I've done football commercials; I've done everything. Commercial and noncommercial: My attitude has been that they're both the same. Why is it better to get a check every week from a university than to get royalties? Of course I'm a sellout. What else would I be? | | | | Playboi Carti at the Astroworld Festival, NRG Stadium, Houston, Nov 9, 2019.
(Suzanne Cordeiro/AFP/Getty Images) | | | | | |  | "I've done football commercials; I've done everything. Commercial and noncommercial: My attitude has been that they're both the same. Why is it better to get a check every week from a university than to get royalties? Of course I'm a sellout. What else would I be?"
| | | | | | rantnrave:// Having given my cell number to various ticketing companies, any number of hotels and airlines, countless delivery services, and more tech companies than will ever need it, I can hardly blame pop stars for asking for it, too. BILLBOARD has the lowdown on the startup COMMUNITY, co-founded by GUY OSEARY, which is helping stars including MARSHMELLO, J. LO and PAUL MCCARTNEY gather their fans' cell numbers so they can communicate directly with them instead of through tech giants like TWITTER, INSTAGRAM and SPOTIFY. And so they'll know who those fans are instead of having to wrestle the info out of those companies, which tend to be stingy about sharing data. End runs around tech companies are worth applauding for a variety of reasons these days, and kudos to Oseary for saying users' personal info is "not shared, and it's not sold." On the other hand, the company's privacy policy has enough loopholes to drive a touring van through, including the rather broad category "third parties with whom we have marketing or other relationships." And not surprisingly, the exchange of cell numbers at the heart of the relationship is one way: Artists get fans' actual cell numbers, while fans get a marketing number owned by Community, not the artist. Unless, of course, fans decide to get marketing numbers of their own... Tick tock: The closing credits song in Sunday night's episode of WATCHMEN was IRMA THOMAS' definitive 1964 version of JERRY RAGOVOY and JIMMY NORMAN's "TIME IS ON MY SIDE." It was the B-side of her equally amazing single "ANYONE WHO KNOWS WHAT LOVE IS (WILL UNDERSTAND)," which anyone who watches BLACK MIRROR (will recognize). Irma Thomas is the greatest living singer from New Orleans. She isn't in the ROCK AND ROLL HALL OF FAME. The ROLLING STONES, who did an inferior cover of "Time Is on My Side," are in, as is OTIS REDDING, who plagiarized her "RULER OF MY HEART" and also came up a tad short. If that huge clock thing the lady in "Watchmen" is building isn't actually a time machine designed to reverse that historical oversight, then someone should blow it up with a direct nuclear blast and figure out another way to get her in... QOBUZ goes all-in on hi-res and lossless streaming and all-out on MP3s... Three credits' worth of punk rock... Haight Ashbury loses an iconic record store... I'm not sure this is worthy of a class action suit. Just give him his money back... RIP KEHINDE LIJADU, JACKIE MOORE and ROBERT FREEMAN. | | | - Matty Karas, curator | | | |  | MEL Magazine | | And the untold story of a Spotify killer that never saw the light of day In 2001, the internet's premier file-sharing service Napster was shut down after just two years, leaving a giant vacuum in the ever-expanding peer-to-peer file-sharing space. There was, however, no putting the toothpaste back into the tube. | | | |  | Tedium | | How the professional-minded MIDI format, for an incredibly short but memorable period of time, became the primary way music was shared on the internet. | | | |  | Billboard | | In August, as OneRepublic took the stage at the Red Rocks Amphitheatre outside of Denver with the Colorado Symphony, giant monitors displayed what appeared to some fans to be too good to be true: a phone number for the band. | | | |  | Pitchfork | | Recent expressions of ecological resistance from Matmos, Raglani, and more have used some element of the looming catastrophe as a key part of the music itself. | | | |  | Rolling Stone | | Hits from El Alfa and Lírico En La Casa have amassed millions of streams, earning the attention of the Latin mainstream. | | | |  | Water and Music | | Last week in Los Angeles, I took part in a conversation that likely would have been impossible to hold a decade ago. | | | |  | MusicAlly | | This article is an excerpt from Ari Herstand's second edition of How to Make It in the New Music Business: part of the chapter on crowdfunding. | | | |  | Variety | | A Snoop cameo and the spirit of Isaac Hayes loom large in Netflix's "Dolemite Is My Name." The filmmakers discuss its blaxploitation-style soundtrack and explain why Moore is a godfather of hip-hop. | | | |  | CNBC | | Andy Mooney says the Apple co-founder was "one of the first people" he met at Disney, which acquired Jobs' animation studio Pixar in 2006. | | | |  | OZY | | Rick Beato has amassed a massive following by teaching people to play classic hits -- but some claim he's violating copyright law. | | | |  | VICE | | While the art form has always been a space for community-building and resistance, its significance within Asian American youth culture can be tricky to parse. | | | |  | Slate | | We need a more effective strategy for dealing with Beijing's growing influence over global technologies. | | | |  | Mediaite | | The presidential campaign song is one of the great American traditions, going all the way back to John Adams in 1800. And yet, compared to other aspects of the presidential election campaign, they often get overlooked. As any ad-man would agree, a good jingle is vital to secure the attention of a potential consumer -- or voter. | | | |  | The New York Times | | Scientists and artists hope the emotional power of music will help move people to act on the climate crisis. | | | |  | Okayplayer | | Hot 97 and Beats 1 personality Ebro Darden talks about his upbringing, cancel culture, and his new-found interest in Africa. | | | |  | Midia Research | | The CD brought unprecedented growth in music-as-product. Then Napster came along as the first real digital disruptor and burst that bubble very effectively. iTunes then disrupted Napster (partly alongside industry anti-piracy efforts) by legally unbundling and re-aggregating music in digital libraries and cool new devices. Symbolically, that era is all but done. | | | |  | Mixmag | | It's been 30 year since the Berlin Wall fell - and the party hasn't stopped since. | | | |  | JSTOR Daily | | Jazz, King declared, was the ability to take the "hardest realities of life and put them into music, only to come out with some new hope or sense of triumph." | | | |  | NPR | | The Hoff recently sat down with NPR in Berlin and told the story of how he became a rock star there. | | | |  | NewMusicBox | | The evening of August 31 began like most Saturday nights at the start of the fall semester. I was reviewing course plans and readings for the upcoming week, while I casually scrolled through my email. | | | | |  | | YouTube | | | | | | | | | | | | | | | | | | © Copyright 2019, The REDEF Group | | |
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