You don't want to change yourself for the audience. You're not a $100 bill. People don't have to like you. We're just doing what we feel right doing. | | | | Brockhampton's "Saturation III" is out today on Question Everything.
(Kevin Winter/Getty Images) | | | | | | “You don't want to change yourself for the audience. You're not a $100 bill. People don't have to like you. We're just doing what we feel right doing.”
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| | rantnrave:// Welcome to AMERICA 2017, where the idea that a middle-class TAYLOR SWIFT fan might get to sit in the same section of the arena as a rich Taylor Swift fan can be dismissed as "rock and roll socialist pricing" and no one bats an eye. Except me. I am batting an eye. I get the idea of market-driven pricing. I get the idea of trying to beat the bots. I like that agents and promoters have discovered that shows that sell out in 60 seconds can be as bad for them as fast food is for you, and have conceived of "slow ticketing" as a healthier model. Keep developing that, please. But I am going to be very very, um, slow to warm up to the idea that the way to combat scalpers selling $1,500 tickets is to sell $1,500 tickets directly out of the box office. Or to the idea that pop, or rock, or hip-hop fans should be separated by class the same way airline customers are. Separate them by passion, or by how many lyrics they've memorized, or by their willingness to stand in line for four hours, or by luck. Come up with a special VIP experience for the rich kids, sure, I get it, I've been there. But let every kid compete for the seats in the front row, every time, please. Pop is by definition accessible. Pop is by definition for the 99 percent, not the 1 percent. Let the latter sit in the bleachers. They can afford the best binoculars... Not-so-blind item: This major music mogul accused of multiple rapes is trying to co-opt the #MeToo movement by defending himself with a #NotMe hashtag... Blind item: these two unnamed male music execs tell BILLBOARD the #MeToo movement has made them scared to have closed-door meetings with women. Note to all male music execs, both named and unnamed: If you're not planning on assaulting those women, you need not worry. If you are, then they, not you, are the ones who should be scared... How (and why) to release an album on floppy disk... The joy of buying music on cassette... WARHOL on WAGNER... It's FRIDAY and that means new music from EMINEM, BROCKHAMPTON, CHARLI XCX, N.E.R.D, G-EAZY, DJ MUSTARD & RJMRLA, SIR ROSEVELT, JEEZY, ZAYTOVEN, BOOSIE BADAZZ, ASKING ALEXANDRIA, SCARFACE and lives albums from LINKIN PARK—documenting the band's final tour with CHESTER BENNINGTON—and the 1975... Oh, and that's just IVANKA TRUMP in the trunk of Eminem's car, nothing to see here... RIP ANTHONY SCADUTO and VINCENT NGUINI. | | | - Matty Karas, curator |
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| A new sickness emerges from the music news industrial complex. | | |
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| With a proliferation of rare albums gathering vast view counts on YouTube, does the algorithm have an impact on what now gets reissued on vinyl? | | |
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| Higher prices, more consumer choice and no instant sellouts are on the horizon for high demand artists. | | |
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| "Pre-Kardashian Kanye, my rhymeplay immaculate / Same cadence as D.O.C. pre-accident..." | | |
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| Non-consensual drugging is a common factor in sexual assault, particularly within the music industry. To denormalize abusive behavior, it’s time we faced up to that. | | |
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| In a year when many just wanted to go back to sleep and hope it was all a dream, rap took on an escapist quality. The death and music of Lil Peep, and the nihilistic boasts of Young Thug, Future, and Lil Uzi Vert sountracked a year of pain and identity crises. | | |
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| People are interested in the potential for blockchain in the music industry because they have been sold on the promise of greater accuracy and efficiency. The ability to mechanistically license, distribute, track usage, and pay royalties; all within a provable closed loop. | | |
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| Jazz journalist and scholar Lara Pellegrinelli addresses issues of harassment and abuse endured by women in jazz, the #MeToo groundswell, and why recent reports of improvement might be premature. | | |
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| Mac Quayle, the Emmy-winning composer who scores "Mr. Robot," explains how he creates its haunting, synthesized sound. | | |
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| An exclusive mix from our DJ Of The Year. | | |
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| The quarter-century odyssey of Dr. Dre’s debut and its role in America’s complicated affair with marijuana. | | |
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| Kerry Trainor, who replaced co-founder Alex Ljung as CEO in August, tells NPR that SoundCloud is not trying to compete with Spotify, saying creators are his main focus. | | |
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| Before the Harvey Weinstein scandal made headlines, an earlier wake-up call about the pervasiveness of sexual harassment was sounded on Jan. 18, 2016. That's when Amber Coffman, vocalist/multi-instrumentalist for the Dirty Projectors, fired off a series of tweets about the inappropriate sexual behavior she was subjected to by Heathcliff Berru, the founder of Life or Death PR and Management. | | |
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| In 2017, a lot of us have come around to the idea that music's most cherished holiday classics aren't that innocent. Mariah Carey is perhaps a little obsessive on "All I Want For Christmas Is You." | | |
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| The value of music streaming service Spotify, which is planning a stock market listing, has grown around 20 percent to at least $19 billion in the past few months, outperforming U.S. and European tech indexes, sources familiar with the matter said. | | |
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| Big Thief, Kendrick Lamar, Charly Bliss, Kesha, Hurray for the Riff Raff... | | |
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| The legendary bass player, who basically invented jazz fusion, speaks about his lengthy career-from collaborating with Keith Richards to Paul McCartney to Miles Davis. | | |
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| Making money selling songs is hard: Just ask Spotify, which has more than 60 million subscribers and no profits. But selling stuff to people who make songs? That's the bet Steve Martocci is making with Splice, his startup that sells digital tools and music samples to music-makers, and also pays them for uploading their own sounds. | | |
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| In the early dawn of a recent Tuesday morning, Julien Baker sat in the lobby of her tour-stop hotel and tried to sort out how much had changed in the last two years. When Baker released her debut album, "Sprained Ankle," in 2015, her tales of teenage anxiety and boozy self-loathing felt revelatory. | | |
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| Nina Simone's long overdue induction into the Rock & Roll Hall of Fame illuminates how reluctant the canon is to include women. | | |
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| | | | | | | What are the rules for breakfast today? |
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| © Copyright 2017, The REDEF Group |
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