| Rock for Choice let people in our generation know that it was OK to give a s***. |
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| Bikini Kill's Kathleen Hanna at a Rock for Choice benefit concert in Los Angeles, April 30, 1993. |
| (Jeff Kravitz/FilmMagic/Getty Images) |
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| quote of the day |
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“Rock for Choice let people in our generation know that it was OK to give a s***.”
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- Donita Sparks, L7 singer/guitarist
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| rantnrave:// |
Golden Age of Wireless?
Your random daily reminder, this one from producer, studio owner, TAPE OP editor and SALEM 66 fan LARRY CRANE, of how much good music is missing from the streaming world and why, therefore, you should hold onto your CDs, vinyl, WAVs or whatever formats you collect that aren’t dependent on the great cloud in the computer sky that will never have everything you want and, even if it did, will never be more than one faulty maintenance update away from disappearing without warning.
And a new twist: Watch out, too, for venues that rely on that cloud for tickets, merch and all the other basic live music necessities and who, we now know, could ghost you on the opening night of your world tour. Friday’s opening date of the WEEKND’s stadium tour at the ROGERS CENTRE in his hometown Toronto fell victim to a nationwide outage at ROGERS WIRELESS, the company that gave the baseball stadium its name and provides the cashless stadium with the digital infrastructure for all its ticketing, food and merch transactions and other basic operations. No matter where you got your ticket or how much you paid for it, it’s apparently useless if the stadium’s internet goes out. Someone might want to work on that.
Though the outage began hours earlier, the concert was officially called off just a half-hour before it was supposed to start, which left a lot of fans unhappy and confused. “I’m crushed & heartbroken,” the Weeknd wrote on his Instagram story. “Been at the venue all day but it’s out of our hands.” The stadium and promoter LIVE NATION said tickets will be honored at a future makeup date.
The internet, as we’ve all learned in one way or another, is convenient until it’s not. One useful measure of the companies who ride its digital rails is how they deal with those inconveniences. As Variety’s JEM ASWAD pointed out, a ROGER WATERS concert down the street from the Rogers Centre, at the SCOTIABANK ARENA, went ahead as planned the same night, with the arena offering free wi-fi and assistance with mobile tickets. Major League Soccer’s VANCOUVER WHITECAPS played a home game that night in a city equally affected by the Rogers outage.
Variety called the Rogers Centre failure “a sobering reminder of what would take place in the event of a cyberattack,” where the stakes could be a lot higher than a couple hours of pop music. The site quoted a Canadian minister who a month ago mentioned “how important it is that, in the current geopolitical environment in which we find ourselves, that we are very much on high alert for potential attacks from hostile state actors like Russia.” But after a weekend in which the attack came from a non-hostile local utility simply having a bad day, perhaps we’ll come to understand that the best defense against the next one will be utilities and businesses and governments and live music and sports venues that can continue to function even after the computers go dark. And maybe we’ll hold on a little tighter to our cash registers, our paper tickets and our Salem 66 records.
Etc Etc Etc
Did the pandemic lead to an influx of double albums?... The search for the best hold music in New Zealand... STEVE KEENE is having a moment... Why MICHAEL JACKSON bought EMINEM’s publishing.
Rest in Peace
British songwriter/composer MONTY NORMAN, best known for his iconic theme for James Bond. The theme originated as part of his score for the first Bond film, “Dr. No”—the only Bond film Norman worked on—and has appeared in every Bond film since. John Barry, who arranged the theme and went on score several Bond films himself, was frequently misidentified as the composer, much to Norman’s chagrin; he successfully sued London’s Sunday Times for libel in the late ‘90s for suggesting he hadn’t written the theme’s signature guitar line. Norman, who got his start as a big-band singer, also wrote music and/or lyrics for several stage musicals... ‘60s pop crooner ADAM WADE, who later became an actor and, in 1975, host of the short-lived music game show “Musical Chairs” on CBS. He was the first Black game-show host on network TV... Radio programmer and consultant STEVE SMITH, who was instrumental in turning New York’s Hot 97 into “Where Hip-Hop Lives” in the 1990s... Librettist, songwriter and poet KENWARD ELMSLIE.
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| - Matty Karas (@troubledoll), curator |
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Vulture |
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| The Double Album Is Thriving |
| By Zach Schonfeld |
| Why is this once-derided symbol of shaggy self-indulgence suddenly making a comeback? |
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Trapital |
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| Improving The Artist-Fan Relationship |
| By Dan Runcie and Denisha Kuhlor |
| Denisha Kuhlor, founder of the music tech startup Stan, wants to take a more scientific approach to understanding and growing an artist’s fanbase — from the casuals to the “stans.” She thinks artists are mistakenly prioritizing quantitative metrics rather than the qualitative. |
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British GQ |
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| How Beabadoobee found her roots |
| By Tara Joshi |
| TikTok propelled Beatrice Laus to indie-pop stardom. Now, with an expansive new record on the way, she's becoming the musician she wants to be. She discusses her journey to self-acceptance, from a challenging childhood to experimenting with drugs to writing "Beatopia." |
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The Washington Post |
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| Monty Norman, who gave 007 his theme music, dies at 94 |
| By Harrison Smith |
| Enlisted to write the theme song for "Dr. No," the 1962 spy movie that brought James Bond to the big screen, composer Monty Norman struggled to capture 007 in music. The song needed to be menacing but also a little sexy, like the pistol-wielding, martini-drinking secret agent himself. |
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Complex |
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| How Ye Changed Everything |
| By Noah Callahan-Bever |
| Click through each story to fully understand how Ye changed everything. |
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| what we're into |
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| Music of the day |
| “Cherry Bomb” |
| Joan Jett and L7 |
| Live at Rock for Choice benefit, Los Angeles, Sept. 27, 1992. |
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| Video of the day |
| “Women Who Rock” |
| Jessica Hopper |
| Episode 1 ("Truth") of the four-part docuseries now streaming at Epix. |
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| Music | Media |
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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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