The more I sing it, the more I really do believe what I'm saying. That's how pop music works: You put your headphones on and steal this little bit of invincibility for yourself. | | | | Charly Bliss' Eva Hendricks at the Made in America festival, Philadelphia, Sept. 1, 2019.
(Lisa Lake/Getty Images) | | | | | |  | "The more I sing it, the more I really do believe what I'm saying. That's how pop music works: You put your headphones on and steal this little bit of invincibility for yourself."
| | | | | | rantnrave:// I quite literally can't imagine what it's like for a woman to experience sexual assault, or what it's like to tell the world about that experience in a song, or what it's like to sing that song every night to a live audience that may or may not include a group of drunken men who've been heckling the singer all night. There are way too many women who can. Major respect to the five artists who went on the record with PITCHFORK's JILLIAN MAPES to talk about surviving and singing in the #METOO era, an era in which there's been an unusual proliferation of songs addressing abuse and abusers. By Mapes' reckoning, musicians haven't responded to abuse on this scale since the 1990s, the era of riot grrrl, TORI AMOS and ANITA HILL. There's a lot of strength and catharsis on display in the stories of JESSE REYEZ, STELLA DONNELLY, CHARLY BLISS' EVA HENDRICKS, CAMP COPE's GEORGIA MCDONALD and PALEHOUND's ELLEN KEMPNER, who all deserve to be heard. There's plenty of brutal truth, too, much of it about men in the music business. And there's some unexpected beauty, like the three drunken men whom Donnelly asked to be quiet for just three minutes while she played "BOYS WILL BE BOYS." "They were super responsive to that," she tells Mapes. And when the song was over, one of them said to his mates, "Well, she's got us there, lads." "I couldn't help but laugh," the singer says. "These really unsuspecting kind of dudes got it!" Here's hoping many more dudes read this story and that at least some of them get it... Meanwhile in the UK, the MUSICIANS' UNION surveyed 725 mostly freelance musicians in September and found that nearly half of them have experienced sexual harassment on the job and 85 percent of those victims haven't reported it, for reasons including fear of not being believed and fear of losing work. The union is calling on the UK government to extend discrimination and harassment protection to freelance workers, which the vast majority of the country's professional musicians are... Songwriting credits are slippery and subjective, which is why the dispute over the credits to LIZZO's "TRUTH HURTS" is so interesting. The song's most famous line originated in a tweet that someone turned into a meme that someone saw while Lizzo was in a songwriting session with four other writers. That session produced an unreleased song called "HEALTHY." Lizzo later repurposed the line for "Truth Hurts." No one disputes those basic facts, but Lizzo's team and three of the writers of "Healthy" bitterly disagree over who exactly did what in the original session and who, therefore, is deserving of credit for the hit that came later. The word "therefore" in that sentence may be the most subjective, and leading, word in this item, as any music lawyer or publisher could tell you. My sympathies are with both camps. Lizzo on Wednesday proclaimed the song "my life" and "my truth" while giving a writing credit to the original tweeter, MINA LIONESS, but "not these men." One of these men says Lizzo is "one of the most talented people" he's ever worked with, and he wants 5 percent of the royalties. She's suing all three... The members of the emo band YELLOWCARD want writing credits and upward of $15 million in damages for JUICE WRLD's "LUCID DREAMS" in the most bonkers plagiarism claim that's made the news in recent memory. In addition to the song itself, which they believe is cribbed from their "HOLLY WOOD DIED," the bandmembers want a piece of Juice WRLD's income from tours and other public appearances, which they say the song made possible, which is, um, let's just say the word "bonkers" in the previous sentence is not meant to be subjective. Also, can the members of SUNNY DAY REAL ESTATE claim damages for Yellowcard's entire career?... This is the most honest tour cancellation announcement ever and is awesome. | | | - Matty Karas, curator | | | |  | Pitchfork | | Artists who have released poignant music about their sexual assault and harassment talk about what they've learned and what it's like to come forward. | | | |  | NPR Music | | In 2019, Kanye West rose from the ashes of a career flameout by taking his faith on tour. But engaging with this self-styled salvation means forgetting what gospel music was created to do. | | | |  | Tedium | | The ongoing fight against tape hiss has proven a useful creative tension for the music industry-even if you're not into lo-fi music recorded on a four-track. | | | |  | Medium | | And how to do it for a fraction of the cost. | | | |  | Penny Fractions | | Billie Eilish's story is one of an industry desperate to make a broken model appear well-functioning. | | | |  | BuzzFeed News | | The surveillance dystopia of our nightmares is not inevitable -- and the way we kept it out of concerts and festivals is a lesson for the future. | | | |  | The New Yorker | | The singer discusses how growing up in Kosovo shaped her, the influence of hip-hop on her music, and why she's not afraid to call herself a feminist. | | | |  | Consequence of Sound | | Bassist Kathy Valentine offers an incredible career retrospective interview. | | | |  | Audioholics Home Theater, HDTV, Receivers, Speakers, Blu-ray Reviews and News | | We extensively tested Tidal and new comer Qobuz for the last six months to see who is the undisputable king of Hi-Res streaming! Read on to find out which service won and sounded best. | | | |  | Afropunk | | "Rhythm + Flow" is reminding me why so many people need to make hip-hop. | | | |  | Music Business Worldwide | | Record companies have arguably never had to prove themselves to artists like they do today. But according to Warner Records UK boss Phil Christie, the best in the field are now demonstrating their value in an assortment of ways. | | | |  | Synchblog | | Entertainment Intelligence (Ei) is changing the way the music industry collects, views and utilises data. We get the inside scoop with founder Greg Delaney. | | | |  | Highsnobiety | | In less than a year, Rema has seen his dreams become reality, moving from a struggling musician in the backwaters of Nigeria to impressing Barack Obama and packing venues across the world. Now, he wants to bring respect to Afrobeats. | | | |  | GQ | | Adam Bainbridge is the music industry's Swiss Army Knife, with a thriving solo career and in-demand behind-the-scenes work for friends like Robyn and Blood Orange. | | | |  | Chicago Reader | | For two decades, a short stretch of Michigan Avenue hosted a concentration of creative entrepreneurship whose influence on Black popular music is still felt today. | | | |  | The Washington Post | | Now that Young Thug is taking his victory lap, everyone can finally catch up. Five years ago, the Atlanta native was positioning himself as the most vivid expressionist rap had ever heard, a virtuoso with bold aesthetic strategies and bottomless ingenuity. | | | |  | Rolling Stone | | Series creator Josh Schwartz and music supervisor Alexandra Patsavas discuss bringing the year 2005 back to life onscreen - and how they made some familiar songs feel fresh | | | |  | JazzTimes | | He was (arguably) the definitive drummer of the fusion generation. Now Billy Cobham is returning to some of his 1970s music-but don't expect a retread. | | | |  | Afropop Worldwide | | Just a few miles outside of the center of Lomé, the capital city of the West African nation of Togo, along a dust-lined, puddle-riddled road, sits an unmarked, inconspicuous room-something the owners of the space are happy to keep a secret. | | | |  | Mixmag | | Everyone's talking about Business Techno. But what is it, and what does it want? | | | | |  | | YouTube | | | | | | | | | | | Trigger warning, and reality warning: A straighforward account of what way too women in the music business experience. | | | | | | | | © Copyright 2019, The REDEF Group | | |
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