If we don't fix how music creators are paid by digital streaming services, we may never hear the great songs of tomorrow. | | | | Howlin' Wolf in a San Francisco hotel room, July 1968.
(Sandy Guy Schoenfeld/Michael Ochs Archives/Getty Images) | | | | | | “If we don't fix how music creators are paid by digital streaming services, we may never hear the great songs of tomorrow.”
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| | rantnrave:// The RECORDING ACADEMY has let its members know that while female representation in the GRAMMY AWARDS is wanting, it's better than the music industry as a whole is doing. Which is a rather defensive way to begin its exploration of its own shortcomings, but it is a start, an acknowledgment that the Academy isn't where it needs to be and can no longer rest on the argument that there simply aren't enough to women to fill up all those categories and all those on-air performance slots. The organization is urging members to read a USC ANNENBERG study that put the Academy and the industry in a critical light and telling them, "Part of music’s power is its ability to raise awareness around important cultural issues and effect change. It is in this spirit that we move forward." It's still not clear the Academy can satisfy the industry that it will be able to move forward with its current leadership. For now, it's simply promising more details in the weeks ahead about its task force on "female advancement"... I know I'm jumping on a bandwagon at this point, but damn, ADAM RIPPON knows how to curate his music. Everybody's favorite OLYMPIC skater did his short program to EDDIE THONEICK's remix of IDA CORR and FEDDE LE GRAND's 2007 house single "LET ME THINK ABOUT IT," and it was as good a match of performance, personality and song as we've seen in a Games that has drawn a lot of attention for its music even if a lot of it has been cheesy, obvious or awkward. Rippon isn't competing for a medal anymore, just the beating hearts of the world... Does anyone have $489,000 I can borrow?... Rap on TV: SACHA JENKINS' feature-length doc about the power of rhyme in hip-hop, WORD IS BOND, premieres tonight on SHOWTIME; it features NAS, RAKIM, BIG DADDY KANE and more... And APPLE MUSIC premieres the long-delayed BEFORE ANYTHANG: THE CASH MONEY STORY, narrated by BIRDMAN and a modest one and a half years behind schedule... Please jump off a cliff, DJ MANCOW... It's FRIDAY and that means new music from EVERYTHING IS RECORDED, NIPSEY HUSSLE, SUPERCHUNK, U.S. GIRLS, BRANDI CARLILE, LAURIE ANDERSON & KRONOS QUARTET, I'M WITH HER, MARLON WILLIAMS, CAR SEAT HEADREST (and this, um all-star Car Seat bonus), TYGA, THE REVEREND SHAWN AMOS, FISCHERSPOONER, FELIX JAEHN, TIGRAN HAMASYAN, OUGHT, VISIONS OF ATLANTIS, THE PLOT IN YOU, BELLE AND SEBASTIAN, POLIÇA & STARGAZE and WILD BEASTS. | | | - Matty Karas, curator |
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| Reggie Osse was a major force behind the scenes of a burgeoning hip-hop industry, and then, through his two podcasts, The Combat Jack Show and Mogul, he became one of its best storytellers as well, before he died of colon cancer at the end of 2017. | | |
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| The trap sound is everywhere these days. To find out why, you've got to go back to the '80s. | | |
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| "Songwriters are the unsung heroes of the music industry; what improves their ability to create will improve the entire ecosystem." | | |
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| The singer and songwriter Lucy Dacus, 22, was deemed “up next.” Then she had to actually make the album. | | |
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| Prince was like the God of love and sex but what was it like to date him? Susannah Melvoin talks about how great it was at times and how hard it was at times. This is a roller coaster emotional ep that’ll show you a side of Prince you’ve never seen before. | | |
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| TheTicketingBusiness News |
| One year on from the passage of the BOTS Act, Rami Essaid (Co-founder, Distil Networks) and Niels Sodemann (CEO, Queue-it) explore its impact on the ticketing eco-system. | | |
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| Courtney Barnett never planned to be a commercial success. She's a DIY rocker from Melbourne, after all. But now that her excellent debut album shattered anyone's wildest expectations (even scoring a Grammy nod), Barnett finds herself in the throes of the difficult sophomore record. Her move? Write a song called “Crippling Self-Doubt and a General Lack of Confidence.” | | |
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| For all its forward-looking energy, the all-star album echoes classic soundtracks from "Boyz N the Hood" and "Do the Right Thing." | | |
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| We talk to the Robert Plant and Jimmy Page in Led Zeppelin cover band Led Zeppelin 2. | | |
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| Bill Simmons is joined by talent manager Scooter Braun, who discusses his upbringing around basketball, the cyclical nature of music, the decision to roast Justin Bieber, Kanye's creativity, the narcissistic nature of superstardom, the best basketball players in music, and the struggles of safety on tour. | | |
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| Collaborators of the superstar siblings reflect on how "Beat It" and "Black Cat" crossed genre – and racial – boundaries, and changed pop forever. | | |
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| Why fans -- and their moms -- grind through 24-hour social media shifts and take leave from day jobs to help drive their idols up the charts. | | |
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| Songs with lyrics are permitted at the Winter Games in Pyeongchang for the first time. And because the Games are considered a “live event,” no special permission is required. | | |
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| Mark Renner's records of homespun ambience and dewy post-punk were consigned to dollar bins and flea markets for decades. With the help of the Brooklyn label RVNG, he's finally reaching a new audience. | | |
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| We are a far cry from the days when R. Kelly could marry a teenage Aaliyah without a public fuss. #MuteRKelly is an attempt to right these wrongs. | | |
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| For years, Bob Lefsetz has frequently written sexist statements about women’s bodies in ways that certainly contradict the depiction of him as “an accidental hero.“ | | |
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| In 2018, Music City and the Big Apple seem to have more common threads than ever before. | | |
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| His 'Man of the Woods' LP hit Number One to eye rolls worldwide; new episode of 'Rolling Stone Music Now' explains how he became a pop punching bag. | | |
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| What even is Smashing Pumpkins? | | |
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| Media coverage often serves to sanitize the graphic, uncomfortable reality of these tragedies. Maybe we don’t deserve the privilege of that comfort. | | |
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