate to in one way or another.

The majority of Archer’s tracks have a focus on relationships, but she does also take inspiration from something that just happens and hearing a piano or guitar riff from one of her writing partners can make her draw on old feelings. There is always an emotional drive behind any song that Archer writes and this is perhaps why others describe her sound as “gothic soul”. Her debut single is just a taste of what is to come, with Archer currently recording her debut EP as we speak. It will hopefully be ready to see the light of day in a few months, with no firm release date set yet.

Last year Archer had the opportunity to perform at the Winter Whites Gala at Kensington Palace. She was on the same line-up as artists such as Bon Jovi, Taylor Swift, Eliza Doolittle and Tinie Tempah. Even now, Archer is still in disbelief that it even happened. One thing is for sure though; it’s an experience she is unlikely to ever forget. ForArcher, it feels like she has been on this musical journey for so long and it’s only now that things are starting to happen. She tries to enjoy every moment with dreams of winning a Grammy Award one day…no matter how far away it actually is. Once she releases her EP, Archer will be hitting the road for her very first tour. She is understandably excited, but is trying to keep that excitement at bay until she sees the tour dates in writing.

To view the original article by Maggie Sapet, please click here.

 To view Quinn’s video ‘Walk Through The Fire’, click here.

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Cutting Edge Group Inks Deal With QED (VARIETY EXCLUSIVE)

Cutting Edge Group has entered into a seven-figure slate-financing deal with Bill Block’s QED, and has secured music rights to WWII actioner “Fury,” starring Brad Pitt. “It’s going to be extremely beneficial for both parties,” Block said. “We look forward to making a lot of movies, and a lot of music, with the Cutting Edge team.” The slate deal will provide QED with immediate capital, rather than guaranteeing funds as part of a film’s bank closing or acquiring the music rights after a film is complete. CEG is advancing funds upfront to QED for the production company to develop its slate of upcoming film projects, secured against QED’s forthcoming film music slate. QED’s slate includes Jason Bateman’s comedy “Family Fang” and “Rock the Kasbah,” starring Bill Murray with Barry Levinson directing. The deal was closed at Cannes by CEG’s James Gibb and QED’s Tim Connors. Last Cannes, CEG made a similar deal with Basil Iwanyk’s Thunder Road. CEG’s model of financing against music licensing has been employed for over 350 titles.

movie poster for The Signal 2014

Focus Sets ‘The Signal’ For Summer (Deadline)

The sci-fi thriller that screened at Sundance will hit theaters June 13 before expanding the following two weekends.

In the Focus Features pic, three college students on a road trip across the Southwest experience a detour: the tracking of a computer genius who has already hacked into MIT and exposed security faults. The trio find themselves drawn to an eerily isolated area when suddenly, everything goes dark. When one of the students, Nic, regains consciousness, he is in a waking nightmare.

The Signal, from director William Eubank, stars Brenton Thwaites, Olivia Cooke, Beau Knapp and Laurence Fishburne. Cutting Edge Group boarded the project during the Baja Film Festival in November.

To view the original article written by The Deadline Team, please click here.