Who's to say that young girls who like pop music—short for popular, right?—have worse musical taste than a 30-year-old hipster guy? That's not up to you to say. | | | | Miles Davis at the Salle Pleyel in Paris, 1964.
(Hervé Gloaguen/Gamma-Rapho/Getty Images) | | | | | | “Who's to say that young girls who like pop music—short for popular, right?—have worse musical taste than a 30-year-old hipster guy? That's not up to you to say.”
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| | rantnrave:// Things the internet can ruin, endanger or simply make disappear: Album art. Song intros. Entire albums and catalogs. Praise be, then, to the archivists using the internet to preserve music and musical artificacts that might otherwise be lost. Earlier this week, a big chunk of the BILL ADLER HIP HOP ARCHIVE of news clippings, bios, photos, flyers, ads, letters, etc., went online thanks to Adler and CORNELL UNIVERSITY. (Here, for example, is LYOR COHEN's marketing plan for PUBLIC ENEMY's IT TAKES A NATION OF MILLIONS TO HOLD US BACK.) And now the ASSOCIATION FOR CULTURAL EQUITY, founded by the late ethnomusicologist ALAN LOMAX, has launched the GLOBAL JUKEBOX, a beautifully organized interactive database of folk music from cultures around the world. Along with recordings of some 6,000 songs from 1,000 distinct cultures, the site features detailed recording information along with cantometric data for each song. Cantometrics is essentially a music genome project Lomax helped develop long before either PANDORA or the internet existed; it describes the musical and cultural qualities of songs as a series of data points, from enunciation and repetition to the shape and form of melodies to the mix of vocalists and instrumentalists. The site, still under construction even as it launches, appears to be a mother lode for musical researchers and a graduate-level education for music fans. And really, really fun... LANA DEL REY and COURTNEY LOVE, big fans of each other's work, chat about mastering (and other stuff)... HARRY STYLES tells CAMERON CROWE that ONE DIRECTION tours were about as debauched as a WES ANDERSON movie: "Cut. Cut. New location. Quick cut. New location. Cut. Cut. Show. Shower. Hard cut. Sleep." Also, that if any of TAYLOR SWIFT's breakup songs are in fact about him, "I'm lucky if everything [we went through] helped create those songs"... KENDRICK LAMAR's "DNA" video stars DON CHEADLE... FACEBOOK MESSENGER is integrating SPOTIFY for song sharing, and APPLE MUSIC is coming soon... The touring musician's quest for a decent public restroom. | | | - Matty Karas, curator |
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| Association for Cultural Equity |
| The Global Jukebox pays tribute to the expressive styles of all peoples within the framework of cultural equityand the diversity which is crucial to our survival as a species. | | |
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| A year in the life of the One Direction star as he leaves behind his boy-band past, heads to Jamaica and comes of age. | | |
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| Investigating why radio stations still edit the Notorious B.I.G.'s 1994 hit "Juicy." | | |
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| The cheap, lightweight "Soundsheet" once graced magazine covers in its millions. | | |
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| How the technology industry is cross-pollinating with hip-hop. | | |
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| Crunching the numbers on this year’s biggest summer festivals to determine the most in-demand acts and hardest workers, as well as which fests are the most (and least) unique and diverse. | | |
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| ‘Is this the mysterious Lana Del Rey?’ — set to release her era-defining fifth LP, pop's dream-queen shoots the LA breeze with grunge hellraiser Courtney Love | | |
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| There's a club if you'd like to go... you might end up singing a mash up of Faithless, Fat Boy Slim and Snap along with a leftwing Welsh pop & opera singer and forget that the world's ending. | | |
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| The latest data from the RIAA and Nielsen Music shows that the majority of music consumption is now based on 'celestial jukebox' access models rather than on ownership of music. The transition from ownership to access is happening now and is a tipping point for the music industry. | | |
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| The death this week of J. Geils Band co-founder and guitarist Jay Geils prompts a look back at the strange, between-worlds year of music in which the group cemented its legacy. | | |
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| The New York band's day-glo pop-punk guitars and endless-rainbow hooks provide the bait, but the minute you’re deep inside, lured in by the promise of confections, the door slams shut and the knives come out. | | |
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| Selena's style continues to influence Tejano culture. | | |
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| Six or seven months ago, soul singer Michael Kiwanuka got an email from his manager about a request to use his song “Cold Little Heart” on a HBO miniseries called "Big Little Lies," starring Reese Witherspoon, Nicole Kidman and Alexander Skarskård. | | |
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| Music supervision can make or break a TV show, but its process remains somewhat opaque. Veteran soundtracker Liza Richardson shares her view of the field. | | |
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| Our critic finds that an inspiring leader has left the Los Angeles Philharmonic in peerless artistic shape. | | |
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| London's rap and grime scene has created an economy for many young artists to thrive and have careers as full-time musicians. Here are their stories. | | |
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| What did we ever do to you, Father John Misty? | | |
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| With its roots in both the avant garde and novelty music, cut & paste came of age in 1987 with the likes of Justified Ancients Of Mu Mu, Coldcut, Steinski, Bomb The Bass and M/A/R/R/S. Angus Batey traces the history of this magpie movement. | | |
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| LeBron James has used his Instagram account to preview songs for some of the biggest rappers in the world, from Kendrick Lamar to Drake. | | |
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| Neville Garrick, Marley’s art director and friend, recalls how much soccer meant to the music legend. | | |
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| | | | | | | from the poptastic "Guppy," out Friday on Barsuk Records |
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| © Copyright 2017, The REDEF Group |
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