We are an adjunct to labels and artists. We are building something that can help labels and artists and undiscovered artists. Yeah, it's a popular culture company, but it's also a tool. And that's what we're building. We're not in the record business. | | | | | The Chainsmokers in 2013. (The Come Up Show) | | | | |  | “We are an adjunct to labels and artists. We are building something that can help labels and artists and undiscovered artists. Yeah, it's a popular culture company, but it's also a tool. And that's what we're building. We're not in the record business.”
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| | rantnrave:// How to A&R your own band: The CHAINSMOKERS' ALEX PALL listens to about 300 new songs a day, keeps running lists of influential bloggers and potential guest singers, and when bandmate DREW TAGGART plays him new tracks, "he'll be like, 'That's fresh,' or 'That's not fresh,'" Taggart says. I would prefer my pop stars use words like "disrupt" and "iterate" a little less than these guys apparently do, but damn if "CLOSER" isn't a really good pop song (RIYL: things that CHRIS MARTIN and BONO like)... In a 1,900-word Q&A about "the future of APPLE MUSIC," JIMMY IOVINE artfully manages to say literally nothing about the future of Apple Music. It will be "the right hybrid" of music and tech, it will be "technologically and culturally adept" and it will be "great," whatever it is. But two key takeaways. The tech exec whose background is in producing records and running a label insists Apple Music isn't, and doesn't want to be, in the record business (in the end, that may or may not be Apple's decision to make, but intentions matter). And he is keenly sensitive to the need to bridge the cultural divide between tech people and music people. Within his own company, that is. The bigger trick, obviously, is how to bridge the same divide between different companies and maybe even different industries who, when all that hybridization is done, will have to figure out how to work together and even support each other. (Big trick #2 is an easier-to-use product, but that's a different rant for a different day)... In case you weren't already aware that we're in the middle of the most extraterrestrial presidential campaign in AMERICAN history, behold the story of ex-BLINK-182 frontman TOM DELONGE, CLINTON campaign chair JOHN PODESTA and some previously undisclosed emails about ROSWELL and AIR FORCE laboratories... ALEXA, can you please leak some LADY GAGA songs? Thank you. | | | - Matty Karas, curator |
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 | The New Yorker |
| At eighty-two, the troubadour has another album coming. Like him, it is obsessed with mortality, God-infused, and funny. | | |
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 | Thump |
| Nathalie Wainwright lost her brother after he took ecstasy in the 90s. She explains why she’s calling for drug education reform. | | |
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 | Rolling Stone |
| Meet pop's hottest duo -- two ordinary guys with a sick plan for world domination. | | |
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 | The New York Times |
| Peter Oxendale, a onetime glam rocker (“We all have skeletons,” he says), is perhaps the world’s leading forensic musicologist, the person musicians call when they believe someone has ripped off their work. In a penthouse overlooking the English Channel, he analyzes songs, everything from pop hits to classical pieces, until he is sure there has been an infringement, or not. | | |
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 | Billboard |
| Jimmy Iovine breaks down the misconceptions of his strategy at Apple, the difficulty of marrying the record business with the tech world and the evolution of the new company he's building now. | | |
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 | Quartz |
| What's next, after streaming? | | |
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 | The Atlantic |
| Conservative pundits have drawn bizarre parallels between a presidential candidate and an over-criticized art form. | | |
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 | The Earlier Stuff |
| Everyone is freaking out about the death of the album, but they’re both overestimating how important albums were in the past. | | |
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 | The Guardian |
| Gay and bisexual singers have pushed for progress since the 1920s. Has the tide finally turned, or do commercial pressures still persuade artists to pander to straight audiences? | | |
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 | Vulture |
| At one point in his new memoir, "I Am Brian Wilson," the music legend writes, “People can survive everything best if they remember who they were.” "I Am Brian Wilson" is one such remembrance in all its ragged glory. | | |
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| Billboard |
| Ali Shaheed Muhammad and Adrian Younge talk about working to the point of delirium, making "unapologetically Black" music for the series and the emotional track dedicated to deceased Tribe member Phife Dawg for the Netflix and Marvel smash 'Luke Cage.' | | |
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 | Cuepoint |
| The rise of gender-neutral stage names for women. | | |
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| Rolling Stone |
| The story behind how a bunch of straight edge kids started dressing like jocks as a middle finger to punk fashion. | | |
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 | Noisey |
| We meet Gavin and his refugee collaborators in the camps in Ritsona to find out how making music with Ableton is making life a little better. | | |
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| The New York Times |
| A Billy Joel symposium called “It’s Still Rock and Roll to Me” at Colorado College explored his music and lyrics and included a telephone Q. and A. with the star. | | |
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 | Rap Radar |
| Mustard On The Podcast, ho! For the most part, it's been a quiet for summer for DJ Mustard. Making up for the lost time, the Los Angeles reconciled with longtime partner YG and released his new album, Cold Summer . Outside of hip-hop, he produced the biggest hit of his career with Rihanna's " Needed Me". | | |
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 | Bandcamp Daily |
| Leon Smart--aka DVA, Scratcha, Scratcha DVA, Soule:Power, and most recently DVA [Hi:Emotions]--isn’t old, but he’s already been around the block and back in London’s underground community. While still in his teens, DVA became a player in the grime scene during its first flush in the early ’00s. | | |
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| Cuepoint |
| Joey Ramone, Richard Hell, Blondie and others describe the organic 1970s movement for nonconformists with an edgy attitude. | | |
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| Thump |
| Carl Bean's 1977 Motown classic "I Was Born This Way" is just as empowering today as it was 40 years ago. Just ask Lady Gaga. | | |
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 | MTV News |
| Loren DiBlasi on celebrating Hole's acclaimed 1991 debut via orchestral interpretation. | | |
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 | from "Game of Thrones" season 5 soundtrack |
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