I don't do nothin' but worry. Yeah, that's about what I do, worry about my damn hard times and bills. | | | | Otis Rush at the Town & Country Club, London, July 8, 1988.
(Charles Paul Harris/Michael Ochs Archives/Getty Images) | | | | | |  | "I don't do nothin' but worry. Yeah, that's about what I do, worry about my damn hard times and bills."
| | | | | | rantnrave:// One year ago today, 58 people were killed on the final day of the ROUTE 91 HARVEST country music festival in LAS VEGAS. It was the deadliest mass shooting in US history. Bump stocks, which the killer used to turn several rifles into automatic weapons and which PRESIDENT TRUMP denounced afterward, remain legal at a federal level and in most states, including Nevada. Congress has declined to take up bump-stock-legislation. Action may finally be on the way in the form of a Justice Department regulation, which the president has encouraged and which gun-control advocates say is a considerably weaker approach than legislation. But it would, at least, be something. Country music radio stations across the US—and all radio stations in Nevada—will go silent for 58 seconds at 10:05 am PT today. May assault weapons remain silent for much, much longer. May legislators and the president show at least as much courage as the survivors of the Las Vegas attack, and too many others like it, show every time they walk into a concert or similar public gathering. May the sound of music continue to be a more powerful sound than every gun and every bullet ever fired... OTIS RUSH'S fluid, lyrical and luxuriously bendy electric guitar lines didn't necessarily influence the rhythms or melodies of legions blues and rock guitarists who came after him. The influence, rather, was on their very sound. Their feel. The fundamental nature of the music they made. LED ZEPPELIN, ERIC CLAPTON and STEVIE RAY VAUGHAN ("DOUBLE TROUBLE" was an Otis Rush song long before it was the name of Vaughan's band) are among the many who owe him countless debts. Rush owes his own debt—and this made me love him all that much more—to being lefthanded and learning to play with the strings in upside-down order and the whammy bar going the wrong way. He had no idea when he started playing. He just picked up the thing and started playing. Which is always the correct way to go about doing this. RIP... MARTY BALIN was an outsider in his own band, singing the beautiful ones that didn't become hits when they were called JEFFERSON AIRPLANE and the beautiful ones that did become hits when they were JEFFERSON STARSHIP. He was instrumental in putting the band together and he was one of the founders of the MATRIX, the San Francisco club where the Airplane and so many of the other bands that shaped psychedelic rock in the '60s cut their chops. And yet when they were filmed performing at MONTEREY POP, as the NEW YORK TIMES' JON PARELES notes in his obituary, the camera remained on GRACE SLICK throughout the song "TODAY," which he, and not she, was singing. He quit, out of multiple frustrations, before the Airplane disbanded and the Starship rose up in its place, but the Starship eventually reeled him back on. "When the rest of the band was going wild and partying, Marty was just writing songs, singing songs and going home," publicist CYNTHIA BOWMAN said. "He was different than everybody else." He never played in any incarnation of the band that didn't have the word "Jefferson" in its name. RIP... KANYE WEST said some stuff this weekend. Also, grass is green... The story of reggaeton in 30 music videos. | | | - Matty Karas, curator | | | |  | Las Vegas Review-Journal | | One year after the worst mass shooting in modern U.S. history, the Las Vegas Review-Journal examined how the 10-minute attack changed the community. And how it didn't. | | | |  | Slate | | The band's new No. 1 is only their latest collaboration with the song factory. | | | |  | TechCrunch | | Ne-Yo is interested in pursuing a side gig in investing but he doesn't want to waste time chasing down the next big thing. His goal is to use his wealth to encourage people like him to view software engineering and other technical careers as viable options. | | | |  | Chicago Tribune | | Even in a city teeming with blues guitar masters, Otis Rush towered above. His guitar tone — corrosive, piercing, etched in darkness and anguish — shaped the sound of Chicago blues, and resonated around the world. | | | |  | Music Vault | | Marty Balin - Interview Part 1 Recorded Live: 7/6/1984. | | | |  | Complex | | We break down who you need to know that's making a name for themselves on the troubled streaming site. | | | |  | The A.V. Club | | You have already read the headline. I know that you do not want to hear this, and probably do not care, but I swear, it is appreciably and quantifiably better than any other streaming service. | | | |  | The New Yorker | | Shedding her persona for her performance opposite Cooper, the pop deity is strikingly believable as an undiscovered talent on the verge. | | | |  | CBS News | | In his first profile on 60 Minutes, McCartney walks down memory lane while looking through old pictures and videos and talks about how he still feels the need to prove himself with his music. | | | |  | Billboard | | The word 'urban' has described -- and, some say, marginalized -- hip-hop and R&B artists and executives for decades. Now, the industry is airing its issues with the term. | | | |  | 20/20 | | 20/20 full episode recap: Audio detailing the night Prince nearly died from overdose on plane; Prince suddenly dies at Paisley Park from fentanyl overdose. | | | | | TechCrunch | | VC firms haven't been the only ones raising hundreds of millions of dollars to invest in a booming market. After 15+ years of being the last industry anyone wanted to invest in, the music industry is coming back, and money is flooding in to buy up the rights to popular songs. | | | |  | Rolling Stone | | A veteran concert designer explains how shows these days are just as engineered for audiences at home as for those in front of the stage. | | | |  | The Guardian | | After almost a decade away, Robyn is about to release a new album. Laura Snapes examines her seismic cultural impact. | | | |  | NPR Music | | In the new documentary Matangi / Maya / M.I.A., director Steve Loveridge examines the development, rise and oppositional success of the iconoclastic pop star - who was always something else entirely. | | | |  | The Next Web | | Digital music pioneer eMusic recently announced it was pivoting to a blockchain-based royalties management system, ICO and all. The timing of this move looks a bit like a do-or-die situation, but that doesn't mean it's a bad idea. It doesn't mean it's a good one either. | | | |  | The Future of What | | On this episode, we talk to people who offer services traditionally taken care of by a label, but outside of the traditional artist/label relationship. | | | |  | The Verge | | Many of the tools needed to build a song can fit in the palm of your hand. | | | |  | Longreads | | In "Night Moves," Jessica Hopper is 80% on her bike and 20% at a show, memorializing a young adulthood spent in just one of "a million Chicagos" -- but one that shaped a wide network of artists and writers. | | | |  | BBC News | | BBC Music Memories aims to help with the provision of music therapy to patients with Alzheimer's. | | | | |  | | YouTube | | | | | | | | | | | | | | | | | | © Copyright 2018, The REDEF Group | | |
No comments:
Post a Comment