jason hirschhorn's @MusicREDEF: 12/01/2022 - And the Songbirds Keep Singing Like They Know the Score...

I write about romantic despair a lot. That's my thing, but with a positive spin. Open in browser Thursday December 01, 2022 Sisters of the Mac: Christine McVie (left) and Stevie Nicks at the Omni, Atlanta, June 1, 1977. (Rick Diamond/Archive Photos/Getty Images) quote of the day "I write about romantic despair a lot. That's my thing, but with a positive spin." - Christine McVie, 1943 – 2022 rantnrave:// Could It Really, Really Be? It isn't easy singling out one person as your favorite member of FLEETWOOD MAC, the most famous (and infamous) version of which had five members and made five classic pop albums between 1975 and 1987, all of which are deeply burned into my (and many other people's) conception of what pop is supposed to be. It was a perfect band whose combination of voices was almost *too* perfect: three singer-songwriters whose allusions and harmonies coiled through each other's heads like threads of high momme count mulberry silk sheets, and an alpha rhythm section that led them to places they otherwise might never have gone. Pull out any piece and the whole thing falls apart (or maybe just becomes ordinary confessional pop-rock); put that piece back in and absolute magic. Choose just one piece? Neither possible nor useful. But, dammit, it might've been CHRISTINE MCVIE, whose bluesy alto, zen spirit and seemingly effortless gift for pop melody seemed to be the center of the whole enterprise. We tend to gravitate to the tortured geniuses, flamboyant loudmouths and other attention-seeking puppy dogs in bands. Christine McVie was the opposite of that, by both choice and necessity. She was, to quote the New York Times' LINDSAY ZOLADZ, "the serene eye of the storm." The one who could stare into a camera, ask "How does it feel being a sex symbol in rock and roll?," and answer: "I don't know; ask STEVIE NICKS." The one who, even when she was dining on cocaine with her bandmates, "don't think I did anything terribly outrageous. Except I once threw a cake out the window which landed on top of taxi." The one who all but demanded to not be looked at. The grounded one. The normal one. The one whose last name, before she married the bass player, was PERFECT. She was also the one who wrote and sang "SHOW ME A SMILE" in 1971 and "OVER MY HEAD" in 1975 and "YOU MAKE LOVING FUN" in 1977 and "NEVER MAKE ME CRY" in 1979 and "MYSTIFIED" in 1987 and, in between, tossed off an unequal share of the biggest hits of one of the world's biggest pop bands from her perch behind a bank of keyboards way off on stage right. One of them, meant as a message of encouragement to her ex-husband, the band's bass player, whom she was not, at the time, talking to, would go on to soundtrack a presidency. Her songs were sometimes blunt and obvious and sometimes fragile, malleable and ocean deep. Her signature song, which she said came to her in the middle of the night, "as if I'd been visited," was sequenced in the middle of the band's signature album, the one that chronicled two devastating breakups, including hers. It's a love song that, on paper, can be interpreted to cover almost any romantic situation, light or dark, that you need it to cover. On record, it told a band that was falling apart that there's still love in the world and "it's all right." I'm crushed by the news of Christine McVie's death which, even though she was 79 and had struggled with health issues, arrived suddenly and unexpectedly. And still I hear a songbird whispering to me like it knows the score, telling me it is, and will continue to be, all right, and to not stop thinking about tomorrow. (STEVIE NICKS' reaction to her bandmate and friend's death was beautiful and heartbreaking. MICK FLEETWOOD checked in publicly, too, part of his heart having flown away.) Twitter Stool Rap TWITTER, currently awash in racism, homophobia, antisemitism and mass denial of observable truth, has permanently suspended the account of my friend, DRAG CITY singer/songwriter EDITH FROST, for the crime of making mild poop jokes about Twitter boss ELON MUSK (and, full disclosure, changing her user name to "Elon Musk," which Twitter's interface allowed her to do; it did not, oddly, allow her to change it back). The disappearing of Edith happened summarily, with no warning, and should alarm any creative person, or any fan of creative people, who's found sustenance in the communities that thrive on Twitter even in the face of radical corporate change. "This needs to be more of a scandal," fellow indie artist DAMON KRUKOWSKI tweeted. He's 100% right and Twitter is 100% wrong and 200% petulant and should be publicly shamed and pooped on. Here's one of my favorite Edith songs and, since 'tis the season, an Edith Christmas tune, too. Dot Dot Dot The NEIL YOUNG doc HARVEST TIME, a cinema-véríte-style lullaby to the innocent joy of making music circa 1971 in both a barn (with microphones capturing the "natural reverb" of the dirt, trees and hills outside the barn doors) and a proper acoustic hall (with bemused members of the LONDON SYMPHONY ORCHESTRA), is playing in select theaters around the world tonight only (some will have encore showings on Sunday) and will be included in the 50th anniversary box set of Young's album HARVEST that comes out Friday. It beautifully captures a world that seems so long ago but also, weirdly, not. With, of course, very good Neil Young music... MOTOWN chairwoman/CEO ETHIOPIA HABTEMARIAM is leaving the label where she's spent the past eight years "to pursue new endeavors"... UMG buys 49% of indie label group PIAS. Founders KENNY GATES and MICHEL LAMBOT retain control of the company... CENTRAL CEE, PINKPANTHERESS, KNUCKS and LITTLE SIMZ were the big winners Wednesday at Britain's MOBO AWARDS, honoring music of Black origin... SPOTIFY WRAPPED is to listening what INSTAGRAM is to hiking... (In related news: YOUTUBE's top songs of 2022)... Rules for writing a Christmas song in 2022. - Matty Karas (@troubledoll), curator over my head Variety Christine McVie, Fleetwood Mac Singer-Songwriter, Dies at 79 By Chris Morris Singer-songwriter-keyboardist Christine McVie, who enjoyed a long tenure in the London-bred band Fleetwood Mac before becoming a key contributor to the group's multi-platinum success of the late '70s, died Nov. 30 after a short illness. She was 79. The New York Times Christine McVie's 12 Essential Songs By Lindsay Zoladz The singer, songwriter and keyboardist, who died on Wednesday, was a hitmaker for Fleetwood Mac whose crystalline voice and roots in the blues gave her music a distinct emotional punch. British GQ 'Artists are about to go on strike': YouTube's Lyor Cohen on his plans to save the music industry By Robert Leedham Lyor Cohen has dominated the music industry since the rise of Run-DMC and Def-Jam records. Now he's all-in on YouTube Shorts, can he teach TikTok a thing or two? Bachtrack From streaming to total immersion: Idagio's Till Janczukowicz By David Karlin The founder and CEO of classical platform Idagio talks streaming, immersive experiences and about getting a better deal for artists. Bloomberg Apollo to Lead Bond Sale Tied to Phil Collins, R.E.M. Royalties By Carmen Arroyo and Charles E Williams Apollo Global Management Inc. is selling a $1.65 billion bond backed by Phil Collins and R.E.M. songs in Concord Music Royalties' first securitization, according to people with knowledge of the matter. Variety 'Carved Out': Is a Music Industry Holdover From the Old Guard Sidelining Female Executives? By Shirley Halperin and Jeff Rabhan The coveted "carve out" — an employment deal that allows executives to continue to work and profit from side-hustles, such as managing an artist — remains mostly out of reach for women in high-ranking positions. Culture Notes of an Honest Broker Why TikTok Users Love Sped-Up Songs By Ted Gioia Fans of the fast-paced web platform prefer singers who sound like chipmunks. But why? The New York Times Best Albums of 2022: Beyoncé, Rosalía and More By Jon Pareles, Jon Caramanica and Lindsay Zoladz The most effective artists of the year weren't afraid to root around deep inside and boldly share the messiness, the complexities and the beauty of their discoveries. Penny Fractions A Case Against Music Distribution By David Turner One emerging trend is around music creation tools whose goal "is to empower artists and democratize music". But their basic business model is just another music distributor lowering the barrier to flood the market with milquetoast music. ELLE RETRO READ: Fleetwood Mac's Christine McVie Is Ready to Rock. Again. By Ann Friedman McVie gave up her glamorous life as pop royalty for a quieter existence. Now, after taming her demons, she's thinking about tomorrow. over and over Rolling Stone 'The Job Is Going to Die': Songwriters Say More Change Is Needed to Survive in the Music Industry By Ethan Millman While a recent ruling from a little-known copyright judge panel has songwriters cautiously optimistic, much more is needed, songwriters say. Middle East Eye Rage against the siege -- Gaza rock band gives voice to Palestinian plight By Rakan Abed El Rahman The Israeli blockade has made it difficult for musicians to hone their craft in Gaza, with instruments being hard to come by. However, one band has managed to break through. CNN Why the birthplace of Islam is hosting one of the world's biggest raves By Nadeen Ebrahim The country that has been better known as the birthplace of Islam than a rave capital has gone through a tremendous makeover since Crown Prince Mohammed bin Salman took control of the everyday running of the kingdom in 2017. Soundstorm is an eye-catching symbol of that change. Variety How Elton John and Dua Lipa's 'Cold Heart' Pulsed to Life -- and Became a Surprise Global Hit By Jem Aswad "My first answer was 'Yes, absolutely,'" Dua says, "but they were like, 'Well, listen to it before you agree to it.'" Billboard Warner Records' Web3 Label Sold 5,555 NFTs in 7 Minutes. Now It Wants to Share IP Rights With Fans By Benjamin James Probably a Label, a joint venture with Web3 brand Probably Nothing, allows music fans to vote on label decisions and ultimately share IP ownership in releases. Music Business Worldwide [PIAS] founders explain why they sold 49% of their company to UMG: 'The battle lines in our industry have been redrawn' By Murray Stassen "We are competing with tech and financial giants who do not value the cultural importance of the artists and labels we work so hard for, but rather see music merely as an 'asset class' to be ruthlessly exploited in exchange for a  quick return." Detroit Free Press Rap video filmed inside Michigan prison cell, posted on YouTube prompts investigation By Paul Egan and Clara Hendrickson "I've got a lot to say; I've got to get this off my chest," sings one of two prisoners featured in the video. Neither prisoner attempts to disguise himself or hide his face in the video, which includes shots of corrections, shot from a cell doorway without the officers' apparent knowledge. The Washington Post Gladys Knight has always been a singer's singer By Helena Andrews-Dyer It is much too easy to take Gladys Knight for granted. Her sound is so pure, her steps so graceful, her smile so disarming that the vocal powerhouse's sheer presence seems at once natural and divine. Do the M@th Is Jazz Improvised? and, What About McCoy, Herbie, Keith, and Chick? By Ethan Iverson True bebop (Bird and Bud) or anyone else authentic in the style sound a certain way because of just how much they aren't improvising each phrase. The melody, harmony, and rhythm have to land just so. Vulture 'Tis the Season for Sufjan By Craig Jenkins The singer-songwriter on what he's learned about the holidays after releasing 100 Christmas songs. what we're into Music of the day "Songbird" Fleetwood Mac Video of the day "Classic Albums: Fleetwood Mac's 'Rumours'" David Heffernan Music | Media SUBSCRIBE Suggest a link "REDEF is dedicated to my mother, who nurtured and encouraged my interest in everything and slightly regrets the day she taught me to always ask 'why?'" 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