Jimmy Iovine was like, 'Snoop, I wanna get you [and Dr. Dre] on the cover of the Rolling Stones magazine. You guys are like Mick and Keith.' I'm like, 'Who the f*** is Mick and Keith? F*** the Rolling Stones magazine, I wanna be on the Source magazine cover.' | | | | A defiant one and his boombox, New York, 1992.
(Al Pereira/Michael Ochs Archives/Getty Images) | | | | |  | “Jimmy Iovine was like, 'Snoop, I wanna get you [and Dr. Dre] on the cover of the Rolling Stones magazine. You guys are like Mick and Keith.' I'm like, 'Who the f*** is Mick and Keith? F*** the Rolling Stones magazine, I wanna be on the Source magazine cover.'”
| - | Snoop Dogg, "The Defiant Ones," episode 3 |
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| | rantnrave:// I'm watching episode 3 of THE DEFIANT ONES as I write this and the whole thing is basically one of the best BEHIND THE MUSICs ever made. Two of 'em actually, wound together like the strands of a DNA molecule. DR. DRE appointing himself DJ at EVE'S AFTER DARK. JIMMY IOVINE appointing himself TOM PETTY's producer. Dre willing NWA into pop stars. Iovine willing PATTI SMITH and STEVIE NICKS into pop stars. Dre vs. JERRY HELLER. Iovine vs. TVT RECORDS. Great anecdotes about "F*** THA POLICE," "BECAUSE THE NIGHT," "STOP DRAGGIN' MY HEART AROUND," "CALIFORNIA LOVE" and so many other landmark moments. The driven artist from COMPTON and the driven non-artist (his own assessment) from BROOKLYN finally hooking up as producer and record exec. Major props to director ALLEN HUGHES for getting the notoriously private Dre to open up about both his exterior and interior lives, including a full, apologetic accounting of assaulting DEE BARNES. (She tells her side of the story, too, including the haunting detail that she's forgiven him, not for his sake but for hers.) I fear the four-part series will fully turn into a hagiography by the time I get through the last 100 or so minutes, but it's without a doubt a major document of both hip-hop and rock history... More rock history: This professionally shot video of REM's full set in RALEIGH, N.C., on Oct. 10, 1982... And more: ERIC B & RAKIM's first show in two decades... The importance of SOUNDCLOUD as a home of immediacy/intimacy, musical social networking and discovery... The importance of SoundCloud as a home of artistic control and discovery... Different chart methodologies, different results. (And maybe you're, say, JAY-Z and you don't want to be on the chart at all this week. We can accommodate that, too)... RIP JEROME SPENCE and JAY R. MORGENSTERN. | | | - Matty Karas, curator |
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| | | nowadays everybody wanna talk |
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 | NewMusicBox |
| What I'm anxious about losing is the context that traditionally has accompanied the music I’ve listened to. All of those bits of album notes—what I think of as “pre-metadata data”—are what informed my listening and education as a music fan early on, and increasingly that information is disappearing. | | |
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 | Consequence of Sound |
| Dishing on Dr. Dre, Jimmy Iovine, and the many stories within his new docuseries. | | |
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 | The Ringer |
| The streaming giant laid off 40 percent of its staff Thursday. Losing it would devastate both artists and listeners. | | |
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 | CDM Create Digital Music |
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 | Vulture |
| Podcast musicals are innovative takes in a relatively young art form, and 36 Questions is an example of how to do them right. | | |
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 | Bloomberg |
| The Bahamas catastrophe could make it harder for an entire industry to insure events already known for risky behavior. | | |
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| The founders of UKF Dubstep, Mr. SuicideSheep, La Belle Musique and more on the history and future of their platforms. | | |
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 | Salon |
| The song's writer discusses how the track has become a remixed, memed and oddly beloved cultural touchstone. | | |
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 | Noisey |
| Laura Sisk is pop music's secret weapon. | | |
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 | Dazed Digital |
| The animated clip for ‘The Story of OJ’ employs a range of racially-charged caricatures and references to blackface from vintage cartoons. | | |
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| | | like they got somethin' to say |
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 | Variety |
| As Nielsen Music and BuzzAngle issue mid-year charts, what’s the diff? | | |
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 | Music Business Worldwide |
| If Daniel Ek's company isn't adding fake artists to playlists, how come we've found 50 of them? | | |
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 | cleveland.com |
| Cleveland's legendary Record Rendezvous is where rock 'n' roll was christened. | | |
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 | The New York Times |
| The Ninth, and its “Ode to Joy” finale, were featured in a concert in front of world leaders on Friday, but the work’s meaning is far from clear. | | |
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 | Rolling Stone |
| Excerpt from Roger Steffens' oral history 'So Much Things to Say' tells the story of harrowing 1976 ambush at Tuff Gong. | | |
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 | Mixmag |
| The UK institution is back with a new album | | |
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 | Hypebot |
| Bryan Mead from PledgeMusic joins Michael Brandvold and Jay Gilbert on Hypebot's Music Biz Weekly podcast to talk about how the site has evolved. What started out as a music crowdfunding platform has evolved to being more of an online store to sell pre-orders and much more. | | |
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 | MusicAlly |
| A pair of new studies from PRS for Music and the Intellectual Property Office claims that stream-ripping is now the "most aggressive" form of music piracy. | | |
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 | NPR |
| Henry broke from his classical training to become of the foremost innovators of experimental composition in the 20th century. | | |
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 | No Such Thing As Was |
| Jessica Blank and Erik Jensen's "How To B A Rock Critic" begins with Lester Bangs on the toilet. Thankfully, we don't see this; we hear Bangs, played by Jensen and directed by Blank, offstage, cursing a lousy order of Kung Pao Chicken, and then a toilet flushing. | | |
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