| When you’re listening to club music, there’s no reward. The reward isn’t, ‘Oh, here’s the chorus, here’s the lyric that makes sense.’ You have to enjoy what it is. You have to enjoy that there’s no conclusion... Time stops, and I don’t even think about where I am when I hear music like that. |
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| Robyn in Berlin, March 6, 2009. |
| (Jakubaszek/Getty Images) |
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| quote of the day |
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“When you’re listening to club music, there’s no reward. The reward isn’t, ‘Oh, here’s the chorus, here’s the lyric that makes sense.’ You have to enjoy what it is. You have to enjoy that there’s no conclusion... Time stops, and I don’t even think about where I am when I hear music like that.”
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- Robyn
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| rantnrave:// |
The Cure for Crazy Prices
They told you a few months ago those first-day ticket prices were justified because that’s the market rate, as set by scalpers. And now they're telling you that you can easily find those tickets for a little less, or a lot less, which means everything has evened out and the ticket market is working and you should stop complaining and Congress should lay off the world’s biggest ticketing company because nothing is broken.
It's a strange argument. If you can easily find those tickets at the last minute for $10 or $200, then maybe $10 or $200 is exactly what they were worth six months ago and exactly what they should have been sold for if we're going to use the market rate to set prices. Maybe that’s the real market rate. Maybe the higher—much higher—prices charged in August 2022 for tickets that were going to be easily available in February and March 2023 were based on an artificial market rate created by extremely short-term demand and the knowledge that scalpers can break into the system and get pretty much all the tickets they want. Maybe those prices were a little, or a lot, predatory. Maybe the victims of that predation are the super-fans (“verified” fans, if you will) who can’t bear the thought of missing out on a show six months down the road and who can’t afford to wait even though waiting, it turns out, is often cheaper.
And maybe, just maybe—ROBERT SMITH and I are just spitballing here so bear with us—you could stage an arena tour with no VIP/platinum tickets, and no dynamically priced tickets, and restrictions on resales that make it hard, if not impossible, to sell a ticket for anything over face value.
We’ll see how the CURE’s upcoming North American tour actually plays out. But can we agree upfront that there will probably be hiccups, and there will probably be some disappointed fans, but that the band and its team is doing its best to do right by most of its fans? Can other major artists get on board with this? Can they just plain copy this? Show them show them show them how you do that trick, Mr. Smith!
Turn Down for Everything Everywhere
No complaints, absolutely none, about M.M. KEERAVANI and CHANDRABOSE’s glorious “NAATU NAATU,” from the film RRR, winning the ACADEMY AWARD for Best Original Song. No complaints either with the excellent (and varied) performances of all the nominated songs Sunday night. But is it possible the Academy is getting the very idea of “Best Original Song” entirely wrong? A compelling argument from NPR Music’s ANN POWERS... Directors DANIEL KWAN and DANIEL SCHEINERT, whose EVERYTHING EVERYWHERE ALL AT ONCE was the night’s big winner, got their start as music video directors. They were hella good, and a little bonkers, at that too... The fine art of playing people off at award shows... The WEEKND, who wasn’t in the house, and AVRIL LAVIGNE, who had to tell a protestor to “get the f*** off” the stage, were among the top winners at Canada’s JUNO AWARDS. The awards were given out over two days in Edmonton.
Rest in Peace
LEWIS LARGENT, who helped shaped the sound of the airwaves on both TV and radio in the ‘80s and ‘90. Largent was best known for his three years as host of MTV’s alt-rock showcase “120 Minutes” (he was also a music programming VP at the network), but before that he was music director (and a DJ) at LA rock giant KROQ, and he later went into A&R at Island Def Jam, where he worked with acts including Sum 41, Andrew WK and Everlast... Latin radio DJ POLITO VEGA, who was on the air for more than 50 years in New York City. He’s believed to be one of the first DJs to play salsa on the radio, and remained one of the country’s most influential Spanish-language music DJs throughout his career... South African rapper/amapiano star COSTA TITCH, who died shortly after collapsing onstage at the Ultra Music Festival outside Johannesburg Saturday... JIM DURKIN, guitarist for Southern California thrash metal band Dark Angel... JOSUA MADSEN, drummer for Danish thrash metal band Artillery... South African jazz pianist SAMMY HARTMAN.
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Dazed Digital |
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| Ice Spice: The people’s princess |
| By Matthew Trammell |
| Born on the January 1, 2000 with a superstar’s sense of immaculate timing, Ice Spice is the new people’s princess twerking the pain away with her fluorescent spin on the Bronx drill scene. |
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Rolling Stone |
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| The Haunted Life of Lisa Marie Presley |
| By David Browne |
| She was the closest thing America had to royalty. But living in Elvis’ shadow was an unimaginable struggle. Friends and collaborators recall Lisa Marie's rebel spirit and the mix of hope and heaviness that marked her final days. |
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| what we're into |
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| Video of the day |
| “RRR” |
| S.S. Rajamouli |
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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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