I’m generally opposed to 360 deals because you develop your expertise in the music industry – record companies are good at marketing and promoting records, publishing companies are good at publishing songs, managers are good at overseeing the artist career and making sure the record companies and publishers are doing what their contract says they are going to do. | | | | Fishbone's Angelo Moore engaging with reality of his surroundings at New York's Limelight, July 1993.
(Steve Eichner/Archive Photos/Getty Images) | | | | |  | “I’m generally opposed to 360 deals because you develop your expertise in the music industry – record companies are good at marketing and promoting records, publishing companies are good at publishing songs, managers are good at overseeing the artist career and making sure the record companies and publishers are doing what their contract says they are going to do.”
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| | rantnrave:// I like data. I use data. Data is cool. Data goes straight to the brain, telling you things you might have missed if you were only paying attention to your ears and your heart. Data can tell you which song people in DES MOINES are skipping after 10 seconds and which ones they're listening to all the way through. Or which SOUNDCLOUD rapper 17-year-old boys in HOUSTON are downloading in droves. Or which track on that mixtape is generating the heaviest engagement in FRESNO. It can tell you pretty much everything you need to know about a song except is it any good. And if it will make you feel something. And if it works in any given context. That's what the ears and heart are for. Reading about WARNER's (no doubt smart and forward-thinking) purchase of A&R data startup SODATONE made me think of this scene in MONEYBALL, in which baseball scouts equipped with eyes and hearts are made to sound like fools. It's a good scene. It's good baseball. As with most sports, the only thing that matters at the end of the day in baseball is the scoreboard. It doesn't matter how you produce a run, or how pretty your swing looks. It only matters that you produce. A run is a data point, and the team with the most of them wins. Music is the opposite. It's entirely about that swing. It's about how it feels, in a club in your headphones, on a playlist, in a cinema, wherever you might encounter it. And how it makes *you* feel. The data, used right, can point the way toward those feels. It can tell you where to direct your ears for the next 10 seconds, or 10 bars, or 10 minutes. But only your ears can tell you the rest. #OldManRantingYesIKnow... #ButIAmRight... Here's some useful data, though: "Women Are All But Omitted on the Music Industry's Most Influential Rap Playlist." You could do something constructive with that data. If you were so inclined... Very good tweet, JACK ANTONOFF. Very curious to know why it was deleted... SACHA JENKINS and MASS APPEAL's ambitious, eight-hour hip-hop doc series RAPTURE, focusing on artists including A BOOGIE WIT DA HOODIE, LOGIC and RAPSODY, drops Friday on NETFLIX... CHARLIE WALK out at REPUBLIC RECORDS... MusicREDEF is taking the day off Friday in honor of Good Friday and the first day of Passover (and maybe possibly as a residual effect of the fact that today is opening day of the 2018 baseball season). Wishing you a happy holiday, wishing your team a better year than last year, and see you on Monday... But Friday is still FRIDAY, and that will mean new music from KACEY MUSGRAVES, RICH THE KID, the VOIDZ, SONS OF KEMET, ASHLEY MCBRYDE, JEAN GRAE & QUELLE CHRIS, ORQUESTA AKOKÁN, AMEN DUNES, FLAME 1, LINDI ORTEGA, EN VOGUE, MARY HALVORSON, SAINT JHN, CZARFACE & MF DOOM, ANNA & ELIZABETH, BETTYE LAVETTE, CHRIS CARTER, the SHACKS, FRANKIE COSMOS, NO JOY/SONIC BOOM, DJ ESCO, KATE NASH, BEN HARPER & CHARLIE MUSSELWHITE, HAYLEY KIYOKO, JUKEBOX THE GHOST, TRACE MOUNTAINS, ESCAPE THE FATE, ZEKE... And maybe the WEEKND?... Karma. | | | - Matty Karas, curator |
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 | The Common Reader |
| How Latinx artists are dominating the U.S. pop charts in English and Spanish. | | |
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 | Billboard |
| As you read this, the mass adoption of voice-enabled devices and experiences around the world is accelerating -- with music taking center stage as a growth driver and guinea pig. | | |
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 | Forbes |
| Forget what you've read. Fender says that the guitar business is not dead and that its future is female. | | |
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 | The Muse |
| RapCaviar, as of this writing, holds 50 songs; the only women included are Beyoncé (“Top Off”), Rihanna (on N.E.R.D.’s “Lemon”), and Cardi B (“Bartier Cardi”). Of the 269 artists who appeared on the playlist between May 2016 and December 2017, only 10.78 percent were women, according to data pulled from streaming analytic site Chartmetric. | | |
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 | Music Business Worldwide |
| Dina LaPolt has spent the last 20 years fighting for the rights of songwriters and musicians. And she’s had to fight hard. | | |
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 | Mixmag |
| The legacy of LA's infamous beat scene pushes forward with the likes of Eureka the Butcher, Linafornia and Kenny Segal. | | |
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 | Saturday Night Live |
| Producers Lindsay Shookus, Brian Siedlecki and Melanie Malone describe how an SNL musical guest's performance comes together. | | |
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 | The Fader |
| The punk-steeped folkie examines love and depression under Trump. | | |
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 | The New York Times |
| The 34-year-old singer and songwriter’s major-label debut, “Girl Going Nowhere,” is the sound of a confident, gifted artist being her genuine self. | | |
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 | NPR Music |
| The Big Ears Festival in Knoxville always books a wide range of artists, but this year something particular was afoot. | | |
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| | | joe dimaggio done it again |
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 | Pitchfork |
| From Janelle Monáe and Cardi B to Beach House and Stephen Malkmus, here’s a big list of records to look forward to in the coming months. | | |
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 | Spotify |
| Episode 1 of Genius and Spotify's Déjà Vu podcast is a discussion about the connection between Kendrick Lamar and 2Pac. The panel unpacks the similar way that the two artists inspired their respective generations through their art, and traces the ways that Kendrick’s own path has diverged from Pac’s troubled life. | | |
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| Music Business Worldwide |
| A transition from online activity to meaningful real-world experiences can serve this next generation of music fans who are now waking up to the fact that their time and attention is valuable to artists. | | |
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 | Geeks & Beats |
| What if you could own a piece of your favourite song? And you get a piece of the musician’s royalty cheque? The more people bought or streamed the track, the richer you get. That’s the idea behind Vezt by veteran rock music manager Steve Stewart. | | |
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 | 5 Magazine |
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 | The Guardian |
| While Facebook has fostered open communities in alternative music, they can disappear with a tweak of an algorithm. Fortunately, non-corporate marketing tools are emerging. | | |
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 | The Tennessean |
| "You get to be 71, I guess you run out of other things to write about. You don’t see as good as you used to, you don’t hear as good, so maybe it’s time to write about yourself." | | |
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 | Noisey |
| A deep dive into what this alt-rock classic's terrible snare tone has in common with 311 and Limp Bizkit. | | |
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 | Huck Magazine |
| After a breakthrough album that exposed his personal life, Ruban Nielson is back with his best work yet - and some hard-won life lessons to go with it. | | |
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 | Stereogum |
| Perhaps the greatest difference between the Strokes and the Voidz is this: Julian can no longer get away with playing the role of absentee enigma while his co-workers charm the press. This is his thing, and if he doesn’t promote it, nobody will pay attention. If nobody pays attention, nobody will realize he’s doing this thing, his thing. | | |
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 | YouTube |
| | | | | | From "Golden Hour," out Friday on MCA Nashville. |
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| © Copyright 2018, The REDEF Group |
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