Everybody wants to be involved in black music but nobody wants to take on what potentially comes with black music... You need to know 360 where these artists come from, and you have to be willing to stand up and speak on behalf of them and back them. You also have to know that, if there's ever a slip-up or if anyone ever falls down or goes backwards, you are not going to run. | | | | Hair mettle: Paramore's Hayley Williams at Bonnaroo, June 8, 2018.
(C Flanigan/WireImage/Getty Images) | | | | | |  | "Everybody wants to be involved in black music but nobody wants to take on what potentially comes with black music... You need to know 360 where these artists come from, and you have to be willing to stand up and speak on behalf of them and back them. You also have to know that, if there's ever a slip-up or if anyone ever falls down or goes backwards, you are not going to run."
| | | | | | rantnrave:// Newsflash: It isn't 1968 anymore. It isn't 1998 or 2008 either. If you choke a 15-year-old girl in your audience and put a microphone between her breasts, you are, at the very least, going to get called out, loudly and publicly. And you're not going to have the right to say, "But JIM MORRISON did stuff!" Because it wasn't OK in 1968 either, and because what your self-entitled forebears got away with 50 years ago is irrelevant to what you, an adult man, choose to do today. And the fact that your victims—or, if we must, alleged victims—can now share their stories, both privately and publicly, in a way that was much harder to do 50 years ago—or even 10 years ago—is not at all unfair. It is, in fact, incredibly fair. Because it's one of the tools that's going to get you to stop, and make it safer for (mostly) female fans to go not only to your shows, but to any shows. And you should have stopped long ago. I met the ORWELLS once, five or six years ago, when some if not all of them were teenagers and they were promoting their debut album. They were a good, raucous live band whose songs weren't quite there yet. They were a terrible interview, a too-cool-to-care frontman slumped on a couch at THE ECHO between supporting players doing their best to fill in the gaps. Or maybe they had no interest in talking to an old dude like me, I don't know. I finished my work, packed up my things and watched from a distance over the next few years as they clawed their way up the garage-rock ranks with albums like—you couldn't make up these titles if you tried—DISGRACELAND and TERRIBLE HUMAN BEINGS. "We're not the most liked boys on the block," singer MARIO CUOMO said last year. That turned out to be an understatement. Women in their hometown, Chicago, and around the garage-rock circuit had been quietly sharing stories of predatory behavior, often with underaged girls, some alleged to be consensual but manipulative, some alleged to be rape. Twelve days ago, one woman went public, via TWITTER, which gave several other women the courage or the license (or call it what you want) to go public, too, with assault accusations against Cuomo and two of his bandmates. It was over for the band in a #METOO minute. Two days after the initial tweet, the Orwells admitted to "callow altercations and vulgar language" but said, "No member of this band has ever acted without consent or maliciously taken advantage of anyone." Two days after that, the band broke up without saying anything more. The Orwells aren't the first indie rockers called out by the #MeToo movement and they undoubtedly won't be the last. But the swiftness of their fall should serve as a reminder, a warning and a beacon of hope for everybody else... FLEETWOOD MAC debuts its new CROWDED HEARTS lineup on ELLEN... YEEZY apologizes to DRIZZY... The REV. AL GREEN joins Twitter... VANILLA ICE was on that quarantined plane. Twitter noticed... Who doesn't love a list? Such as all 131 VAN HALEN songs, from "ERUPTION" to "WHY CAN'T THIS BE LOVE," as ranked by CHUCK KLOSTERMAN. We could spend days poring over these. MusicSET: "Everything They Ever Did, Ranked"... "This Is What It Sounds Like When Lugs Try." A-plus headline. D-minus PRINCE cover... Fare thee well, PETER MARGASAK. | | | - Matty Karas, curator | | | |  | Music Business Worldwide | | What does the death of innovative (and beneficial) digital music platforms mean for the future of the business? | | | |  | The Daily Beast | | The Orwells were known for raucous, sometimes vulgar live performances. But an avalanche of shocking sexual-abuse allegations have now led to the demise of indie's brattiest band. | | | |  | The Ringer | | A new generation of rising young women rock stars-including Mitski, Snail Mail, and Camp Cope-has emerged. And they're redefining what it means to own the room. | | | |  | The New York Times | | He was the singer in the enormously popular band until he burned out. Finding and losing the love of his life led him back to music after two decades. | | | |  | AppleInsider | | September 5, 2007 is the day Apple's sole-surviving iPod was launched. Yet for a final device, the iPod touch has persisted and it's also introduced many to iOS. AppleInsider examines its legacy and the surprising number of editions that were made. | | | |  | Playboy | | As the festival has grown, has it lost its identity? | | | |  | INSIDER | | DJ, producer, and founder of Fool's Gold Records, A-Trak has been DJing for over 20 years. In 1997, he was the world champion of DJing at age 15 before going on to become Kanye West's touring DJ and founding his own record label. | | | |  | Broadly | | It's been 20 years since Lauryn Hill has released a studio album. In the time since, her musical career has exemplified a common struggle for Black women artists: being credited for their voices, talent, and vision. | | | |  | Billboard | | 'Revival' may end up re-establishing Eminem as a commercial force following a low point in sales and relevance, and proving he might not be retreating back to top 40's shadows as quickly as many would have predicted. | | | |  | Passion of the Weiss | | Zilla Rocca remembers the brief moment when Eminem was really fun. | | | |  | NPR Music | | In this candid conversation, the singer reveals he hasn't felt compelled to write a new song in years, talks about the desire to better know himself and reflects on the very meaning of life itself. | | | |  | Complex | | Logic currently occupies prime real estate in the ever-growing landscape of hip-hop. Over the past three years, he has blossomed into one of the genre's premier artists. His rise to prominence hasn't happened overnight though, being nine years in the making. Here's a look at Logic's rise to the hip-hop mainstream. | | | |  | EW | | Mike Dean is hip-hop's closer: the guy you call when it's time to get your album across the finish line -- or give it a much-needed kick in the a**. | | | | | Complex | | Working with the likes of Stormzy, Wretch 32 and Spotify, Akua is growing her empire daily. | | | |  | Please Kill Me | | A reissue of singles from 1966/67 offer the shocking news that, before the Stooges, MC5 and Mitch Ryder, Bob Seger was the rawest and realist Motor City music maker. | | | |  | Los Angeles Times | | Bruce Springsteen's one-man show "Springsteen on Broadway" is a rare mainstream theatrical event that captures and communicates the liberating spirit of rock 'n' roll music. | | | |  | The Guardian | | For gay men, 'stanning' -- being a super fan of -- female pop stars can be a valuable part of your identity. But too often this fandom lapses into misogyny and body shaming. | | | |  | The Tennessean | | Paramore will play its "last show for a while" at Nashville Municipal Auditorium with a ton of talented local acts. | | | |  | The Nerdwriter | | A closer look at how the King of Pop crafted his first big pop hit, "Don't Stop 'Til You Get Enough." | | | |  | Lefsetz Letter | | Music industry veteran Danny Goldberg is the publicist, manager and record label exec who helped shape the careers of Nirvana, Sonic Youth, Bonnie Raitt, The Allman Brothers and many more. He sits down with Bob to talk music, politics, drugs and business. | | | | |  | | YouTube | | | | | | | | Michael Tilson Thomas, Casper Roos, Larry Kert and New York Choral Artists | | | | From a 1987 recording of George and Ira Gershwin's "Of Thee I Sing." | | | | | | | | © Copyright 2018, The REDEF Group | | |
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