I like some pop music but only in cars that are taking me places that’s less than 15 minutes. | | | | Lil Peep in a scene from the documentary "Everybody's Everything," which opens in 18 US markets today.
(Max Beck/Gunpowder & Sky) | | | | |  | “I like some pop music but only in cars that are taking me places that’s less than 15 minutes.”
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| | rantnrave:// One assumes a second side of the latest chapter in the TAYLOR v. SCOOTER & SCOTT saga will eventually emerge, but as of Thursday night the latter two weren't returning reporters' calls and the former was racking up retweets, likes and sole ownership of a story that had a lot of observers scratching their heads and wondering if someone—not Taylor—needs to calm down. She says they're blocking her from performing any of her old songs at next weekend's AMERICAN MUSIC AWARDS, where she's being honored as Artist of the Decade, on the grounds that it would constitute an illicit "re-recording" of music that they own, which she's contractually allowed to do next year but not this year. It's standard for recording contracts to prohibit an artist from re-recording her own songs without permission for a certain length of time, a fact of which we were all reminded during the previous chapter of this saga. There's no dispute on the basic facts there. But if you're confused as to how a live performance on a TV show—which is a thing recording artists do—would count as a re-recording, get in line. You're not alone. Taylor tweeted that Scott Borchetta, the founder of her old label, BIG MACHINE, who sold the company this year to Scooter Braun, told her camp they'll grant her permission only if she agrees not to do actual re-recordings next year and to "stop talking" about the two men. "The message being sent to me is very clear," she wrote. "Basically, be a good little girl and shut up. Or you'll be punished." Instead she tweeted—under the heading "Don't know what else to do"—and asked for fans and other artists to make noise on her behalf, which of course they're doing. (Side note: Doxxing is bad. Period.) According to Swift, who also made a plea to the CARLYLE GROUP, the private-equity firm that backed the sale, a NETFLIX documentary is also in danger because of permissions for music and performance footage that Big Machine controls. This is an ongoing battle between three strong-willed and extraordinarily successful people, and this chapter comes with an asterisk for now, since we know only one side of the story. Swift has made it clear from the start that this is personal for her. Braun and Borchetta have a business to protect. Does interfering in the career of their label's biggest (former) artist do that? What do Big Machine's current artists have to say? If they're not saying anything, what are they thinking? Can Swift take a risk and just go ahead and play her old songs anyway? Would the AMAs let her? We kind of know, at this point, what the endgame for her is. What's the endgame for Big Machine? What's a label to do when its biggest asset turns against it?... At the LATIN GRAMMYS Thursday night in Las Vegas, ROSALÍA became the first woman to win Album of the Year—for EL MAL QUERER—since SHAKIRA in 2006. She and ALEJANDRO SANZ each won three Grammys, while Urban Album of the Year winner BAD BUNNY called out the RECORDING ACADEMY for snubbing reggaeton in its nominations for the show's top categories... The LIL PEEP documentary EVERYBODY'S EVERYTHING, which opened Tuesday in 154 theaters, is in 18 US cities today, the second anniversary of the emo rapper's overdose death. It arrives, sadly and fittingly, in the midst of a wrongful death suit pitting his mother against his management agency, both of whom are heavily involved in the doc. A companion album featuring some previously unreleased tracks is also out today... The MECHANICAL LICENSING COLLECTIVE, which will administer mechanical licenses under the MUSIC MODERNIZATION ACT, will be funded with $33.5 million in startup costs and first-year operating fees of $28.5 million, to be paid by streaming music services and other digital music licensees... Museumusic: YASIIN BEY's new album, NEGUS, arrives in the unusual form of a museum exhibition that has its US debut today in Brooklyn. SOLANGE is curating a multimedia show this weekend at the GETTY CENTER in Los Angeles. And don't sleep on JASON MORAN, whose show at New York's WHITNEY MUSEUM OF AMERICAN ART continues through Jan. 5... The documentary series I'M WITH THE BAND: NASTY CHERRY, tracing the creation of a new pop band under the tutelage of CHARLI XCX, drops today on Netflix... It's FRIDAY and in addition to Lil Peep and Yaasin Bey that means new music from LADY ANTEBELLUM, CELINE DION, BONNIE PRINCE BILLY, TEI SHI, TORY LANEZ, JAY PARK & HIT-BOY, ERIC NAM, DJ SHADOW, GAVILÁN RAYNA RUSSOM, ERI YAMAMOTO & CHORAL CHAMELEON, MADEON, JOE HENRY, JULIANA HATFIELD, LUH KEL, MILKY CHANCE, TINDERSTICKS, ABIGAIL WILLIAMS, NECROPANTHER, PBDY, BREATHE CAROLINA, MAT MANERI QUARTET. ROCKIE FRESH, WESTLIFE, FRAN, BAYLEE LITTRELL and the QUEEN & SLIM soundtrack featuring new music by MEGAN THEE STALLION, LAURYN HILL, VINCE STAPLES and more... Plus new old music by the late great ARTHUR RUSSELL... RIP ALEX BERDOFF. | | | - Matty Karas, curator |
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 | Pitchfork |
| The new film mixes intimate cellphone footage and interviews with friends and family to paint an intimate portrait. | | |
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 | Variety |
| Every year Variety seeks to identify the next generation of leaders in the entertainment business, looking for representatives in the creative community, film, TV, music and digital. This year's music industry group has a heavy East Coast focus. | | |
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 | Billboard |
| Maryland-born singer and songwriter Arizona Zervas just notched his first Hot 100 entry with the catchy, whistling hit “Roxanne." Who is he and where did he come from? | | |
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 | The Outline |
| Catatonicyouths is probably your favorite musician’s favorite Instagram account. | | |
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 | The New York Times |
| Her red carpet style at the Country Music Awards did the talking for her. Others should follow her example. | | |
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 | Refinery29 |
| Jennifer Nettles wore an outfit calling out radio programmers at the CMAs -- and now they're pushing back with boyfriend country. | | |
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 | Indiewire |
| Oscar-winning actress Mary Steenburgen went under the knife for a routine surgery in 2009. Hours later, she woke up as a different person - and became a great songwriter. | | |
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 | Afropunk |
| With his 'Baile de Gaiola' party and 150 BPM sound, Rennan Santos da Silva reclaimed the music of the Rio favelas and became a superstar. Brazil's government couldn't handle that. | | |
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 | The New Yorker |
| The galactic glamour of Afrofuturism may reign over Janelle Monáe 's aesthetic, but the principles that compel her have always been of this world. | | |
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 | OZY |
| You get a diagnosis of deadly consequence and the next move is all yours. Even if it includes playing invisible instruments. | | |
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 | Music Tectonics |
| Explore fault lines in the recorded music industry from Teddy Boys to TikTok with Mark Mulligan of MIDiA Research. When Mark opened the first annual Music Tectonics Conference in October in Los Angeles, he lobbed visions from the future into the audience. | | |
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| Billboard |
| He’s No. 1 in Billboard chart history with The Beatles -- plus No. 12 on his own -- a stadium-filling star and a publisher who owns several chapters of the American Songbook. Now, at 77, Paul McCartney is writing a musical and reclaiming the rights to his Beatles songs in the United States: “If you’re in it, why not win it?” | | |
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| The New York Times |
| Some partygoers say heavy-handed security staff and racist door policies are ruining the tolerant atmosphere of the city’s club scene. | | |
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 | Exclaim! |
| From Indigenous renaissance leaders like Tanya Tagaq and A Tribe Called Red, to electronic breakouts like Kaytranada and Caribou, to globe-conquering pop stars like Justin Bieber and Carly Rae Jepsen, Canadian musicians shaped conversations at home and abroad over the past ten years. Here are the albums that led the charge. | | |
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 | Crack Magazine |
| From crypto-commercial nu-pop to the viral juke of 'Footcrab', and an eerie Fugees sample, these are the tracks that defined a decade. | | |
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 | Bank Underground |
| George Frideric Handel's financial records provide a unique window on his career, musical environments, income, and even his health. | | |
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 | Hollywood Reporter |
| Director Paul Feig and producer David Livingstone also talked to "The Hollywood Reporter" about the film's big twist. | | |
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 | Stereogum |
| Over the course of this decade, Jenny Hval has built up a catalog of boundary-pushing, thought-provoking electronic music that's rightfully earned her consistent acclaim and fascination. Two months ago, she released her latest collection, "The Practice Of Love," the culmination of that decade's worth of work. | | |
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 | The Guardian |
| Recording on the fly on her iPhone, the Chicago musician quit a high-end job to embrace free jazz and confront the racism that still thrives in the US. | | |
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 | Vulture |
| Michael Stipe and Mike Mills reflect on "Monster" at 25, the real Kurt Cobain, and Billie Eilish’s impact. | | |
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 | SoundCloud |
| | | | Eri Yamamoto Trio & Choral Chameleon |
| | From "Goshu Ondo Suite," out today on AUM Fidelity. |
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