We don't need sympathy. We need everyone to respect our lives. | | | | | Schoolboy Q's "Blank Face" is out today on Top Dawg. (Eddy Rissling) | | | | |  | “We don't need sympathy. We need everyone to respect our lives.”
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| | rantnrave:// Responding to the police killings of ALTON STERLING and PHILANDO CASTILE, BEYONCÉ demands that "everyone respect our lives" and DRAKE asks for "honest dialogue." Two different shades of reaction, and I'm not remotely qualified to suggest which is "better" or what exactly anyone is supposed to do at this point besides screaming, crying, hugging each other and trying to overthrow their local government. I'm simply glad that our biggest pop stars (and many, many others like them) are engaged in this moment, fully horrified, fully willing to stand up and scream and cry and demand action. Every voice and every action helps... Also, this is absolutely completely totally not the time to talk about disabling cellphones... Great short documentary about the most infamous case of copyright overreach in our time... Which does not in any way justify what appears to be an almost bizarre case of copyright underreach by the U.S. Justice Department... And neither of which helps producers like FLYING LOTUS who are simply wondering where their fair share is... Copyright, like POSDNOUS, is complicated... It's FRIDAY and that means new music from SCHOOLBOY Q, AVALANCHES, SHURA, APHEX TWIN, THE JULIE RUIN, RÓISÍN MURPHY and INTER ARMA. Oh, and a CALVIN HARRIS/JOHN NEWMAN track that will be deconstructed by gossips from now until the world ends or next TUESDAY, whichever comes sooner. | | | - Matty Karas, curator |
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 | Nautilus |
| A physicist explains what the composer has in common with the dawn of the cosmos. (Excerpted from T"he Jazz of Physics: The Secret Link Between Music and the Structure of the Universe" by Stephon Alexander.) | | |
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 | Pitchfork |
| How rap mixtapes evolved from a humble regional format to a worldwide phenomenon. | | |
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 | The Guardian |
| For years, global music publisher Warner/Chappell claimed copyright of the Happy Birthday song, demanding payment for any public performance of it. Jenn Nelson tells the story of her four-year campaign to prove that the company did not in fact own the rights to the world-famous song, whose tune was composed by two sisters in Kentucky in 1893. | | |
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 | Pigeons & Planes |
| It's easy to forget that for many years, the celebrity that we know as DJ Khaled was just a producer. It feels like a distant memory in 2016-Khaled is now a social media superstar who just got off tour with Beyoncé, and he's about to drop an album that includes features from top-tier artists like Jay-Z and Drake. | | |
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 | ADWEEK |
| Underscores a big tourism trend from coast to coast. | | |
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 | Billboard |
| David Israelite, head of the National Music Publishers Association, argues that the Dept. of Justice's recent pre-holiday decision is tone deaf at best, disastrous at worst. | | |
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 | Dummy |
| Following the sexist abuse experienced by Nightwave and Toxe on Boiler Room's live stream last week, Nik Rawlings explores issues of inequality in the music ind | | |
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 | Metal Insider |
| Last week, I caught up with associate professor Jeffrey S Podoshen, the author of the Decibel magazine article about metal's Social Justice Warrior issue that set off a firestorm in the online metal community. We caught up with him about the reaction to the article, holocaust tourism, and his thoughts on the future of the metal music industry. | | |
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 | The Atlantic |
| The killing of Alton Sterling has led the biggest rapper in the world to break his silence about Black Lives Matter. | | |
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 | MTV News |
| Molly Lambert on "California" and whether dick jokes improve with age. | | |
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 | Red Bull Music Academy |
| From “Throw The D” to the Fresh Prince, Jesse Serwer examines the raunchy second life of Herman Kelly’s b-boy classic. | | |
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 | The Trichordist |
| Kettle meet pot. Pot meet kettle. Doesn't Sen Warren know songwriters are the small businesses and middle class of the streaming world, not Spotify? Who's given Warren the bad advice? | | |
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 | Rolling Stone |
| Post-modern pop transcends complicated Arab-Jewish relations in their home country. | | |
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 | Forbes |
| Like it or not, the album is clearly dying, but artists, band and record labels refuse to see the writing on the wall. It's time to reimagine how music is presented to the public. | | |
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 | The New York Times |
| Once an affront to the mainstream, the company’s hip-hop album covers eventually became part of it. | | |
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 | Bandcamp Daily |
| David J has spent more than half of his lifetime as a member of two alt-culture linchpin bands, the (inadvertent) founders of goth-rock Bauhaus and the psych-leaning Love and Rockets. But for all the stereotypes that often surrounded them, both acts embraced a broad range of styles, resisting easy categorization--a trait that’s equally evident in its members’ solo work. | | |
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 | KCRW |
| UK funk and soul pioneers Cymande made a triumphant return to LA after a 40-year hiatus. | | |
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 | Music Tech Solutions |
| After a prolonged and expensive process of soliciting public comments on potential betterments in the ASCAP and BMI consent decrees, the Department of Justice has decided to ignore all of the ideas presented and focus on the one thing that is almost guaranteed to destroy the PRO system in the U.S.--adopt the punitive policy of “100% licensing”. | | |
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| The New York Times |
| It may not be evident from a distance, but punk is constantly mutating from within. At its best, the genre puts up a shambolic edifice that can obscure real rumbles of change -- so long as the attitude is intact, the component parts can shift endlessly. | | |
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| Forbes |
| The first Korean act to land on our Celeb 100 list, Bigbang pulled in $44 million this year, offering a window into the campy K-Pop genre--and a blueprint for making money on music anywhere in the world. | | |
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 | via YouTube |
| | | | D'Angelo and the Vanguard |
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