I started as a writer and wrote for other artists, and I co-produced my last two albums. I don't get a ton of questions about my work in that realm. It's always, 'So you changed your hair and, like, how crazy is that?' It's like, Motherf***er, I produced my album, thanks. | | | | Yoandy Argudin Ferrer of Orquesta Akokán on Redleaf Beach, Sydney, Australia, Jan. 15, 2019.
(Don Arnold/WireImage/Getty Images) | | | | | |  | "I started as a writer and wrote for other artists, and I co-produced my last two albums. I don't get a ton of questions about my work in that realm. It's always, 'So you changed your hair and, like, how crazy is that?' It's like, Motherf***er, I produced my album, thanks."
| | | | | | rantnrave:// "We owe our artists transparency. We owe them answers." That's UNIVERSAL MUSIC GROUP chairman/CEO LUCIAN GRAINGE in a letter to his staff about the NEW YORK TIMES MAGAZINE's story on the 2008 fire that destroyed much of UMG's West Coast archives. While still insisting that "many of the assertions [in JODY ROSEN's story] and subsequent speculation are not accurate," Grainge appears to be softening the dismissive tone of the company's initial responses to the reporting, and a little—just a little—more open about what was lost. "The loss of even a single piece of archived material is heartbreaking," he wrote. "I will ensure that the senior management of this company, starting with me, owns this." Rosen's story suggests about 175,000 pieces of material were lost. Testing Grainge's vow of transparency, lawyer HOWARD KING, whose firm KING, HOLMES, PATERNO & SORIANO represents several UMG artists who plan to sue, has asked the company for "a complete inventory of all master recordings, including finished sound recordings as well as outtakes, that were destroyed in the fire." All indications, so far, suggest UMG doesn't know. The public is owed some transparency, too. The Times reported that UMG a decade ago misled reporters—and, by extension, the public—about the losses. UMG is a private company, obviously, but it's a steward, via its archives, of a century's worth of musical history. The masters may belong to the company, but the history belongs to all of us... Farewell to the TWITTER account EXTINCTOPHONICS, which I was first made aware of Tuesday morning and which had deleted all its content by Tuesday afternoon. It was posting YOUTUBE clips of obscure and/or out-of-print recordings whose masters were reportedly lost in the Universal fire and which, therefore, may be in danger of actual extinction. I'd love to know who created the account and what happened... In a strange non-mea-culpa mea culpa, LYRICFIND, which supplies song lyrics to GOOGLE, says it may have "unknowingly" wound up with cut-and-pasted GENIUS lyrics in its database as a result of sourcing lyrics from other lyric sites that copied Genius' content. I am not, I feel the need to point out, making that up. The company goes on to explain where its lyrics come from, which I find fascinating. LyricFind staffers start with "a copy of the lyric from numerous sources (including direct from artists, publishers, and songwriters), and then proceed to stream, correct, and synchronize that data. Most content our team starts with requires significant corrections before it goes live in our database." A couple thoughts: A) Publishers: How hard would it be to send the right lyrics to the sites who are paying to license them, including LyricFind? Wait, I used to work in streaming music. It's hard and it's everybody's fault. Strike that question. B) Lyric sites who have licensed the rights to supply lyrics to me, you, Google and whoever else is using them: Maybe don't cut-and-paste your content from your competitors. I cut-and-pasted the word "unknowingly" a couple sentences ago and I just did it again, which is different for a number of reasons including that it isn't literally the entirety of the content that I produce... SPOTIFY is in on FACEBOOK's Libra cryptocurrency... CEO CHARLES CALDAS stepping down at MERLIN... See THE COMET IS COMING if you have the chance. RIYL: Jazz, techno, psychedelic rock, furiously repeating saxophone riffs, apocalypse, renewal, the lifeforce of the deep mystery... RIP ZIGGY. | | | - Matty Karas, curator | | | | | | | wednesday morning, 3 a.m. | |  | MEL Magazine | | A generation raised on mp3s and Spotify are collecting discs like vinyl -- but for reasons that have almost nothing to do with the music. | | | |  | Switched On Pop | | Every notice that wobbly, drunken and underwater sound common in so many contemporary pop songs? In an era of pristine recording quality, music producers are referencing old and impure technologies to add character to their recordings. | | | |  | Playboy | | The country singer has something to say about how her genre handles women, skin and outspokeness. | | | |  | Los Angeles Times | | Universal Music's Lucian Grainge vows transparency in internal memo. Attorney demands 'complete inventory of all master recordings ... destroyed in the fire.' | | | |  | Pollstar | | In recent weeks, the live industry has witnessed one major talent agency file an initial public offering, acquisition and merger talks made public between two others on a Friday, and a public shutdown of those talks before the weekend was over. While the agency business has been in consolidation mode for some time, the sense of urgency was palpable the first week in June. | | | |  | British GQ | | Pop music depends on up-tempo sadness. | | | |  | The Washington Post | | Peeling back the layers of emotion, technique and lived experience packed into her music, with help from Oprah Winfrey, Paul Simon and Questlove. | | | |  | Billboard | | Today, speaking as just the guy who wants to see all creators paid fairly and for the business to stop wasting time and money, I want to discuss this elephant. | | | |  | The Tennessean | | From abandoned tents to all the leftover food, Bonnaroo has a lot of extras left after the music festival ends. Where does it all go? To good causes. | | | |  | The FADER | | This is not about being cute or being cool," trumpet player and bandleader Christian Scott aTunde Adjuah says. "This is truth-telling music," | | | | | | | wednesday night prayer meeting | |  | Slate | | The internet isn't supposed to work like this. | | | |  | Google | | An explanation of how we show lyrics in Google Search and where the lyrics come from. | | | |  | Medium | | Jimmy Buffett as the Springsteen of Florida & why it matters. | | | |  | Stereogum | | There's an outdoor pool up the street from my house, and the swim teachers there are pleasantly leathery middle-aged guys who like to play Eagles and Bob Seger songs on weekend afternoons. This weekend, though, "The Weight" faded out, and some familiar spindly guitar notes came in. The boy sitting near me -- blonde, cornfed, maybe 12 -- suddenly jerked his head up. | | | |  | The Industry Observer | | "Never dismiss the power of the album. Most won't pay attention, but those who do can make all the difference." | | | |  | Genius | | "All the beats he send me, all the melodies he send me, I always feel it." | | | |  | Longreads | | Tom Petty's psychedelic Alice in Wonderland video reminded one woman of the way sexual harassment shaped her adolescence and made her want to disappear. | | | | | Slate | | Meet Tim Crossley, partner and lead designer at Crossley Acoustics. | | | |  | The MIT Press Reader | | As our own moment struggles to come to terms with the undermining of objective facts, we might do well to return to Bob Dylan's 2006 album "Modern Times." | | | |  | The Guardian | | "Rocketman" and "Bohemian Rhapsody" positioned the manager as the villain -- but were they really that bad? | | | | |  | | YouTube | | | | | | | | | | | | | | | | | | © Copyright 2019, The REDEF Group | | |
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