It is a very big, very cumbersome, and very expensive instrument. I want people to feel like it's not. I played in a train station yesterday, because I want it to feel more accessible. Not just, 'I saw one on television.' | | | | Gustavo Dudamel conducts the Los Angeles Philharmonic in in New York, May 20, 2010.
(Hiroyuki Ito/Hulton Archive/Getty Images) | | | | | |  | "It is a very big, very cumbersome, and very expensive instrument. I want people to feel like it's not. I played in a train station yesterday, because I want it to feel more accessible. Not just, 'I saw one on television.'"
| | | | | | rantnrave:// Late-breaking: "We rolled this out wrong," SPOTIFY CEO DANIEL EK said of the company's "Hateful Conduct" policy during his CODE CONFERENCE keynote Wednesday night. He said the policy is too ambiguous. He also said it remains in effect but, "It was never about punishing one individual artist or even naming one individual artist." And yet... I'm shocked, shocked to find that concert promoters, who say secondary ticket sellers are ripping off both fans and artists, have been selling tickets directly to them. Days after UK promoter KILIMANJARO LIVE summarily canceled more than 10,000 ED SHEERAN tickets that had been bought and sold through controversial reseller VIAGOGO, an anonymous TWITTER account began leaking documentary evidence of promoters, including Kilimanjaro, offloading tickets, in batches of several hundred, to resellers. Kilimanjaro's STUART GALBRAITH and Sheeran manager STUART CAMP quickly fessed up that tix for Sheeran's 2015 shows at WEMBLEY STADIUM had in fact been sold to a one-woman operation called TICKET QUEEN. They said they had sold to her before and believed her to be a legit primary seller. "Found out later," Camp told Billboard, that they were wrong. Were they shocked, shocked at that discovery? I'll leave you to answer that one in the privacy of your own space. The Twitter account, TICKET LEAKS, says Camp blocked it after acknowledging the Ticket Queen sale. It has since leaked more damning—but unconfirmed—documents that purport to implicate one of the UK's major primary sellers, TICKET FACTORY. The missing puzzle piece in all the horror stories in recent years about the enormous batches of tickets that show up on secondary sites like Viagogo and STUBHUB within seconds, of them going on public sale, is how exactly do they get there? Promoters and managers say it's all about bots. But what if it isn't? The UK's digital minister, MARGOT JAMES, has told consumers meanwhile not to buy from Viagogo, which is being investigated for allegedly tacking on excessive fees at the end of transactions, and for not following other regulations that its competitors have signed onto. Viagogo, not coincidentally, is the only major reseller that declined Sheeran's request not to sell tickets for his summer tour. Thus all those canceled tickets. Promoters directed anyone who bought through Viagogo to seek a refund from the site, and offered them new, face-value tickets. Which not all of them could afford on the spot. And which left a lot of fans, even those who could afford them, unhappy. Shocked, shocked to find that this REDEF MusicSET is still relevant: "Can Concert Ticketing Be Fixed"?... KENDRICK LAMAR collects his PULITZER PRIZE, and some raised eyebrows for his meddling in l'affaire XXXTENTACION v. Spotify... If the story is about STEVE MILLER and the site is not primarily a music site, I guarantee you it's a great story. Fly like an eagle to the story mix below... Interesting tidbit from BMI's filings in support of a royalty increase for radio play: "BMI claims ASCAP has lost five times as many affiliated songwriters to IRVING AZOFF's GLOBAL MUSIC RIGHTS (GMR) than BMI"... Speaking of songwriters, a new music publishing division at APPLE reportedly wants to "[assist] the music industry with the development of key songwriters"... TREVOR NOAH on the impressive amount of research that went into PUSHA T's latest DRAKE diss... Bye bye, NOFX. | | | - Matty Karas, curator | | | |  | Texas Monthly | | Eleven years ago, the man who topped the charts with 'The Joker' and 'Rock'n Me' took a thirteen-year-old guitarist and would-be songwriter under his wing. Eleven years later, he's still teaching me lessons on how to be an adult. | | | |  | The Pudding | | Data on whether today's hit artists are taking fewer risks and creating a narrower range of sounds. | | | |  | Brownswood Recordings | | We Out Here: A LDN Story is a document of the people and places which have laid the foundations for London's fertile jazz scene in 2018. It's about the renaissance which jazz has experienced over the past few years. It's also about friendship, community and the influences of the city that these musicians call home. | | | |  | Complex | | How is anyone ever going to be held accountable for their actions if the world's biggest, most famous artists protect them? | | | |  | Highsnobiety | | Over the past decade, the way the world's biggest musicians promote their new records has changed massively. The old-fashioned publicity trail - one peppered with appearances on TRL, talk shows, gigantic billboards, radio tours and magazine covers - has practically become a thing of the past. | | | |  | The Ringer | | How the legacy of a nearly 20-year career suddenly changed course in an electric five-day span-from a scintillating new album to a vicious attack on Drake-positioning your favorite rapper's favorite rapper into a new realm. | | | |  | Billboard | | "I think authenticity is a key word," says the show's creator Joe Weisberg. "That's always a guide for us, with the character's emotions, and also with the music choices too." | | | |  | Rolling Stone | | Heartache, struggle and a billion streams: How a 21-year-old Cuban immigrant became pop's new superstar. | | | |  | The New York Times | | Mahan Esfahani has delighted and outraged audiences in Europe and the United States - and made enemies of other players along the way. | | | |  | Village Voice | | Mary Lattimore's compositions, with their half-dozen layers and minor chords, bring the instrument firmly into the present day. Her songs are haunting more than comforting, sad more than soothing, beautiful in their complication and emotional difficulty. They are delicate like a finely woven spiderweb, and just as strong. | | | |  | recode | | Vox.com's senior video producer Estelle Caswell explains it all. | | | |  | Chicago Reader | | Lollapalooza's ticket sales have slowed, and Reggae Fest and Chicago Open Air are canceled-are these the growth pangs of a healthy but crowded ecosystem, or is a crash on the way? | | | | | Billboard | | Just days after Ed Sheeran's manager and promoter Stuart Galbraith enforced a controversial campaign to cancel tickets purchased through resale site Viagogo, the Kilimanjaro Live CEO has admitted to working with professional ticket resellers to move tickets for past tours, including Sheeran's 2015 European tour. | | | |  | Paper | | The Paramore singer reflects on a time when life fell from underneath her. | | | | | The Ringer | | On her seventh solo album, the alt-country heroine presents the tragedy, the comedy, and the joyful grossness of humanity-along with some of the best songs of 2018. | | | |  | Stereogum | | What took you so long? For the artists and bands in this list, the answers include poverty, market indifference, drug addiction, and catastrophic hearing loss. They took up jobs in architecture and art therapy, tabloid journalism and coffee farming - but most often, of course, they kept gigging. | | | |  | Los Angeles Times | | A new four-disc box set gathers music that documents the experiences of U.S. soldiers, family members and loved ones during the Korean conflict of the early 1950s. | | | |  | Smithsonian Magazine | | The Latest from Folkways, a Label Marking 70 Years, revives music traditions from the African-American ranch crews of the West. | | | |  | The Guardian | | Anger at repression is quelled under the military dictatorship - but the country's punk scene is turning the protest volume back up again. | | | |  | NME | | A clutch of mid-noughties bands have risen from the ashes of #indieamnesty to fight another day. But how? | | | | |  | | YouTube | | | | | | | | | | | | | | | | | | © Copyright 2018, The REDEF Group | | |
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