Tonight we’re playing this song for the last time for a really long time. This is a choice that we’ve made because... we feel like it's time to move away from it for a little while. | | | | Esperanza Spalding at the Singapore Jazz Festival, April 1, 2017.
(Suhaimi Abdullah/Getty Images) | | | | |  | “Tonight we’re playing this song for the last time for a really long time. This is a choice that we’ve made because... we feel like it's time to move away from it for a little while.”
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| | rantnrave:// "The Untold Stories of PAUL MCCARTNEY," as the headline over GQ's 12,000-word feature reads, are many, because Paul McCartney, as writer CHRIS HEATH notes, has made a career of telling the same anecdotes to anyone who asks, no matter what they might ask him. They're good anecdotes, mind you, they just never seem to change. But 2018 has been a year of opening up for the ex-WINGS frontman, who has spent the past several months playing on a variety of unexpected stages and chatting with an unusually wide cross-section of questioners, from podcasters to satellite radio loudmouths. (I had the incredibly good fortune to witness McCartney perform on one of those strange stages last week, in VANDERBILT HALL on the 42nd Street side of New York's GRAND CENTRAL TERMINAL, and anyone who tells you it was anything less than magical probably has no appreciation for what it's like being a 12-year-old at her first BTS show. Also, they're wrong. But also also, McCartney technically needs a do-over because the idea was to play inside a station to promote the release of his album EGYPT STATION, a station such as Grand Central Station, except no such station exists, at least not in New York. It's a terminal, not a station. Look it up.) The GQ piece, which comes with a 26-minute video of Macca talking about the making of several songs from throughout his career, covers such topics as circle jerks at JOHN LENNON's house (ed. note: the banker should've worn a mac in that pouring rain); convincing Lennon that drilling holes in their skulls was a bad idea; befriending KANYE WEST and regretting not befriending AMY WINEHOUSE, and the fact that to this day he doesn't know what the opening chord of "A HARD DAY'S NIGHT" is. But mostly it covers, in a way few journalists have been able to do, and maybe Paul has been unable, too, what it's like to be Paul McCartney. A fantastic read. (Further reading: MusicSET: "Fuh Yeah! Paul McCartney Is Still Rock's Macca Daddy")... In that accompanying video, McCartney talks about writing and recording "AND I LOVE HER," and how GEORGE HARRISON came up with the song's central riff on the spot in the studio. "[He] just went what about this: do do do do," McCartney says (and hums). "And I think that song wouldn't be anything without that." And yet the song is credited to, and continues to collect mechanical and performance royalties for, McCartney and Lennon. A reminder that songwriting credits are subjective and sometimes cruel... Some 51 million people in the US are paying for streaming-music subscriptions. Another 20 million are mooching off those paid accounts... Fans remember MAC MILLER in Pittsburgh's BLUE SLIDE PARK... PARAMORE retires a song... Controversial COPYRIGHT DIRECTIVE is subject of crucial vote today in European Parliament... RIP MADELEINE YAYODELE NELSON, TITO CAPOBIANCO, NICK JOHN and DON MCGUIRE. | | | - Matty Karas, curator |
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| | | you want a love to last forever |
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 | The Bitter Southerner |
| To mark the 15th anniversary of Johnny Cash’s death, we reassess the Man in Black’s career - a life spent wrestling through music with the demons and saviors that haunt almost every Southerner. | | |
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 | GQ |
| The living legend on the Beatles breakup, Kanye, orgies, forgetting his own songs, killing frogs, group masturbation, and (somehow) more. | | |
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 | Rolling Stone |
| The lasting legacy of the “Yoko Effect” and the powerful -- and damaging -- myth that women are responsible for their male partner’s actions. | | |
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 | NPR Music |
| The 26-year-old will not be remembered as a drug-addled entertainer, but as an ever-evolving maker of music who supported those coming up behind him. | | |
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 | The Verge |
| If you’ve been hoping for something new from Beats, prepare to be let down. | | |
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 | Vulture |
| Labor Day weekend officially put another summer music festival season in the books. (Global Citizen, we see you over there at the end of September, but, sorry, according to our charts, you count as autumnal.) | | |
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 | The Associated Press |
| Israel’s Meteor Festival was meant to bring together indie groups from around the world in what organizers billed as a Woodstock-like “cutting edge musical journey that surpasses borders and distorts time and space.” | | |
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 | The New York Times |
| Conor McPherson discusses digging deep into the Dylan catalog for his Depression-era play with music, “Girl From the North Country.” | | |
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| The Verge |
| Only the dead have seen the end of copyright reform. | | |
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 | Dazed Digital |
| More bands should be willing to retire the music they no longer identify with | | |
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| | | one that will never fade away |
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 | Pitchfork |
| The dawn of social media was a more innocent time, when finding a new favorite band was as easy as stumbling into the MySpace rabbit hole and into wonderland. | | |
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 | Vogue |
| Lady Gaga's house in Malibu is on a relatively nondescript road just off the Pacific Coast Highway, situated in what feels (for Malibu) like a normal suburban neighborhood. | | |
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 | Electronic Beats |
| How is technology transforming the craft of DJing? We reached out to key players like Richie Hawtin, Laurent Garnier, Ellen Allien, Steffi and more to find out how tech has changed DJing, as well as what comes next. | | |
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 | The New Yorker |
| He was a prodigy, but became creatively blocked-until he dared to try an opera. | | |
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 | Chicago Reader |
| Maybe it’s possible to book amazing reunions forever-but only by building current bands into tomorrow’s back-from-the-dead headliners. | | |
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 | Boomshots |
| 100% real talk when two girls from West London link. | | |
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 | The East Nashvillian |
| Prine was three records into a contract with Asylum, and he knew it wasn’t right. No major label would be right. When his contract was up, he and his manager, Al Bunetta, agreed there was a better way. Maybe. | | |
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 | Mixmag |
| The German producer unveils his debut EP featuring music made entirely by robots. | | |
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 | XXL |
| Riggs Morales, Vice President of A&R and Artist Development at Atlantic Records, speaks on his come up in the business in the latest episode of Shot Callers. | | |
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 | Crooked Media |
| Jason Isbell talks to Tommy Vietor about music, politics, and when artists become activists. | | |
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 | YouTube |
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