| I’ve learned recently that if you do these things because they’re a cool idea, they pay a lot of money, or they’re gonna get you this big campaign, but they make you miserable? That’s not success... Success is internal. It has nothing to do with anyone but yourself. Joy and love for yourself. |
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| Jessie Lee "Jessie D" Daniels, far fight, with the Force M.D.'s in 1986. |
| (Lynn Goldsmith/Corbis/Getty Images) |
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| quote of the day |
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“I’ve learned recently that if you do these things because they’re a cool idea, they pay a lot of money, or they’re gonna get you this big campaign, but they make you miserable? That’s not success... Success is internal. It has nothing to do with anyone but yourself. Joy and love for yourself.”
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- Billie Eilish
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| rantnrave:// |
Freedom! '22
If you've been hankering to sample ETHEL WATERS' 1921 recording of "DOWN HOME BLUES" in your next viral TIKTOK hit or mash it up with emo country singer KIDD G's "DOWN HOME BOY" or drop it into your next movie project, but you weren't sure you could afford it, worry no more. Go wild. On Jan. 1, everything recorded in the US before 1923 entered the public domain, thanks to a provision of the MUSIC MODERNIZATION ACT under which another year's worth of century-old sound recordings will enter the public domain every New Year's Day. All recorded music, speeches and sound effects made in 1923 will become public domain next Jan. 1, the entirety of 1924 becomes available the year after that, etc. But for this first year under the new rule, some 400,000 recordings stretching back to the 19th century have suddenly become available, and they include major work by the likes of MAMIE SMITH, FATS WALLER, KID ORY, ENRICO CARUSO, SOPHIE TUCKER and the ORIGINAL DIXIELAND JASS BAND, speeches, early radio commercials, everything you see here, every American recording on here and, pertinent to your 78 rpm Ethel Waters single, the first couple years of recordings by the groundbreaking BLACK SWAN RECORDS. Not to mention entire albums of early 20th century people snoring and sneezing. Literally everything that predates Jan. 1, 1923. It's royalty free and you can do anything you want with it. Sample it, interpolate it, mash it up, score your next Western. You presumably can digitize it all in an NFT and sell it, but please don't. Make art, not commerce. Remix, remake, remodel, respect the source.
Footnote 1: The publishing copyrights on all music from this era had already expired under existing US copyright law; the new law sets the sound recording copyrights free.
Footnote 2: In 2022 terms, 400,000 recordings isn't a lot. That's roughly how many songs are added to SPOTIFY every week. But in 1922 (and earlier) terms it is, I repeat, literally everything.
Footnote 3: If you're worried about your own 50-year-old copyrights, you still have the option of late-night copyright dumps to extend your ownership rights. But if your copyrights are more like 100 years old, it really does seem like it's time to let go, doesn't it?
Etc Etc Etc
The GRAMMYS, originally scheduled for Jan. 31, have been officially postponed for a second year in a row. "Given the uncertainty surrounding the Omicron variant, holding the show on January 31st simply contains too many risks," the RECORDING ACADEMY and CBS said in a joint statement. They said a new date will be announced soon; last year's ceremony was pushed back to March. The Grammys are in good company. The SUNDANCE FILM FESTIVAL, also scheduled for late January, announced Wednesday it will be online only. And although the NFL says it remains committed to playing the SUPER BOWL in Los Angeles on Feb. 13, there are the rumblings that the league's eyes, with Omicron in sight, may be wandering... KANYE WEST will be one of COACHELLA's three headliners, according to multiple sites. Variety reports that BILLIE EILISH will be one, too, and the third may or may not be the reunited SWEDISH HOUSE MAFIA. This is all assuming Coachella, which hasn't been held since 2019, actually happens this spring. It's been postponed four times in the past two years... PINKPANTHERESS' first taste of TIKTOK virality was a video in which she voiced a fart joke over a clip of POST MALONE signing autographs. "It had 300,000 likes," she tells the BBC, which has tipped her as the Sound of 2022. "And I was like, 'OK, this is do-able, so why not apply it to something like music?'"
Rest in Peace
JESSIE LEE DANIELS, better known as JESSIE D, singer and founding member of '80s R&B group the Force M.D.'s.
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| - Matty Karas (@troubledoll), curator |
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Time Out London |
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| Meet the people trying to make London nightlife safer in 2022 |
| By Chiara Wilkinson |
| Reports of sexual assault in London bars, pubs, nightclubs and music venues were at a six-year high in 2021. With the financial strain of the pandemic meaning venues need our support more than ever, here are the projects trying to make going out safer. |
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NPR Music |
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| Turnstile: Tiny Desk (Home) Concert |
| By Lars Gotrich and Turnstile |
| At the drummer's house in Baltimore, Turnstile's high-energy hardcore is surrounded by stuffed animals, presumably pogoing and windmilling in your imagination. |
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Last Donut of the Night |
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| 34 Thoughts on LCD Soundsystem, Music Writing, and the Changing of the Guard |
| By Larry Fitzmaurice |
| In the middle of the band's massive Brooklyn Steel residency, the latest and greatest variant started burning through New York City, with the five boroughs' initial spike coinciding most rather unfortunately with the back end of LCD's residency dates. What's a band to do? |
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SPIN |
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| Artist x Artist: Yola and Natalie Hemby in Conversation |
| By Yola and Natalie Hemby |
| For most of the 2010s, singer-songwriters Yola and Natalie Hemby worked in relative obscurity, mostly known by country-music enthusiasts and insiders. But in the last two years, all of that has changed. |
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DJ Mag |
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| It takes a village, people: preserving San Francisco's gay disco history |
| By Marke Bieschke |
| The flamboyant electronic sound of San Francisco’s dancefloors soundtracked gay liberation in the '70s and '80s, even as its community faced decimation as a result of the the AIDS crisis. Marke Bieschke takes a deep dive into the efforts being made to preserve ephemera of the city's pioneering scene. |
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| what we're into |
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| Video of the day |
| “Encanto” |
| Byron Howard and Jared Bush |
| Score by Germaine Franco, songs by Lin-Manuel Miranda. |
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| Music | Media |
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| “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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