Our schedule so booked, ain’t no such thing as not working. This ain’t pop. Adele can sit down five years [between albums] because she does such big numbers. Hip-hop? Try to sit a year. Your ass get left. | | | | Laura Marling performing at the O2 Academy, Leeds, England, March 8, 2017.
(Andrew Benge/Redferns/Getty Images) | | | | | | “Our schedule so booked, ain’t no such thing as not working. This ain’t pop. Adele can sit down five years [between albums] because she does such big numbers. Hip-hop? Try to sit a year. Your ass get left.”
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| | rantnrave:// ROBERT GLASPER set the jazz web abuzz earlier this week by telling THE BAD PLUS pianist ETHAN IVERSON, in an interview on Iverson's great DO THE M@TH blog, that women don't like listening to a lot of soloing and that there is a thing called the musical clitoris. Glasper, who has never been averse to saying provocative things, is not interested in your outrage over that particular bit of male interview soloing, and Iverson—while offering a perfectly reasonable explanation of why he chose to let Glasper's comments stand—wants you to know that he himself is outraged that you are not aware of his own feminist credentials. There is plenty of truth in what Glasper appears to be trying to say about the sexual power of a great jazz groove—for male and female listeners alike—and plenty of SMDH in the way he chose to say it. Words matter. Agency matters, too, as MICHELLE MERCER points out in a perfectly pitched roundup for NPR MUSIC on what she calls the Saga of Musical Clitoris. "Conflating a musical mood with female anatomy," she writes, "makes women into passive vessels for male sounds. And how do female musicians figure in this gendered construction of improvisation?" Also, she likes "extremely long solos"... With the US COPYRIGHT ROYALTY BOARD holding hearings on new mechanical royalty rates, songwriters are petitioning the major streaming services to "stop litigating against songwriters." Songwriters can sign the petition here... Move over, GRAMMY bump, and say hello to the IHEARTRADIO bump, which has given a nice sales boost to a different set of artists. The big winners of last weekend's iHeartRadio Music Awards, in that sense, were THOMAS RHETT and NOAH CYRUS. The show's live and same-day viewership of 4.1 million was itself a big bump over a year ago... It's FRIDAY and that means new music from LAURA MARLING, VALERIE JUNE, MAGNETIC FIELDS, CHARLI XCX, TENNIS, HURRAY FOR THE RIFF RAFF, JACQUES GREENE, DAYMÉ AROCENA, MURS, JAY SOM, THE SHINS, J.I.D, SUNNY SWEENEY, JOSH TURNER, MARTY STUART and BUSH. And tracks of special note from LORDE and NICKI MINAJ. | | | - Matty Karas, curator |
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| How the 'Bad and Boujee' trio made it to the top against the odds | | |
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| I met the music legend as a journalist, and before I knew it, we'd grown close -- close enough that when reporters interviewed him, I answered the questions. | | |
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| A curated playlist featuring Future, Kelela, Adele and more, with essays by Margo Jefferson, Wesley Morris, Angela Flournoy and others. | | |
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| These days, it can seem a little beside the point to play rock music that aspires to sound like rock music. | | |
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| For a long time, the Doobie Brothers have felt like kind of a joke: the type of band it's easy to imagine namechecked in the voice of a jaded aging punk and delivered with an exasperated eyeroll. Turn that name over in your mind: "The Dooooobie Brothers." | | |
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| A conversation between two leading jazz musicians led to a public debate over misogyny in the form on International Women's Day. | | |
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| Former Beatport CEO Matthew Adell's new company has converted more than 20,000 illegal remixed into legit revenue streams for 8,000 clients. | | |
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| Set highlight or set killer? | | |
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| This piece first ran as the cover story of the January 1998 issue of Spin. We are republishing in remembrance of the 20th anniversary of Christopher Wallace i.e. the Notorious B.I.G.'s death. | | |
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| When the Notorious B.I.G. was murdered, the course of contemporary hip-hop was fundamentally altered. | | |
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| Nine months after the Orlando shooting claimed 49 lives, it still shapes and binds two survivors and the youngest victim’s brother. | | |
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| Chris Zaldua talks to techno pioneer Jeff Mills about his genre-blurring collaboration with Afrobeat legend Tony Allen, and how improvisation drives them. | | |
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| Consider these songs inspiration for radical survival throughout the grim four years ahead. | | |
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| This Hip Deep edition explores the sonically vibrant realm of Afro-Peruvian music, a young genre identification that has flourished since the 1950s and has now produced artists of international renown, such as singer Susana Baca, and the black folkloric company Peru Negro. | | |
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| With the help of the Weill Festival, the composer’s home country has slowly but surely restored the legacy of one of its musical heroes. | | |
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| "Digital-Dance" is an obscure 1988 LP from the little-known (at least in America) German duo Software. Released at the time by the cult label Innovative Communication, the record is a collection of leisurely electronic instrumentals, drenched in nostalgia and indebted to ambient and downtempo soundtrack work. | | |
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| Glam rock’s stars have always played with gender norms, but Liv Bruce and Ben Hopkins, the rock duo known as PWR BTTM, take that tradition to an entirely new -- and politically relevant -- level. | | |
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| Technology has been pushing music forward since the advent of electricity. Records, radio, cassettes, recording technology, CDs, and finally digital and streaming have all disrupted the norm in music. Yet, the industry has always been reticent to adopt new technologies. | | |
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| The transits, tragedies, and characters that informed the Pavement co-founder’s first album in eight years. | | |
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| | | | | | | From "Semper Femina," out today on More Alarming. |
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| © Copyright 2017, The REDEF Group |
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