Chris C (@chrisjche) header
Chris C (@chrisjche) profile picture

Host of @CCTVPOPS Podcast

New York
Joined March 2009
Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)Photo by Chris C (@chrisjche)
Girls Aloud being under Fifth Harmony? And where are the Sugababes?! Nope.
the ACTUAL pyramid of girl groups
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The mics were on last night at @pussycatdolls’ first headline show in years! What do you think of Ashley and Kimberly taking on the “I Don’t Need A Man” bridge?
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This chart sprint is making us sweat 👀💧 #MelC (@melaniecmusic) sits at Number 2 midweek on the Official Albums Chart. If she makes it to the summit first, she will become the first Spice Girl to land a solo Number 1 LP😲 Full story: officialcharts.com/chart-new…
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Chris C retweeted
When I accidentally become important at work and now it's ruining my gym schedule
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We've been waiting to discuss the whole Manon situation because we wanted to see what would happen with "Pinky Up" and Coachella...but the time is here! We break down ALL the drama in our latest KASTEYE episode! youtu.be/jxmD2duPt_Q?si=Sji6…
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That's literally not how it works at all. If it was no one could sing a song live without express permission from creators As long as the venue (Coachella in this instance) has agreements with the PROs ASCAP, BMI and SESAC (which festivals obviously do), he can sing anything
Bieber played chess against his label as a true independent. Selling his catalog, Bieber must ask his ex-label for license to perform his old songs. By playing them off youtube and not “performing” the songs, he finds a loop hole so none of the money goes to them. Genius!
Readers added context they thought people might want to know
Justin Bieber does not need permission from Hipgnosis to perform his old songs live, as venues obtain public performance licenses from PROs like ASCAP, and the catalog sale does not affect his performance rights. variety.com/2023/music/new… ascap.com/help/ascap-lic…
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Can we get Victoria Beckhams “Out of your mind” to number 1 next?! That was a banger too 😁🔥
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Replying to @AubreyODay
Come on ours! We’re fully independent and would love to focus on the music and your creative process!! And we both went to the @danitykane show in NYC 😃
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My 2025 Duolingo stats are in! How did you do? #Duolingo365
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MY REBUTTAL TO SIMON COWELL’S ROLLING STONE STATEMENT I am writing in response to Simon Cowell’s recent remarks in Rolling Stone, in which he references the tragic loss of my friend and fellow 2010 XFactor contestant Liam Payne and reflects on his time overseeing the management of One Direction. While he expresses personal sadness and regret, his statements present a distorted and incomplete account of the reality experienced by many of us who were held via contract under his structures. It is important, ethically, legally, and journalistically — that a fuller picture is acknowledged. When Liam passed away, the entire world saw my public reaction. It was not a reaction to fame, or grief alone, or the pressures of the music industry in general; it was a reaction rooted in first-hand experience of the duty-of-care failures, coercive pressures, and systemic harms that were present during our time under Cowell’s management umbrella. In 2010 none of us were in a position to speak out. We were young, isolated, tightly contracted, bound by NDAs, and operating in what can only be described as survival mode. The power imbalance was absolute. The conditions were psychologically suffocating. We lacked the language, the support, and the legal understanding to identify, let alone challenge, what we now know were serious safeguarding and ethical breaches. For Cowell to publicly present himself today as reflective, concerned, and wounded — while omitting the systemic pressures, relentless work schedules, emotional manipulation, public shaming structures, and unregulated high-stress environments that defined our experiences — is not merely selective storytelling. It is an erasure of the very conditions that contributed to the mental health struggles of multiple artists, including Liam, myself, and many others. In the Rolling Stone interview, Cowell asks: “Could I have done anything more?” This question only holds weight when paired with genuine acknowledgement of what was done — or not done — at the time. What happened to us was structural, patterned, and deeply harmful. To suggest otherwise is to reframe tragedy as unexpected, when in truth many of us were shouting — privately, then publicly — about the same mechanisms of harm long before the world lost Liam. Cowell also states: “Music is not everything. Don’t let it run your life… Find something else you are passionate about.” A sentiment that would have been meaningful had the environment he controlled not been one where music, ratings, public humiliation, and pressure were weaponised in ways that eroded our mental health. During our contracted years, none of us were ever given the space to “find something else.” We were given one option: obey, perform, survive. To invoke hindsight wisdom now — without acknowledging the realities we were subjected to — further entrenches the myth that these tragedies occurred in a vacuum rather than within systems he built, profited from, and continues to control. For any outlet quoting Cowell’s remarks, I respectfully ask that you include: - the perspective of those who lived the consequences of his production culture, - the context of documented duty-of-care concerns, - and the fact that multiple participants — including myself — have suffered long-term psychological harm and have raised legal challenges regarding these very issues. This is not about blame for the sake of blame. This is about accuracy, responsibility, and the urgent need for accountability and safeguarding reform in an industry that continues to reshape itself publicly while leaving its internal harms untouched. If Cowell wishes to have public conversations about loss, duty, and the “what ifs,” then it is vital those conversations include the full truth, not the curated fragments currently being offered. I am available for comment, clarification, or interview should you require further insight. Sincerely, Katie
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Hey #ANDEAR! Our interview with #AMPERSANDONE will be released at 3:00pm EST. Hope you enjoy!! youtu.be/Hg42q8ZEVEI
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OH YES I'm so ready @danitykane @AubreyODay!! TURN OFF MY LIGHTS AND SEE IF YOU WANNA GET INTO MY ... dark side
Could not be more excited about @danitykane reuniting!! See you in NYC!!! @DediKatedKrew
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Could not be more excited about @danitykane reuniting!! See you in NYC!!! @DediKatedKrew
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Production has the opportunity to do the funniest thing ever #bb27
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Our #SHINee 101 episode is past 3k on YouTube!! #SHAWOLs...which solo career should we do a 101 for next?!
73%Taemin
27%Key
33 votes • Final results
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Our "Impossible Princess" track-by-track review episode is SO close to 1k on YouTube! What are your favorite and least favorite tracks on "Impossible Princess"? #kylieminogue youtu.be/tfIdkgzMY5M
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Of course we'll be doing a full review of #KPOPPED but just some initial thoughts... - some of the pairings are a bit... odd - refreshing to see some groups have to sing harmonies, wish there was more! - Kylie x ATEEZ should have won
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Every time I see #ENHYPEN live, I walk away praising #Heeseung to anyone who will listen - he is a STAR. #ENHYPEN #WALKTHELINE_IN_BelmontPark #WALKTHELINE_IN_NY
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