I believe in cancelling abusers—like R. Kelly—because their access to wealth and influence make it easier for them to prey on people. I believe in cancelling people who create and build platforms on principles of intolerance—like the late XXXtentacion—because they’ve embraced the benefits of keeping others oppressed. I do not believe in cancelling people for simply being wrong. | | | | Reaching across the aisle: Billie Eilish in Sacaramento, Calif., Oct. 21, 2018.
(Tim Mosenfelder/Getty Images) | | | | |  | “I believe in cancelling abusers—like R. Kelly—because their access to wealth and influence make it easier for them to prey on people. I believe in cancelling people who create and build platforms on principles of intolerance—like the late XXXtentacion—because they’ve embraced the benefits of keeping others oppressed. I do not believe in cancelling people for simply being wrong.”
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| | rantnrave:// Is the world spinning faster and faster andfasterandfaster or does it just seem that way? Someone plays a saxophone solo at midnight in London and it's on TWITTER by 12:01 GMT, retweeted from Amsterdam to Tokyo at 12:02, blogged about in New York at 12:04, reblogged all over at 12:06, dissected at length in Los Angeles at 12:09, forgotten under the weight of somebody else's amazing piano run in Vancouver at 12:12, banished to history's dustbin by 12:15, and rediscovered and reissued, at 12:40, by a hot new German label that didn't exist until 12:25. And you may or may not have ever heard the solo in the first place. Wouldn't it be nice sometimes to just stop and listen? To luxuriate in the moment? To pick up the needle or rewind the tape or hit the refresh button and listen again? To stop time? Sometimes you can't hear what you really want to hear until the third, or thirtieth, time you play the song or album. Sometimes the review that gets the album right doesn't show up until six months later. Sometimes the story that puts it into context takes years to write or shoot. Sometimes you can be in such a rush, in search of something, that you miss everything. Sometimes when you think the saxophone solo has ended, it hasn't quite begun. Sometimes we're in a rush here at MusicREDEF—to get women onto country radio, and onto jazz stages, and into corner offices—and sometimes were on a slower roll, trying to understand what this thing is, how it came to be, where it might be going. A REDEF mantra: It's not that it happened; it's what it means. As the holiday season rushes toward us, my goal is simple: to slow down... I did, however, rush upstairs to street level as soon as I walked into WHOLE FOODS in Williamsburg Friday afternoon and heard the WAITRESSES' "CHRISTMAS WRAPPING," so I could immediately let my friend CHRIS BUTLER know. Chris wrote it, and runs a contest every year to see who hears his holiday staple first, in a public setting, after Thanksgiving is over. I am the proud and happy winner of this year's WRAPPIE AWARD, whose prize is a donation in my name to the children's library at the AKRON (OHIO) PUBLIC LIBRARY and the satisfaction of knowing that that Christmas magic is still very much intact. To celebrate, I bought cranberries... The FEDERAL ELECTION COMMISSION has decided, correctly, that a real complaint about how KID ROCK conducted his fake campaign for the US SENATE isn't worth its time. It should be noted, however, that the commission was not asked to rule on the crassness of Kid Rock's attempt to gaslight real citizens and the real media in the middle of a real election... The richest singer you've never heard of... New Christmas albums, ranked... RIP DEVIN LIMA, ANGELICA COB-BAEHLER, NICOLAS ROEG, ROY BAILEY, WOLFGANG ZUCKERMANN and DAVID "DJ ON&ON" COHEN. | | | - Matty Karas, curator |
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 | Wired |
| Live-music tapers, data archivists, and media technologists are creating an authentic musical underground in a freemium world, a hideout where listening habits go unmonitored and unmonetized. | | |
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 | Vox |
| Blue Note captured the refined sophistication of jazz during the early 60s, giving it its signature look in the process. | | |
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 | BARRELHOUSE |
| While I didn’t have a perfect denim jacket with the right metal band patches, I rarely was subject to the verbal gatekeeping tests at record shops because I was read as a guy. I didn’t appear to be a threat to them. But I’m not a guy and I wasn’t back then either, and I deeply internalized the gatekeeping that women and femmes were subject to by the guys who ruled local metal scenes. | | |
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 | Keychange |
| Women are still significantly underrepresented in the music industry, on stage and behind the scenes. By crowdsourcing ideas and suggestions from Keychange partners and participants we have formulated the following recommendations for the music industry, national governments, European Parliament and European Commission. These recommendations call for collective action. | | |
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 | Oxford American |
| Link Wray—power-chord progenitor—made his most transcendant music in a chicken shack. | | |
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 | Breaker |
| "[O.D.B.] would have been laughing right now, like, 'Is this real? My name is on a computer inside a computer, and it’s basically building its own consciousness.'" | | |
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 | The Ripple Effect |
| I am a Bandcamper and I want to convert you. | | |
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 | The Conversation |
| Christians go to fewer gigs, are less likely to listen to heavy metal, and prefer classical music. The reason likely comes down to morality. | | |
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 | Afropunk |
| In the last two decades, we have witnessed a cacophony of white celebrities enter the political fold. Columnist Richard Brookshire examines how the country is now primed for rappers to begin stepping off the stage and onto the ballot. | | |
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 | The Daily Beast |
| Stereo Williams on blogger Perez Hilton’s recent controversial comments about the legendary pop diva and what it means to be a “pop” star. | | |
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 | Dazed Digital |
| This year’s Unsound festival showcased emerging movements from across the continent who are confronting colonial narratives of electronic music. | | |
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 | Variety |
| It's not just jazz buffs but genre dabblers who dig the elaborate, limited vinyl packages that Resonance issues well ahead of digital editions. | | |
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 | Rolling Stone |
| On the tenth anniversary of ‘808s & Heartbreak,’ key collaborators from Kanye West’s fourth album tell the story of how it was made. | | |
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 | Refinery29 |
| We can hold each other accountable without elitism and automatic cancellation. | | |
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 | Chartmetric |
| In the omnipresent streaming environment, Billy Joel is just as playable as Travis Scott, Ariana Grande as much Guns N’ Roses. So how important is “new”? Will “frontline” records continue to hog both label and fans’ severely limited attention spans, or are “catalogue” records set to explode beyond its “Greatest Hits” limitations? | | |
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 | Red Bull Music Academy |
| Makaya McCraven is a beat scientist -- a cutting-edge drummer, producer, and sonic collagist whose inventive creative process and intuitive style of performance defy categorization. In this live session, McCraven is joined by Irvin Pierce on saxophone, Junius Paul on bass, Matt Gold on guitar and Greg Spero on piano and keys. | | |
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 | The Guardian |
| The singer-songwriter talks us through her career, including duetting with Gram Parsons, discovering Gillian Welch - and wondering why today’s country music doesn’t speak to her. | | |
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 | Billboard |
| The new queen of Christmas music: Prolific songwriter Justin Tranter has written original holiday songs for Kacey Musgraves and Gwen Stefani. Here, he shares with Billboard his tips for adding to the canon. | | |
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| Afropunk |
| Tekashi 6ix9ine is a short story about a generation obsessed with celebrity more than craft. | | |
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| The Daily Beast |
| Multiple women have come forward to The Daily Beast detailing how the social-media-obsessed rapper solicited provocative photos of them when they were underage. | | |
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 | YouTube |
| | | | | | Floral installation by Makoto Azuma. |
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| © Copyright 2018, The REDEF Group |
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