The real precedent for DaBaby’s tireless pace isn’t DMX or even mixtape-era Lil Wayne. It’s something like late-’60s Creedence Clearwater Revival, or late-’70s Ramones. He’s showed up with a bracing, exciting, new sound, and he turns that sound into these fast bite-sized chunks that he cranks out extremely quickly. | | | | The Muffs' Kim Shattuck at the Whisky a Go Go, West Hollywood, Calif., Oct. 27, 1992.
(Lindsay Brice/Michael Ochs Archives/Getty Images) | | | | | | “The real precedent for DaBaby’s tireless pace isn’t DMX or even mixtape-era Lil Wayne. It’s something like late-’60s Creedence Clearwater Revival, or late-’70s Ramones. He’s showed up with a bracing, exciting, new sound, and he turns that sound into these fast bite-sized chunks that he cranks out extremely quickly.”
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| | rantnrave:// KIM SHATTUCK had one of the great sing-screams in rock, a perpetually fraying alto instrument that she could seamlessly dial in and out of light rasp, medium frog and full-throated scream while navigating bubblegum melodies that dangled on the hyphen in pop-punk like a thousand ballerinas crowd surfing to a thousand RAMONES songs. She made every part of this seem easy. I once asked her, after a MUFFS show in the mid-'90s, when she had already been at it for than a decade, how she took care of her voice. She told me she didn’t. She was, I like to imagine, protected by punk-rock angels. I wish I knew where those angels were Wednesday, when Shattuck died after a two-year battle with ALS. She never became a major star but she was beloved in the pop-punk community going back to her time as the bassist in the PANDORAS in the '80s, through her formation in the early '90s of the Muffs, who stand somewhere between the BUZZCOCKS and GREEN DAY on my MOUNT RUSHMORE of pop-punk, and on through her stints in a million other bands including a memorably short one in the reunited PIXIES, who apparently didn't appreciate her fondness for either stagediving or talking about her feelings. In the Muffs, she screamed about her feelings and the angels loved her for it and they let her vocal cords fray and fray without ever falling apart. They also, perhaps, helped Shattuck and her band hang on with WARNER BROS. through three albums, the first two certified pop-punk classics. Or maybe it's just that it was the '90s and a coed band that sounded like JOAN JETT fronting the SHANGRI-LAS in a distortion-pedal factory actually made corporate sense, because sometimes record companies can be angels, too, if only for a moment. RIP... A new way to try to beat the bots: Re-sell the exact tickets they're trying to re-sell, at deep discounts, to hardcore fans. "You're trying to sell Row K, Seat 109? LOL, we just sold it ourselves." The logistics of this seem complicated, and potentially super messy, but shoutout TEGAN AND SARA for creative concert commerce... "BTS Is Back," proclaims the HOLLYWOOD REPORTER in the headline over SETH ABRAMOVITCH's entertaining cover story on the K-pop mega-group that had been gone for—checking my notes—five weeks... Who writes about drugs and alcohol the most, rappers or rockers?... PLÁCIDO DOMINGO resigns from the LOS ANGELES OPERA, while continuing to deny a growing swarm of sexual harassment allegations. He was a flawed but immeasurably important "face and voice of opera in L.A.," writes LA TIMES music critic MARK SWED... Infamous Canadian rock band dragged into the mess that is American politics in 2019 via a manipulated, um, photograph... RIP also: BARRIE MASTERS, who didn't need no politician to tell him things he shouldn't be, GIYA KANCHELI and MYRON BLOOM. | | | - Matty Karas, curator |
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| The seven-man K-pop sensation, which accounts for $4.65 billion of South Korea's GDP and rivals The Beatles on the charts, opens up about their future, performing in Saudi Arabia, looming military service and a possible Grammy nomination: "An absolute dream come true.” | | |
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| "Wellness" is a poorly defined term that's applied to myriad products and practices, legitimate or otherwise - much like its soundtrack. | | |
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| "There’s nothing harmless about the infringements I’ve discovered through Content ID: these have been small businesses, corporations, churches, political campaigns, right-wing organizations, hate groups, nonprofit orgs making fundraising videos, short films that people make and sell or rent on Amazon — the list goes on." | | |
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| The maestro does much more than keep the beat. | | |
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| "I like doing stuff myself. I’ll paint the whole house and I’ll be super exhausted and be having a mini nervous breakdown like 'Oh my god, I’m so tired!' And then after I get not tired anymore, I’ll be like 'Oh, it looks pretty good—wait there’s a spot there.' And then I’m just like “Whatever! I did that myself!” | | |
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| Even after decades of acclaim, Toronto’s master luthier Linda Manzer frets about her newest creation -- and dwindling wood supply. | | |
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| What started as an all-ages coffee bar and acoustic venue in 1989 turned into a must-play showcase for local and out of town bands. Jabberjaw’s roster included L7, Bikini Kill, Iggy Pop, Elliott Smith, Hole, Beck, and many others. In its nine-year run, Jabberjaw was beloved enough to inspire a book and is the subject of a documentary film currently being made. | | |
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| Juice Wrld bid goodbye and good riddance to love then went on a death race to find it. Now, armed with platinum plaques, a $3 million-dollar deal and his girl by his side, he's on a mission to change the world. | | |
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| A woman in the front row was recording Anne-Sophie Mutter's performance with the Cincinnati Symphony Orchestra. And when Mutter asked her to stop, the woman tried to talk to the artist. | | |
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| April Fools' Day, 1986. I had just turned seventeen and was on the floor of the Providence Civic Center. The Grateful Dead. I'd worked my way up to a spot about twenty feet from the lip of the stage and found myself within winking distance of Jerry Garcia, an immensity in a red T-shirt that hung halfway to his knees. | | |
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| As a city and genre, are we who we want to be? Are we losing what makes Nashville great and separates it from Charlotte, Cincinnati and Birmingham? | | |
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| Right now, a nation full of people that just finished watching Ken Burns' 16-hour "Country Music" series, not having actively listened to the genre in some years, or ever, is turning to radio to see what's new that might be on a happy continuum with the historic country they just saw and heard. | | |
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| Dallas Taylor, host of the stellar sound design series Twenty Thousand Hertz, stops by to fill Nate in on the science and style of mastering: the subtle art that explains why Metallica had to re-release a controversial album, Kanye sounds so crisp, and why the best pop really pops. | | |
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| After a viral video taken by the LAPD, Emily Zamourka has lined up legions of fans and a one-night singing gig, thanks to Councilman Joe Buscaino. | | |
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| Marketing music has never been straightforward. That's why back in the day, label executives would use the single as the shortcut to finding an audience on which to propel the artist, and even more importantly, their latest album. | | |
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| Birdman's supergroup established Rich Homie Quan and Young Thug as pioneers and defined the sound of half a decade of rap. | | |
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| Stylish young trumpeter Theo Croker -- grandson to the late Doc Cheatham, mentored by the great Dee Dee Bridgewater -- is putting his own stamp on jazz. | | |
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| Pulse Music Group co-founders Scott Cutler and Josh Abraham talk to MBW about their growth over 10 years. | | |
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| Love him or hate him, the L.A. Times' feared and funny Pulitzer-winning music critic Martin Bernheimer was a law unto himself for three decades. | | |
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| A brief, incomplete, very quiet guide to the history of music’s negative spaces. | | |
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| | | | | | | From "Kirk," out now on Billion Dollar Baby/Interscope. |
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| © Copyright 2019, The REDEF Group |
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