We’re people. We like crazy music? So what. People like Slayer. People like Slipknot. What’s the honest difference? And if you’re the kind of person that says, 'Well they’re good at music.' So what? So let somebody like music that you don’t think is good. How is it affecting you? How is it bothering you? | | Oumar Toure and Aliou Toure of Songhoy Blues in Brighton, England, May 19, 2016. (Tabatha Fireman/Redferns/Getty Images) | | | | “We’re people. We like crazy music? So what. People like Slayer. People like Slipknot. What’s the honest difference? And if you’re the kind of person that says, 'Well they’re good at music.' So what? So let somebody like music that you don’t think is good. How is it affecting you? How is it bothering you?” |
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| rantnrave:// As a way to label and classify music, "world" has all sorts of problems, from the AMERICAN-centric conceit of the name to the strange notion that the music of countless cultures around the globe can be colonized with a single word. But as a way to find and discover the latest Afrobeats or desert blues tracks, it's a useful shorthand, in the same way "pop" is a useful shorthand for talking about everything on the radio and the charts from LA to LAGOS. Which is my roundabout way of asking: Why is there no world music genre in SPOTIFY? If you don't like the word, use another word, or 30 other words, each with its button on the Spotify genre page. Or however you want to organize it; the internet is a flexible thing. APPLE MUSIC has one, with a helpfully curated selection of new music and a small collection of radio stations (AFRIKAANS pop, FRENCH pop, TURKISH pop, a few others) and playlists, which could be bigger but at least it's something. Ditto TIDAL, whose brief lineup of playlists includes guides to Bollywood and to equatorial beats. Could there be more? Surely. Could there be less? Yes, as Spotify is proving. But a company that has pushed aside most of the competition and laid claim to a cultural center as large as "music" has an obligation to protect, preserve and sustain that culture. In short, to curate it. Taking over the culture and neglecting it is not an option. You can put the MALIAN and INDIAN music on the third floor, in the back, behind the comedy section if you must, but put it somewhere, please, and then install some signs to let your users know where to find it. Also, it would be nice to staff it. Staff it creatively enough and you may find that some of your most diehard pop users will want to go there. They may even discover they've been going there all along... This is no longer the highest-charting phone number in pop history. This is... PHARRELL WILLIAMS delivered a powerful warning about white nationalism at VH1's HIP HOP HONORS. "I know it kinda sounds like I'm hijacking the moment and on my JON SNOW s***," he said. "And I might be, 'cause they keep talking about a wall"... And MISSY ELLIOTT was like this... At this point (and by "this point," I mean now and a good chunk of time before now), if you are working with R. KELLY, booking R. Kelly or doing anything with R. Kelly that doesn't involve law enforcement or therapy, you are part of the problem... RIP MARCUS FJELLSTRÖM. | | - Matty Karas, curator |
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| Drew Daniel of Matmos reflects on the electronic music pioneer’s legacy. | |
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A conversation with sound artist Mari Matsutoya on her work with the hologram pop star and the communicative potential of the synthesized voice. | |
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In 2013, Migos made it to the Billboard Charts with "Versace." It was a viral hit and it put the spot light on a very unique rap flow -- the triplet. The triplet, often now called the "Migos flow" happens when three syllables are rapped over one beat. It's now so popular that nearly every mainstream rap artists these days has used it, often to great effect. | |
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Happy 25th anniversary, 'Singles!' Cameron Crowe looks back at his grunge-era time capsule, working with Chris Cornell and why it still holds up. | |
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As "Graduation" became the producer-rapper’s crossover record, “Homecoming” was a prime example of how that came to be. | |
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The Americana Music Festival & Conference has metamorphosed into a different entity in the past few years. | |
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In the nineteen-sixties, Jann Wenner’s insistence on rock music’s significance and import--its relevance to the Zeitgeist, its abundance--was a lunatic gesture. | |
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I never felt more connected to the wider Ghanaian community, the community beyond my immediate and extended family, than when I listened to the radio. | |
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Michel van der Aa’s “Blank Out,” at the Park Avenue Armory, brings together a live singer onstage and another who appears only in a 3-D film. | |
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| Hanging Out With Audiophiles |
A dive into the mind of Pat Carney. | |
| Meet the Insane Clown Posse fans who took to the streets of Washington, D.C., to protest their FBI gang designation. | |
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Composer Jóhann Jóhannsson explains why Darren Aronofsky’s allegorical film doesn’t have a score--but does have feature a variety of clicks, clacks, and unearthly groans. | |
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The instruments that became vital to conveying Jerry’s genius were two grand pianos. The close-up shots of typewriter hammers striking paper reminded me of hammers striking piano strings. The way Jerry sits at the typewriter, blasting off furious finger movements, reminded me of how I sit at the piano when I play. | |
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Woofers on blast up the jam block rock: A fragmentary history of ghettoblasting. | |
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A few thoughts about the Big Three and corporate complicity. | |
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Alex Leonard says, actually, he hate boats. "I got seasick on a ferry when we were on tour," he says. "It was one of the worst experiences of my life." Leonard plays drums in Protomartyr, one of the most high-profile guitar acts to come out of Detroit in the past decade. | |
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At the Hirshhorn, the Sonic Youth co-founder headlined a celebration of the avant-garde legend’s experimental pop music. | |
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The show's music bookers go deep on the history of their roles and their hopes for the future as the show continues to grow. | |
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Welcome to the world of library sound archives, with an eye-watering range. | |
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| Columbia Journalism Review |
When Adam Begley began work on his biography of John Updike, he sought counsel from Ron Chernow, the famed Alexander Hamilton chronicler. “There are three kinds of biographies,” Chernow said. “There are two-year biographies, five-year biographies, and 10-year biographies.” David Yaffe’s upcoming biography of Joni Mitchell, "Reckless Daughter," is an unwitting hybrid. | |
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