I was the first artist on social media. I was the first artist on YouTube... They laughed at me. They said I killed hip-hop and now they doing exactly what I did and I'm being shunned upon. I'm the reason y'all doing this. I'm the reason why all these artists have social media. Y'all should thank me. Every artist in the game, all y'all record labels, y'all owe me five percent, bro. | | | | The Germs' final show, Los Angeles, Dec. 3, 1980. Singer Darby Crash died four days later. Bassist Lorna Doom died Wednesday. RIP.
(Gary Leonard/Corbis/Getty Images) | | | | | |  | "I was the first artist on social media. I was the first artist on YouTube... They laughed at me. They said I killed hip-hop and now they doing exactly what I did and I'm being shunned upon. I'm the reason y'all doing this. I'm the reason why all these artists have social media. Y'all should thank me. Every artist in the game, all y'all record labels, y'all owe me five percent, bro."
| | | | | | rantnrave:// We ask them, we tweet at them, we cajole them, we corner them into apologizing, and then when they do, we question their motives and their sincerity. Doesn't sound fair, does it? What do we want from LADY GAGA, CHANCE THE RAPPER and all of these people? It's a reasonable question. And there are reasonable answers. Maybe we want the artist who apologized in 2019 for working with R. KELLY in 2013 to still be sorry in 2020. Maybe we don't want the apology to end with the tweet or the INSTAGRAM post. Maybe we want the apologizers to continue asking—and answering—difficult questions about themselves. Maybe we as a community want a public conversation about why so many of us, including we who are asking and tweeting the questions, have enabled people and things that we should not have enabled. Maybe we want to stop the cycle. Maybe we know it's going to take time, and a lot of talk, and a lot of action, and a lot of confronting difficult questions about ourselves and each other. BRITTANY SPANOS and DANIELLE BUTLER on the meaning of, and the trouble with, celebrity apologies... There continues to be no apology, no explanation, no statement, not even the words "no" and "comment," from RCA/SONY, R. Kelly's label home. The #MuteRKelly movement protested outside Sony headquarters in New York Wednesday, and promises to bring the protest to the GRAMMY AWARDS next month. I'm trying to think of another example of a major company publicly ignoring—not denying, not deflecting, not delaying, but simply erasing—a scandal like this. There was an anonymously sourced item in TMZ earlier this week saying RCA/Sony isn't funding or releasing any Kelly music and Kelly is "pissed," and though the implication was that the sources were in Kelly's camp, it's easy to imagine the label feeding such a story to TMZ. But the official response, the one company wants us to hear, is silence. Isn't it a little late for that?... Can someone smarter than me explain the response from SPOTIFY's head of country music to ROLLING STONE's observation that the service's signature country playlist currently has exactly one woman on it? At the moment, there are as many EDM bands on HOT COUNTRY—which is to country as RAPCAVIAR is to hip-hop—as there are women. That will change, Spotify's John Marks tells reporter JOSEPH HUDAK. "We understand the concern," he says, "and have been working diligently with artists and the industry to ensure that we provide great opportunities to showcase great female country artists when possible." That's a welcome promise. My question is what might that work involve? Spotify doesn't have to sign or license artists for Hot Country. It doesn't need contracts. It doesn't need someone to write, record or mix a song. It doesn't need to pay a dime to anyone except the in-house programmer who could, in the time you're reading this sentence, swap out one of those three FILMORE songs or two KEITH URBAN songs for a MADDIE & TAE song or a CARRIE UNDERWOOD song or any currently hot country songs by women in Spotify's bottomless catalog. So why not do that? This problem, it should be noted, is not a Spotify exclusive. It's an ongoing issue across all country programming, especially on country radio. And it's a perfect chance for a streaming company that's trying to make a mark on Nashville to lead rather than follow... Um, no, COLIN KAEPERNICK apparently is not cool with TRAVIS SCOTT performing at the SUPER BOWL... [ ... ... ... ... ]... To retweet, or not to retweet, CARDI B... RIP the GERMS' LORNA DOOM. | | | - Matty Karas, curator | | | |  | Rolling Stone | | He was SoundCloud rap's most notorious star. But the same instincts that made him huge may put him in prison for years | | | |  | Nautilus | | Our culture has two types of forgetting. | | | |  | The Atlantic | |  | Vulture | | In the Trump era, what is the value of pop-culture comfort food? | | | |  | Granta | | Beyond the legends, she's heir to an Afro-Caribbean musical dynasty in exile, summoned in the sampled homage to Pete Rodriguez's 'I Like It Like That', a famous boogaloo, the equivalent of sixties Latin trap. | | | |  | Spotify for Artists | | The seasoned boundary-pusher has carved out a niche at the intersection of punk, podcasting, and parenting. | | | |  | The Outline | | The ridiculous game show brings us into a brave new world of thinkpiece-proof television. | | | |  | The Ringer | | Fans may assume the $10 they pay for a monthly streaming subscription goes to the artists they listen to most. That's not the case. Now, a growing number of musicians and industry players want change. | | | |  | On An Overgrown Path | | Why is classical music failing to gain traction with a new audience? Is it because there are not enough women on the podium? Is it because male celebrity conductors are proto-lotharios? Is it because classical music does not attract enough Facebook likes? | | | | | Rolling Stone | | Streaming-music service is actively courting country fans in what it views as a rich "music territory." | | | |  | The FADER | | Watch The FADER's video interview with Future about "The WIZRD" album, being seen as the male version of Beyonce, and his best friendship with Young Thug. | | | |  | The New York Times | | Two documentaries try to unpack a spectacular scheme by Billy McFarland, now in prison, who used social media to sell a music festival in the Bahamas. | | | |  | The Quietus | | You can't move online these days without bumping into some musician or other claiming that their work is. | | | |  | Revolver | | How trailblazing act is defying devil-worshipper stereotypes, gender biases, more. | | | |  | Very Smart Brothas | | Skepticism surrounding these apologies are well earned. | | | |  | Billboard | | The Buenos Aires digital cumbia label is moving to Los Angeles in 2019. | | | | | The Outline | | The New Jersey MC created the template for how modern musicians conduct themselves online. | | | |  | PopMatters | | Riding the tram out to the suburbs of Bordeaux to talk with Yob's Mike Scheidt before their concert in 2018, I resign myself to the fizz and pop of excitatory and anxiogenic processes bustling about in my gut and brain. | | | |  | The Tennessean | | For the first 80 years of the Barbershop Harmony Society's existence, membership was only open to men. That changed last year. | | | |  | Genius | | Christmas songs netted 23 slots on the Hot 100 chart, and helped classic artists chart for the first time in decades. | | | | |  | | YouTube | | | | | | | | | | | Women playing country music. Available for adds, now and anytime. | | | | | | | | © Copyright 2019, The REDEF Group | | |
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