Everything in music is shifting into a place where you look at all the genre-bending and everything now that's just like this element and this element and, "F*** it, I like this so let's put that in, too," and everything comes together and it's just schmusic. | | | | Screaming life: Skillet's Korey Cooper at Parc Jean-Drapeau, Montreal, July 28, 2019.
(Mark Horton/Getty Images) | | | | |  | “Everything in music is shifting into a place where you look at all the genre-bending and everything now that's just like this element and this element and, "F*** it, I like this so let's put that in, too," and everything comes together and it's just schmusic.”
|
| |
| | rantnrave:// "This is the first time a paying audience is basically electrified by a white man with a black face." No, the NEW YORK TIMES' WESLEY MORRIS isn't talking about ELVIS PRESLEY. Nor LED ZEPPELIN, nor NEW KIDS ON THE BLOCK, nor POST MALONE. He's going back nearly 200 years to what he calls "the night that American popular culture was born." The singer is THOMAS DARTMOUTH RICE, more familiarly known as T.D. RICE. The song is "JUMP JIM CROW," its melody stolen from a black man Rice saw cleaning a white man's horse, its lyrics made up to reflect what Rice imagined the black man's life might be like. The place was somewhere in the American North, where Rice would have been touring with his acting troupe and where minstrelsy, popularized by Rice, first took hold. Like all great origin stories, this is partly myth: Rice and his song and his electric effect on Northern audiences in the 1830s are real. But whites had been performing in blackface in New York and Boston for several decades before him, and where exactly Rice heard the tune that became "Jump Jim Crow" is lost to history. He, like Elvis, Post Malone and so many others, was a popularizer, not an originator. A talented and charismatic cultural thief. Morris spins the tale of how black musical culture traveled from slaves to free black men to white men in blackface to black men in blackface to BING CROSBY to JUDY GARLAND to yacht rock and beyond in the just-released third episode of the Times' "1619" podcast, a companion to the Times' amazing 1619 Project. Read and listen to all of it. But this is the music angle, the story of the shouts and whispers that have been passed down from American slaves to nearly every pop song you've ever heard, with many strange, and often painful, turns along the way. We did not build this city on rock and roll. We built it on something much deeper and much more haunting... The upcoming 40th anniversary edition of the SONY WALKMAN doesn't play cassettes. But it does do this neat trick to satisfy your TDK and MAXELL nostalgia... Vinyl records—speaking of music format nostalgia—are on the verge of passing CDs as the most lucrative physical format, BILLBOARD and others are reporting, based on the RIAA's 2019 mid-year report. This is, if you ask me, karma. I'm now looking forward to the day when indie book stores are more lucrative than AMAZON... LIZ PHAIR, proving herself to be no LANA DEL REY, responds to PITCHFORK alumni MATT LEMAY's public apology for his infamous review of her 2003 self-titled album—he gave it a rating of 0.0—by saying she enjoyed the review and found it funny... But who and what is music criticism for anyway? Some questions, some answers and a timely lesson in an underappreciated art: MusicSET: "ANN POWERS Loved Lana Del Rey's Album. Lana Del Rey Hated Ann Powers' Review"... RIP CAMILO SESTO, CLAY MCMURRAY, ROLAND VON KURNATOWSKI and "COUSIN" MARY LYERLY ALEXANDER. | | | - Matty Karas, curator |
|
|
 | Rolling Stone |
| Spotify and Amazon are battling the Copyright Royalty Board over streaming royalty rates. But if Apple had its way, things could have been very different. | | |
|
 | The Independent |
| Older generations think millennials are prudish and uptight, but Roisin O'Connor argues that sex is everywhere in current pop music, where the subject is more open and multifaceted than ever. | | |
|
 | The New York Times |
| Black music, forged in captivity, became the sound of complete artistic freedom. It also became the sound of America. On today’s episode: Wesley Morris, a critic-at-large for The New York Times.“1619” is a New York Times audio series hosted by Nikole Hannah-Jones. You can find more information about it at nytimes.com/1619podcast.This episode contains explicit language. | | |
|
 | Variety |
| Sofar Sounds has made a name, a culture and a thriving business for itself by staging "secret gigs and intimate concerts" featuring emerging artists for an invited, engaged audience. Its model has been a rousing success, in terms of popularity and, presumably, profitability. | | |
|
 | Esquire |
| On their debut LP, Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby use Music City's storied traditions to write a new future for the industry. | | |
|
 | Slate |
| The singer has long been a hit with parents. “Truth Hurts” finally won over their kids. | | |
|
 | Los Angeles Times |
| Gay indie country singer Orville Peck wears a mask and won't give his real name. "What I do is no different than Dolly Parton," he says, but the emotional truth in his songs runs deep. | | |
|
 | BET Networks |
| DJ Damage, co-host of Hollywood Unlocked, is well known for his music commentary and his critiques. But does "taste making" translate to having the skill to actually make a hit? BET challenged DJ Damage to put his reputation where his mouth is and help a newly signed artist create her very first hit single. | | |
|
 | Attack Magazine |
| In this exclusive extract from Attack’s latest book, "Make Your Music Make Money," we identify the key royalty streams and reveal how to tap into them. | | |
|
 | Irish Independent |
| The legendary Irish singer launched her comeback to music after a five year break with two stunning performances. | | |
|
 | Texas Monthly |
| An internet movement has democratized country ephemera through the eyes of black cowboys and cowgirls. | | |
|
| Rolling Stone |
| Best of punk rock's moody younger sibling, including Rites of Spring, Rainer Maria, Fall Out Boy, My Chemical Romance and more. | | |
|
 | VIBE Magazine |
| Raphael Saadiq’s latest album is his most personal and most accomplished, tackling the spiral of addiction and the systemic forces that aid it in record time. | | |
|
 | The Tennessean |
| While many record labels are relocating to downtown Nashville away from the famed area that's been country music's geographical hub for decades, it was important to Jon Loba of BMG's BBR Music Group to stay on Music Row, | | |
|
 | NOLA.com |
| He’d never set foot in Tipitina’s, New Orleans’ flagship music club, before buying into the business in 1996 — a deal he only pursued thanks to a fundamental misunderstanding of how music clubs operate. Von Kurnatowski died in a hunting accident last weekend. | | |
|
 | The Outline |
| The singer was savaged by relentless tabloid coverage, but she lived with an unapologetic rawness that resonated with millions of fans. | | |
|
 | The FADER |
| Daniel Russell, the 26-year-old infusing early-aughts extravagance in his videos, has already worked with Normani, Missy Elliott, and Cardi B and Offset. | | |
|
 | The Future of What |
| Like every other role in the music industry, the face of management is changing to meet the current needs of artists. With fewer and fewer labels investing in artist development, the work of building a team up around an artist has started to land more and more on the shoulders of managers. | | |
|
 | KEXP |
| "I think I'm wise enough to do this now in a way that won't eat me up and consume me." | | |
|
 | 9News |
| This is one of many ramblings from a 9NEWS photojournalist and recovering band geek. | | |
|
 | YouTube |
| | | | | | Truth. From "Jimmy Lee," out now on Columbia. |
| | |
|
|
| © Copyright 2019, The REDEF Group |
|
|
