When I was 22/23 it was all about, 'Hey, this is a cool thing to do. I love music. That's pretty cool. Wouldn’t it be cool if this worked to benefit artists?'... Now you're here with more than 6 million artists on the platform. Some of them are struggling, some of them are doing incredibly well... Being empathetic is critical. | | | | Machine Gun Kelly at the Rolling Loud festival, Los Angeles, Dec. 14, 2019.
(Scott Dudelson/Getty Images) | | | | |  | “When I was 22/23 it was all about, 'Hey, this is a cool thing to do. I love music. That's pretty cool. Wouldn’t it be cool if this worked to benefit artists?'... Now you're here with more than 6 million artists on the platform. Some of them are struggling, some of them are doing incredibly well... Being empathetic is critical.”
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| | rantnrave:// Well. Well. Well. What are we to make of this text from an indie radio promoter to an employee of a Hot AC radio station: "Please put RUA into 50 spin rotation. Just for 6 weeks. I can use the billing... Mostly nights and overnights of course... This is how I will get the bills paid until we make money." Or, conversely, this one: "Please don't let INTERSCOPE dictate anything to you. They don't pay me s***." Those messages between indie promoter STEVE ZAP and labels who hired him and radio stations he was pitching on their behalf to either play or *not* play certain songs are among 2,500 texts obtained by ROLLING STONE, which presents them as pretty good evidence that payola, to quote the magazine's carefully worded headline, "May Still Be Thriving." Zap, a 24-year-veteran of music promotion, tells Rolling Stone's ELIAS LEIGHT that his work in promoting songs to radio programmers is "always within legal bounds" and any "allegations that I purchased airplay through quid pro quo agreements would be reckless and extremely damaging." Quid pro quo arrangements would mean the illegal act of paying radio stations, either in cash or in prizes and other promotional support, to add songs to their rotation. Zap tells Rolling Stone he does ask stations to add songs—that's literally a radio promoter's job—and sometimes provides them with "certain promotional support," and says there's nothing wrong with either of those activities as long as they're not directly linked to each other. Which is an accurate reading of the law, though it will be up to you—and perhaps the major labels, two of whom say they absolutely would not tolerate such behavior and one which says it's investigating—to decide if it's an accurate reading of Zap's day-to-day work and/or the day-to-day work of his peers in the indie promo business. Leight, who's been on the payola beat for a while, has done a great job in the past of demonstrating that the unsavory art of paying for radio play has never quite disappeared. That's the context here: Payola is as old as the music business, though its exact form and its exact relation to state and federal laws has morphed over time. What its existence tells you about the credibility of the people and entities programming any number of radio stations has, quite possibly, not morphed at all. The new texts, all from the past two years, show Zap asking programmers not only which artists to play more but also which ones to play less, and sometimes trying to dictate *when* to play them. "After 8 pm," he requests one station on behalf of SHAWN MENDES' "IF I CAN'T HAVE YOU." "Can we do every 15 min. No one will even notice. No one listens to the radio unless in car." There's no evidence in the texts, according to Leight, that any of the artists were involved in any of this. As for the radio stations—none of whom he identifies—who's listening to these pitches? Even if the asks are legal and by the books, is that how you want your local Hot AC or hip-hop or pop station to decide the next song, coming up right after these six messages? Are those six messages not paying the station enough money? Does the station even care what that next song is?... MACHINE GUN KELLY's TICKETS TO MY DOWNFALL, which you might describe as a SOUNDCLOUD-y take on pop-punk, is the first rock album to top the BILLBOARD 200 in over a year—unless you want to count the singer-songwriter album it replaced, TAYLOR SWIFT's FOLKLORE, which I sometimes do... (And, hey, guess who else has a weekly albums chart now?)... The SUPREME COURT has declined to hear the final appeal in the STAIRWAY TO HEAVEN plagiarism case, which means the LED ZEPPELIN classic, which I always count as rock except sometimes when I think of it as folklore, is legally free and clear. It's a PAGE and PLANT song and that's that... Washington, DC's celebrated U STREET MUSIC HALL is closing, a victim of both the coronavirus and, owner WILL EASTMAN tells the Washington Post, "senseless litigation" with its landlord over the club's lease. But mostly the virus. The litigation was the club's underlying condition... JARED SMITH says he'll be stepping down soon as president of TICKETMASTER. | | | - Matty Karas (@troubledoll), curator |
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 | Rolling Stone |
| Among the 2,500 text messages obtained by "Rolling Stone," several suggest a link between airplay and record label payments. | | |
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 | The Washington Post |
| The D.C. jazz scene, one of the most respected in the country, has been challenged by the coronavirus pandemic. | | |
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 | KCRW |
| Every year along the U.S.-Mexico border in Tijuana, musicians gather for an international music festival called the “Fandango Fronterizo.” It’s like a giant jam session, with musicians in San Diego and Tijuana together performing old folk music. | | |
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 | Music Business Worldwide |
| Platform also launches new Debuts charts to track early popularity of tracks and albums. | | |
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 | Listen to the Music |
| Who will police the Grammys and the Rock Hall of Fame now that essentially every music industry publication that matters has been consolidated? | | |
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 | Something Old, Something New |
| The "new york times" profiled anthony fantano and i'm here to tell you that you don't even know where to begin with theneedledrop. | | |
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 | The Observer Effect |
| The founder and CEO of Spotify does things very differently from other business leaders and was generous to go deep with us on his leadership style, time management, decision making, Spotify's impact on the world and much, much more. | | |
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 | Mixmag |
| Marcus Barnes examines the moral dilemma surrounding partying during the coronavirus pandemic. | | |
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 | BBC News |
| Singaporean digital music company BandLab says it sees opportunities and challenges in the Covid-19 crisis. | | |
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 | Stereogum |
| This is K-pop -- a genre not known for its subtlety -- taken to its wildest, most maximalist extremes. | | |
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 | The New Yorker |
| What the singer-songwriter hides and reveals in “The Meaning of Mariah Carey.” | | |
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| Rolling Stone |
| In an excerpt from new book ‘This Thing Called Life,’ the musician’s longtime confidant Neal Karlen reflects on the end of a decades-long friendship. | | |
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 | Billboard |
| The Ticketmaster president says an official exit date is TBA, but he's ready for his next career challenge. | | |
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| Mixmag |
| Jessica Kariisa meets Dee Diggs, the rising New York-based DJ who's upholding the true essence of dance music. | | |
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 | The New York Times |
| The Nashville singer and songwriter learned from the genre’s past and carved his own path. | | |
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 | The Forty-Five |
| As Little Mix breathe new life into an established format, we explore the value of talent-contest TV that doesn’t seek to exploit its contestants. | | |
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 | Hollywood Reporter |
| In a battle over copyright termination, Sony says Evan Cohen can't use his client's art to advertise his business. | | |
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 | Vulture |
| It’s great working music, transforming the most innocuous chore of quarantine into a zero-sum action-movie climax. | | |
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 | WeTransfer |
| Sharine Taylor explores how Soca and carnival follow the traditions of Black cultural production around the globe. | | |
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 | JazzTimes |
| The creative path of Ambrose Akinmusire has led him through Muddy Waters and Messiaen, Björk and Lester Bowie. Now it’s taking him toward self-reliance. | | |
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 | YouTube |
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