Rihanna is reportedly the latest artist to turn down an offer to perform at the NFL’s Super Bowl halftime show in support of former star quarterback turned-civil rights champion Colin Kaepernick. According to a source, the NFL badly wanted the Barbadian hitmaker to perform at next year’s Super Bowl in Atlanta. The singer declined to perform as a show of support for Kaepernick’s stance on the ongoing national anthem kneeling controversy. Taking Rihanna’s place will be radio rock kings Maroon 5.
The Super Bowl has been the place of some of the most legendary musical performances from icons including Michael Jackson, U2, and Prince. Rihanna now joins JAY-Z as the second artist in as many years to deny a chance to perform at the big game, which is well known to send catalogue streams and sales skyrocketing. Football in America has grown more politically and socially charged than ever before, and it’s reasonable to assume the music world will see more hardline stances about the once-coveted halftime spot.
Massive Attack‘s debut album, Mezzanine, turned 20 this spring, a musical milestone that the British group commemorated in an unconventional manner. Massive Attack observed the iconic record’s 20th anniversary by encoding Mezzanine in DNA, making for an unprecedented first in the context of modern day album storage. Massive Attack expressed that DNA encoding “could be an answer to the problem of archiving the increasing amount of information that the world is creating” at the time of the production’s conversion from digital audio file to DNA molecules.
Now, the album stored in the microscopic DNA strands gets an even more eccentric reissue: matte black DNA encoded spray paint, enclosed within an aerosol can. “It’s a creative way to store your back catalogue, although DNA-encoded spray paint is unlikely to be adopted by street artists seeking anonymity,” Massive Attack’s 3D, explains. Each of the aerosol cans contains an approximation of one million DNA encoded copies of the album.
The DNA spray paint precedes the more traditional special edition double CD re-release of Mezzanine, slated to arrive in November. A box set of three-colored vinyl will follow the CD set in December. Each remastered edition will feature exclusive and previously unreleased Mad Professor dub remixes, creating a novel listening experience, despite the record’s long venerated status. The three-part vinyl set will include an image book with pictures provided by Massive Attack members Robert Del Naja and Nick Knight, and will additionally arrive in a “heat sensitive box” that allows the sleeve color to change in response to different temperatures.
Among the first announced to headline the 2019 edition of London’s Creamfields Steel Yard festival is Sweden’s own, Eric Prydz.
The annual event held in the colossal Finsbury Park mega-structure is tacked for May 25-6 of next year, with Prydz capping off the first day. The torrential techno force will be bringing his logic-defying live setup, HOLO, with him to the fiercely attended Steel Yard installment. In addition to Prydz, the festival has secured another mammoth techno talent, Carl Cox, to close out its inaugural day.
The pre-sale for Creamfields Steel Yard London can be purchased here beginning Friday, October 26. The remaining headliners have yet to be unveiled, though are set to be announced soon.
According to a new consumer report, music listeners devour nearly 18 hours of music per week on average — about half of a full-time job.
The International Federation of the Phonographic Industry (IFPI) is the non-profit institution that represents the recording industry worldwide. They recently released their annual music consumption report, noting the 17.8 hours a week consumers listen to music mostly happens in the car. This makes sense when thinking about daily routine commutes back and forth without audio, which sounds like torture.
The report also showed 86 percent of the listeners tested use an on-demand streaming service such as Spotify, Apple Music, or YouTube. Fifty-seven percent of users who pay for these streaming services are between the ages of 16 and 24 years old, suggesting it’s mostly young drivers listening to Spotify, Apple, or YouTube on their commute to school or work.
IFPI CEO Frances Moor says the report “tells the story of how recorded music is woven into the lives of fans around the world. As it becomes increasingly accessible, it continues to be embraced across formats, genres and technologies.”
According to a Nielsen Music study, the music industry is missing out on $2.65 billion annually due to businesses using personal music accounts in their storefronts. The culprit is mostly small businesses that are using consumer accounts not intended for commercial use.
This report was paid for by Soundtrack Your Brand, who offer music streaming for businesses starting at $26.99 a month. They surveyed 5,000 small business owners in the US, US, Spain, Sweden, Italy, Germany, and France. The data found that most of these businesses simply use an employee’s streaming account.
When music is played to benefit a business, a business licenses is needed. These rights are not included in the standard consumer streaming accounts that most small businesses use. Results estimated 21.3 million businesses are using the consumer streaming account instead of obtaining the proper business license.
80.3 percent of the small businesses surveyed mentioned music is important to their business, and 86 percent said they were willing to pay a bit more for the proper license. More than half the businesses were unaware their methods of playing music was illegal. In the US, 71 percent of businesses were unaware.
Co-founder and chairman of Soundtrack Your Brand, Andreas Liffgarden (formerly Spotify‘s global head of telecom business development) said, “Lack of innovation has driven small businesses to choose consumer services, as they are far more accessible and easy-to-use than most business alternatives. We need a new generation of B2B streaming services, attractive to business owners, that make sure music makers get fair compensation.”
Dillon Francis releases a second music video for his WUT WUThit”White Boi,” featuring Lao Ra. The hilarious lyric music video consisting of numerous of white boy activities was made by PIZZASLIME. It’s a colorful, tongue-in-cheek video that features stereotypical “white boy favorites” — such as safari jungle hats, dad hats, Hawaiian t-shirts, unfashionable running sneakers, construction, khaki shorts, basic sandwiches made with wonder bread, Mountain Dew, pizza, LinkedIn, running on the beach, and more.
To make things fun, Francis hosted a naming contest on social media. Hayden Bradshaw won, naming the music video “WHITE BOI DOES WHAT!?!?!? (NOT CLICKBAIT)(GONE SEXUAL).”The Latin Grammy award winning artist doubled down on his initial music video filmed in the Dominican Republic, placing Lao Ra front and center. Picking a favorite version is certainly tough when Dillon Francis is involved!
A single key to the meteoric rise of Marshmello, 2016’s “Alone” continues to make its impact known well into 2018. The upbeat number just garnered its one billionth view on YouTube — producing a comical sense of titular irony, since Marshmello is certainly not “Alone” in the context of the “one billion views club” or in terms of fan counts. The song’s achievement of the landmark one billionth view positions Marshmello among the likes of PSY, who garnered one billion views for “Gangnam Style,” Wiz Khalifa and Charlie Puth, who achieved the same feat via “See You Again,” and Luis Fonsi & Daddy Yankee, with their collaborative Spanish sizzler, “Despacito.” “Alone” notably went platinum upon its release on Monstercat, marking a milestone for both Marshmello and the label, as “Alone” signified Monstercat’s inaugural platinum record.
Marshmello’s newfound admission to the illustrious one billion views gang follows his recent victory at the 2018 American Music Awards, where Marshmello took home the award for “Favorite Electronic Dance Music Artist.” Marshmello went head to head with formidable fellow nominees, Zedd and The Chainsmokers.
Tyler, the Creator is poised to step back from the mic and direct his creative attentions instead to the development of a series of visuals designed for the small screen. The artist recently inked a first-look deal with Sony Pictures Television that will place Tyler alongside Lionel Boyce to design scripted and unscripted material for TV and digital properties projects. The second constituent of Tyler’s Bald Face Productions team, which positions Tyler at the helm of production, Boyce championed Sony Pictures Television as a particularly dynamic content platform. “We’re excited to be a part of a place where we will have the resources to develop new ideas,” Boyce said of the deal.
Ever eccentric in his quotations, Tyler chimed in with “Tacos are great with barbecue sauce, I’m excited,” the meaning of which currently remains up for debate, but could allude to a forthcoming sketch. The president of Sony Pictures Television, Jeff Frost, called the combination of Tyler and Boyce “creative genius” and touted Sony’s partnership with the duo as a “dream come true.” “Tyler’s unconventional ingenuity is unparalleled, and we are excited about the prospect of what we can create together,” Frost added.
When Sir Richard Bransonannounced the end of his UK-based V Festival last year, the Virgin Group founder ended a fest run that was more than two decades long. The festival’s creation in 1996 arrived in an entirely different landscape. Today, there’s a festival for every genre and atmosphere, and enough can’t-miss lineups to give fans year-long FOMO. In an effort to cut through the festival clutter, Branson and a select team will bring an entirely new concept stateside in 2019.
Virgin has been tight-lipped so far on specific details, but the event will reportedly take place over two days on the east coast. “Having a festival out in the middle of a field with dust and mud is something we’re steering away from,” said Virgin Produced CEO Jason Felts. “We’ll be announcing our first venue, which is world-class, with appropriate facilities versus just sort of putting up stages in the middle of a field.”
No matter how the details shake out, music fans should expect the unexpected from Branson and his team.
Alexa, play “Pipe It Up” by Migos. Attendees of Printworks London’s Solid Grooves event on October 14 sought to stem off the “Sunday scaries” by breaking it down to beats spun by a number of underground’s heaviest hitters, including FISHER, Route 94, and Steve Lawler. Unfortunately, one Solid Grooves goer would execute the ultimate party foul in breaking down not dance moves, but an internal water pipe. Evidently motivated by a ruthless determination to get in a last-minute pump by any means necessary — and at the same time materializing as a perfectly apt exemplification of the phrase “odd flex but okay” — the ticket holder responsible for the pipe’s breakage reportedly caused the damage while using the pipe to do chin ups. To borrow the titular terminology of FISHER’s most recent single, it’s certainly safe to say that this attendee was “Losing It” — a reality that likewise became apparent to other Solid Grooves participants as the pipe promptly broke, causing water “to come into the venue,” according to Printworks London’s official statement regarding the incident.
As the statement conveys, Printworks London managers will now focus their attention on the ensuing and “necessary repair work,” which will be “completed shortly.” Although Printworks London did not specify whether they would issue partial or full refunds to those who purchased tickets to October 14’s iteration of Solid Grooves, the venue did note that the buyers “who were affected by Sunday’s incident will be contacted by email in due course.” It’s currently unclear whether Printworks London knows the identity of the pipe breaking perpetrator, and will follow with disciplinary action.