It was a big shocker to me that the music business is 80% business and 20% music. I was like, 'I didn't know I signed up for all this other stuff.' | | | | You'll never find another Lou Rawls like mine. Circa 1967.
(GAB Archive/Redferns/Getty Images) | | | | | | “It was a big shocker to me that the music business is 80% business and 20% music. I was like, 'I didn't know I signed up for all this other stuff.'”
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| | rantnrave:// We're living in a strange, frightening, beautiful (thank you, art) and unexplainable moment in which "PEACE JAZZ NOW," "NEW SHAPES" and "POWER DANCE" are perfectly reasonable items for your list of demands, in which this FOUR TET tweet may be the most cogent and useful response to whatever you're feeling right now (h/t @RASPBERRYJONES for all Four Tet-related content), and in which FRANK OCEAN's claim that "Onstage one in-ear is my mic feed and the other one is a TIM FERRISS podcast" is plausible to the point that there's no reason to question it. WILLIAM PATRICK CORGAN saw someone transform into non-human form? Sure. OK. Does anyone really need to ask why droves of people are suddenly listening to SUN RA? A new CHRISTIAN SCOTT ATUNDE ADJUAH album, his third of 2017, quietly slipped out last week ("quietly" = I missed it) and all of this is my way of saying you might want to listen to that. Right now. I know you want "protest music," some of you. I know you want "rock." I know you want the '90s to happen again. But 2017, musically speaking, is better than all of that, a golden year in a golden age of art and I can hardly remember a time when art has felt more necessary and this is an astonishing album by way of trumpets, trap music and NEW ORLEANS and, I don't know, just listen to it because peace jazz now. (P.S. It's totally protest music, too)… I'm pretty sure that competing injustices don't "cancel each other out" and I'm also pretty sure that's not what VULTURE's FRANK GUAN is literally suggesting when he uses that phrase in his nuanced look at CAROLINE's controversial (read: kind of gross) signing of XXXTENTACION, in which he acknowledges X's talent and lays out pretty much the only case that can be made for him at this point: that he's "very good at making it very clear who he is, and in that sense — in the sense that we’re forced to talk about him in some way or another — he’s already ahead of the game"… 2017-relevant playlist: women singing the blues… RIP AL HURRICANE… Best wishes to REGGIE "COMBAT JACK" OSSÉ. | | | - Matty Karas, curator |
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| | | emancipation procrastination |
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| There's a staggering irony to Eminem's existence, both in pop music and its twenty-year-long pillar, hip-hop. | | |
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| Printed materials, priceless recordings, boxes of personal papers, and other flotsam and jetsam associated with modern music icons are, as rockers age and die, becoming part of historical record. | | |
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| Kitti Jones left her home and career for a relationship with the R&B idol R. Kelly. That's when she says the abuse began. Now she's speaking out. | | |
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| No matter where you stand on it, it’s the sort of situation that can’t help but make you question if truth in this world, let alone justice, is even possible, and the only real hope that X gets what he actually deserves lies in the possibility that the various injustices swirling around his case somehow cancel each other out. | | |
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| Eric Church's last show of the year was at the Route 91 Harvest festival in Las Vegas headlining the Friday night concert (Sep 29), and fans from all over the country came to Sin City to watch him perform. | | |
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| This guest column about Brexit's possible impact on the British music industry comes from Chrysalis Records co-founder Chris Wright. | | |
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| Remember what happened in the aftermath of "Nipplegate"? It was a little fuzzy for us, too. Here's a refresher. | | |
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| 'Hit So Hard,' the upcoming memoir by Hole’s drummer Patty Schemel, is a brutally honest tale of grunge in the 90s. | | |
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| John Skelton's rough and bawdy verse was far ahead of its time. | | |
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| The innovations of bands like Ramones, Talking Heads, and Kraftwerk remain as vital as ever. | | |
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| The Longhorn Ballroom, arguably the state's most historic music venue, is back in business. | | |
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| Its home is closed for the season, recovering from Hurricane Harvey. But Houston Grand Opera opened its “La Traviata” in a makeshift auditorium. | | |
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| It all depends on your definition. | | |
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| One of the industry's most renowned audio engineers sets out his manifesto for success. | | |
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| Marketers can help people find their sound by leveraging audience-specific data, writes Rosemary Waldrip of Music Audience Exchange. | | |
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| Why musicians are unplugging all but their favorite synths. | | |
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| On her classic "Rolling Stone" shoots, learning from her heroes and changing rock & roll photography. | | |
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| Plus, Rocky answers questions from Raf Simons, André 3000, Mahershala Ali, and more. | | |
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| How the last manager for pioneering indie label Homestead went on to create a home for vibrant avant-garde jazz. | | |
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| The generation-defining artist shoots two covers and a 32-page portfolio for i-D, and writes about peace, love, and Szechuan sauce. | | |
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| | | | | Christian Scott aTunde Adjuah |
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| © Copyright 2017, The REDEF Group |
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