Hot take: I don’t think anyone should work in the music industry without extensively touring first. | | | | Vagabon at FORM Arcosanti in Arcosanti, Ariz., May 12, 2018.
(Tim Mosenfelder/Getty Images) | | | | |  | “Hot take: I don’t think anyone should work in the music industry without extensively touring first.”
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| | rantnrave:// "This is why we built this thing! For concerts and music shows!" Care to guess which cultural behemoth this thing is? Answer after the following item... There were two controversies, in case you don't remember, about the blurry lines within the infamous 2013 single "BLURRED LINES." One was legal: The song was found, in a plagiarism suit whose aftershocks are still being felt, to have infringed on the copyright of MARVIN GAYE's "GOT TO GIVE IT UP." The other was a question of morals: Did the song's lyrics cross a line of sexual consent or were they just a "cocky and presumptuous" depiction of flirtation? In an interview published Monday, the song's primary writer switched sides on that issue. "Some of my old songs, I would never write or sing today," PHARRELL told GQ's WILL WELCH. It wasn't #MeToo that changed his mind; it was the mixed response to his own song that did the trick. "I didn't get it at first," Williams said. "And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn't matter that that's not my behavior. Or the way I think about things. It just matters how it affects women. My mind opened up to what was actually being said in the song and how it could make someone feel." No update on his thoughts on the plagiarism judgment, but sometimes one's own conscience is 100 times more powerful than even the world's most expensive jury verdict... The thing built for concerts and music shows (no, I'm not sure what the difference is either) was TWITTER. That's co-founder NOAH GLASS being quoted talking to JACK DORSEY in 2006. We're reminded of this in ERIC HARVEY's essay for PITCHFORK on "How Twitter Changed Music," which is more about how Twitter changed music marketing and branding than about how it changed music itself. (The latter angle may have to wait for a TIKTOK essay, unless you want to dwell on Harvey's short digression on hashtag rap, which you probably don't; BIG SEAN.) But it's a good read on how deeply intertwined Twitter and music are, on who's using it right and why musicians have a habit of loudly quitting and quietly coming back; TRENT REZNOR... The guy who wrote the theme song for THE PRICE IS RIGHT says he was cheated out of his royalties for a song that, by his estimate, has earned $40 to $50 million during the show's nearly half-century on the air. Which is two jaw-dropping facts. One more: The theme has three key changes in its first 10 seconds. Composer EDD KALEHOFF tells his story in DALLAS TAYLOR's wonderful TWENTY THOUSAND HERTZ, a podcast about how sound is created and used... RIP SULLI—"an outspoken K-pop star in an industry that would've preferred she stayed quiet"—GEORGE CHAMBERS and PHILLIP KOVAC. | | | - Matty Karas, curator |
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 | Pitchfork |
| Hashtag rap! Kanye rants! Terrifying stan pile-ons! For better and worse, Twitter has forever altered the music landscape. | | |
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 | InsideHook |
| From the Grateful Dead to Vampire Weekend, fan accounts highlighting bootleg designs have become devoted communities. | | |
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 | Pioneer DJ |
| What kind of impact is social media having on DJs and the dance music scene? Watch artists, DJs, managers, and experts discuss this issue in our new documentary, "INSTA DJ." | | |
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 | The New Yorker |
| Laetitia Tamko, a black woman in an indie-rock community that has long been defined by white fans’ tastes, makes music with herself at the center. | | |
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 | GQ |
| Pushing the masculinity conversation forward with one of pop culture's most influential futurists. | | |
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 | Variety |
| "There is wealth to be had in this new era, and it’s time to get a piece of it," writes Nick Jarjour. | | |
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 | Music Industry Blog |
| Ambitious publishers are using the access to debt and investment to reverse into the recordings business. | | |
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 | Billboard |
| From forward-thinking views on politics, women's rights and sexuality, the late Sulli (real name Choi Jin-ri) can be a symbol of changing times in Korea. | | |
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 | Consequence of Sound |
| The cast and crew revisit Michael Lehmann's cult comedy for its 25th anniversary. | | |
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 | Twenty Thousand Hertz |
| As a young composer, Edd Kalehoff was looking for his break. In the early 70s he struck gold, writing the theme song and music cues for The Price Is Right. However, suspect business dealings would cast a dark shadow over this hallmark of daytime game shows for decades. | | |
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 | RTÉ Archives |
| A proposed new music streaming payment system may change this and ensure the acts you actually listen to get paid more. | | |
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 | Los Angeles Times |
| Elton John's autobiography "Me" arrives on the heels of his smash farewell tour, "Rocketman" biopic and what can only be described as personal contentment. | | |
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 | The Well of Sound |
| If you haven't heard of Fanny, you're not the only one. Rising stars in the early '70s, they got lost in the format changes of the '80s. But streaming services have helped resurface this influential, female-driven rock act that forged the way for bands like The Runaways and The Go-Gos. | | |
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| Pitchfork |
| Washed Out, Neon Indian, Toro y Moi, and what happened after the genre’s bedroom pop sounds hit the indie mainstream. | | |
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 | Advertising Age |
| In the latest episode of the 'Ad Lib' podcast, UMG's content strategist explains how the world's largest music label is evolving into a 'music-based media company.' | | |
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| Variety |
| Even as a student at Scotch Plains High School in New Jersey, Universal Music Group executive and digital music veteran Jay Frank - who died Sunday at the age of 47 after a battle with cancer - was destined for a career in the music business. | | |
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| GQ |
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 | Pollstar |
| Ed Warm heard the buzz. The dug-in Chicago promoter behind the Windy City Smokeout and Joe’s on Weed Street is known for booking -- and building -- acts on the rise; hiring Midland was a no-brainer. But the rest was a surprise. | | |
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| Billboard |
| Known for rapping in a combination of her first language, Xitsonga, as well as English and Swahili, 27-year-old Sho Madjozi has landed her first U.S. hit with 'John Cena.' | | |
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 | Music Business Worldwide |
| Hipgnosis founder Merck Mecuriadis’ manifesto is nothing less than a five point plan for a revolution in power, wealth and ownership. | | |
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 | YouTube |
| | | | | | From her self-titled second album, out Friday on Nonesuch. |
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