FEATURE: Common Sense Against Poor Decisions: Why BBC Radio 3’s Late Junction Cuts and Changes to Its Schedule Will Be a Blow for Musical Diversity

FEATURE:

 

Common Sense Against Poor Decisions

IMAGE CREDIT: @BBCRadio3 

Why BBC Radio 3’s Late Junction Cuts and Changes to Its Schedule Will Be a Blow for Musical Diversity

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THERE are not many corners of the dial...

 PHOTO CREDIT: @christianchen/Unsplash

where we can find genuine diversity regarding music. There are specialist stations where you can find your daily dose of Hip-Hop and Pop but what about sounds that are rarely played on the radio – those that often are seen as fringe or are on the rise? I listen to BBC Radio 6 Music and consider that diverse but, in terms of genres, it is not as broad as it could be. I know it is not likely to play Classical music but when you think of the great Experimental sounds and Jazz emerging right now, are they represented as much as they should? I look at the schedules for a lot of the BBC stations and a lot of the shows feel the same. There is this feeling that, if one wants something away-from-the-obvious then they need to turn into a station like BBC Radio 3. I have been dipping into the station for a while and do find it is bolder when it comes to taking risks and putting on shows you would not hear anywhere else. There have already been cuts – and there are more planned – that could threaten the diversity of BBC Radio 3. This article from The Guardian reacted to the decision to cut their popular show, Late Junction. The BBC are planning on cutting the show from three nights per week to a single two-hour broadcast on Friday evening.

This will happen in the autumn and is part of a bid to make savings on the BBC. It is a case of the current Government putting pressure on the BBC and making these cuts – to formats they deem inessential and needlessly costly. One never assumes those in power know much about modern music and shows like Late Junction: maybe BBC Radio 4 would be more up their street and they would be safe. It seems a shame that the more interesting and ‘niche’ avenues of music are suffering. As the Guardian article explains, there is a great demand for Late Junction; its loss (or slow demise) is going to be a big shame for those who like their music more experimental and left-field:

“At the end of February, hundreds of people packed into the artfully dilapidated surroundings of Earth, a former art deco cinema in east London, for the inaugural Late Junction festival. Over two sold-out nights, it showcased exactly the kind of programming that makes BBC Radio 3’s flagship experimental music show great: a stunning set by revived post-punk pioneers This Is Not This Heat; the fractured state-of-the-nation techno of Gazelle Twin; the first ever performance by doom-jazz troupe Pulled By Magnets; and a new project featuring singer Coby Sey and Under the Skin soundtrack composer Mica Levi”.

In a music scene and radio culture that seems to play it safe and is not really willing to throw in too many unusual selections; what was the reasoning for such cuts?

It seems that, ironically, this cut has been made so that BBC Radio 3 can continue to offer rich and interesting shows for those who prefer something a little different. It seems a bit ironic that one of their most popular shows is being given less time on air:

“In a statement, Radio 3 controller Alan Davey said that the changes to the schedule had been made “to make sure we continue to offer a rich mix of music and culture to existing and future audiences” – Late Junction’s raison d’être. It has recently broadcast incredible sets from its festival, an innovative, spoken-word documentary on Brixton by dub poet Roger Robinson, a set of Somalian disco, a playlist of music for plants, an in-depth interview with composer Laurie Anderson and a show devoted to bagpipe music from across the globe. The slightly woolly promise of a Late Junction replacement in the form of “a new classical music programme designed for late-night listening” summons up visions of snore-inducing Spotify playlists featuring artists like the tasteful yet bland Nils Frahm.

What makes Late Junction so exciting is its presenters’ love for their selections: the programming is never self-conscious or apologetic for its strangeness, as mainstream culture often is when it confronts the left field. In its eclectic broadcasting, jazz sits alongside throat singing, contemporary classical, odd pop, folk and noise. Crucially, this has a huge impact on the diversity of the show’s programming: artists from around the world aren’t pigeonholed into a “world music” ghetto, but treated with the same seriousness as their western peers”.

 IN THIS PHOTO: Holly Herndon/PHOTO CREDIT: Ronald Dick for CRACK

There is nothing new regarding the feeling music is not taking risks and there are fewer spots where one can experiment and take leaps. In a related article, a selection of musicians spoke out against modern music and the fact that it is safer than it used to be. Holly Herndon was one such artist interviewed:

“When I was in high school, I went to music for ideas and to understand what my identity could be – and I think that’s shifted. I’m not sure music is the place where radical thought is happening any more. I’m interested in the crypto community, people who are interested in radically changing the infrastructure that organises our society. Those kinds of totally out-there ideas and thought processes I don’t really encounter in music quite so much.

Everything is documented and immediately public now, so I don’t feel like people in the underground have the ability to mess up and experiment in the same way they once did, because there’s such scrutiny on people at a really early stage”.

There has been a reaction to Luke Turner’s article regarding Late Junction and the cuts it will experience. Consider how hard it can be for Jazz and Classical artists to get exposure in the mainstream. One hardly hears them on BBC Radio 1, 2 and, even though it is a broad church, BBC Radio 6 Music merely flirts with a lot of experimental sounds.

 IN THIS PHOTO: Nubya Garcia is one of the finest British Jazz musicians of the moment/PHOTO CREDIT: Mahaneela

Where does one turn if they want to hear the latest upcoming Jazz artists or musicians who are travelling in wonderful and weird directions?! Late Junction, in a sad way, seems to be the only real place that all these wonderful sounds can be heard. Not only is BBC Radio 3 cutting back on one beloved show: there are changes coming in that will sacrifice key Jazz shows that are providing this voice to the new generation. There are booms happening and, as a reactionary article from The Guardian shows, there is a revolution happening:

“British jazz is experiencing a renaissance. Folk acts are attracting broader audiences. Electronic and experimental music is thriving, and boundaries between genres, media and scenes are being dissolved and swirled into ever more exciting permutations. It is staggering, therefore, that, in the month of its sold-out festival in London, Late Junction is being reduced from three shows a week to one. Jazz Now and Geoffrey Smith’s Jazz are being “rested”. Music Planet, Radio 3’s only dedicated programme exploring music from around the world, is having its running time cut by half. We welcome new show Unclassified, but it has only an hour in the schedules. This is not enough.

IN THIS PHOTO: Musician and D.J., Carla Dal Forno/PHOTO CREDIT: @BBCRadio3

Our culture benefits so much from these programmes. Music lovers tune in to make new discoveries and build new creative communities. Music makers rely on these shows as lifelines to support and share their music with enthusiastic audiences, nationally and internationally. New works and unexpected collaborations have happened either directly or indirectly due to these shows. This flourishing cultural ecosystem will be damaged, and musicians’ careers profoundly affected, as opportunities for their work to be experienced by the mainstream will be drastically reduced, at home and abroad”.

Given the fact that we may soon be leaving Europe - although this is in the air! - I do wonder whether that will dent the proliferation of influence from the continent. There is not enough Jazz played on a lot of the bigger stations so I do wonder, with these changes and moves, what will happen - whether a lot of the new breed will still get a say and the attention they warrant.

IN THIS PHOTO: Radiohead’s Ed O’Brien is one of hundreds of names that has a signed a letter protesting cuts and schedules changes at BBC Radio 3/PHOTO CREDIT: Dimitri Hakke/Getty  

It is clear shows like Late Junction and Jazz Now give a home to artists that are normally neglected by other stations. That article I have just quoted is actually an open letter that has gathered more than five-hundred signatures. Many across music and broadcasting have added their names to this plea; the need to get BBC Radio 3 to rethink their decisions and keep one of its finest shows as it is (is) urgent. I have heard Late Junction a few times and can attest to its broadness and quality. I hear a few radio stations that are embracing the new wave of cross-pollination and growth of genres like Jazz and Folk. These genres are splicing together and widening: they are no longer as we imagine and it is time for reappropriation! What is the impact of limiting exposure for shows that offer a platform for those who provide us with something genuinely more interesting than what is commonly sold? If we ration shows and stations then, like venues closing, it means artists will struggle to get their voices heard. Unless another big BBC radio station takes on the show or creates an equivalent, what is going to happen? I understand there are equivalents to be heard – Stuart Maconie’s Freak Zone is fairly similar – but there is this great love for Late Junction.  The BBC kept BBC Radio 6 Music open when it was threatened with closure back in 2010; one hops that there will be hope Late Junction can remain where it is and not be limited to one weekly slot.

I am worried there is not the sort of variation and boldness on the radio as we need. I know it will be difficult acclimatising everyone to a bit of change but why should we rely on single shows to offer this area for creativity, experimentation and brash expression? I love a lot of the British Jazz coming through and wonder were it not for stations like BBC Radio 3 (and 4, perhaps) whether I would hear it. There is so much out there in terms of choice and sounds and this is not being reflected across radio. Some find the sort of music played on Late Junction a bit dark and stark and not what you’d want to hear during the morning commute. I can appreciate there are some who want something a bit brighter and accessible but, if we integrate carefully and slowly, before long, people will become sued to it and we will not notice the difference – like getting a reluctant child to eat their vegetables; not realising that it is actually good for them. So many young artists are knocking down doors and trying to get their music heard. It is tough if you are producing something not immediately commercial. The underground is an area where we can discover truthful, astonishing and different sounds and, for the most part, artists here struggle harder than those who are delivering music that is less challenging and provocative.

Social media and the Internet allow artists the platform to sell and spread their music but radio is a hugely powerful medium. Often, social media can be a bit restrictive - and people are unwilling to share tunes they like. I have listened to stations and, without warning, been introduced to this great artist that slipped my attention. They might have been grafting on the Internet but, in the tide and sea of other artists, not been able to penetrate everyone’s view. Radio allows music the chance to get by retweets and shares; to instantly hit the masses and deliver that instant punch. So many underground and experimental artists are grafting hard and not getting their dues in the mainstream.

Radio stations are reluctant to play something that is not, in their view, popular and marketable and that is creating a real sense of dread and anxiety. Shows like Late Junction offer a certain sanctuary and golden platform where we can witness the most daring and colourful sounds around. Let us hope BBC Radio 3 reverse their decision to limit Late Junction and the Government do not put too much pressure on them. It would be a real shame to see the move happen and I do wonder how this will affect the popularity and prosperity of underground/experimental music. If one lesson comes out of this controversy then it should be that radio stations need to rethink their approach and accept the fact there are so many great Jazz, Folk; Experimental and underground artists who are creating brilliant and music – a lot of us do not get to hear it. Against the bad decision that has been made and will impact Late Junction (and its listenership) I do hope that BBC Radio 3 listens to the protest – and the open letter that has just been published – and adopts some form of...

COMMON sense.

FEATURE: The Immaculate Conception: Madonna’s Like a Prayer at Thirty

FEATURE:

 

The Immaculate Conception

IMAGE CREDIT: Spotify/ALBUM PHOTO: Herb Ritts 

Madonna’s Like a Prayer at Thirty

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I have a fond admiration...

 IN THIS PHOTO: Madonna, in her Portugal home, posing for a selfie on 22nd February, 2019/PHOTO CREDIT: @Madonna

for legendary and decades-lasting artists who are keen to look back at their best work and are not stuck in the present. There is nothing wrong with looking ahead and only wanting to concentrate on that but I love when artists can mark album anniversaries and get a bit nostalgic! There is no danger when it comes to Madonna: someone who is often caught in the hot breeze of reminiscence and willingly celebrates her big achievements. This year sees two more Madonna albums celebrate important anniversaries. Like a Virgin (it turns thirty-five on 12th November) and Bedtime Stories (turning twenty-five on 25th October) give music lovers a reason to cheer later in the year. Whenever an exciting Madonna-related event pops up, the Queen of Pop herself is there to get on social media and ask her followers where they were at the time. I guess a lot of her fans are young and do not remember the first bloom of her success. It seems that there is still a massive love of her older work.

Martini Shot 🍸 #isamayaffrench @andylecompte pic.twitter.com/ZdSPFc4Rat

— Madonna (@Madonna) March 14, 2019

Mötley Crüe have just, for some reason, covered Madonna’s Like a Virgin – one can only imagine what their motivation is! It is a track from the soundtrack from their upcoming biopic, The Dirt. For those who prefer her 1998 album, Ray of Light, another title-track has been captured - this time by the band, POND. It is great that artists, so long after album releases, are still vibing to Madonna and keen to have their say. I am wandering off the path of focus here and, as Madonna has a new video is in-the-works featuring drag queens (not an acoustic ballad, one suspects!), there is a lot of action in her camp. Included in her plans is an appearance in this year’s Eurovision but, as some are reporting, it might not yet happen:

 “Madonna’s participation in the Eurovision Song Contest is currently unclear, after production officials reviewed the songs the singer was preparing to perform and found one of them to be inappropriate for the audience and expected atmosphere of the competition, according to Ynet.

A new replacement song has not yet surfaced, and it is unclear if it will.

A number of sources located within the Eurovision contest itself expressed their dismay with the intended performance of the song, while others said that artistic freedom should be respected and to leave the choice to Madonna herself. The acting director-general of the public broadcasting corporation is in favor of the latter and directed production not to interfere with her artistic expression.

Meanwhile, Israeli media unofficially reported that Madonna filmed a political advertisement that would “lead to controversy.” It is unclear if this is in any relation to the controversial song choice”.

IMAGE CREDIT: Spotify/ALBUM PHOTO: Herb Ritts 

It is a very big year for Madonna because she has new material coming. The album she is working on, Magic (not confirmed but looks like it will be), is taking shape and Madonna keeps dropping teasers and clues as to what the album will contain and when it will come. But, in 2019, we also get to mark three huge albums celebrating important anniversaries. The heftiest of them all happens on Thursday: Like a Prayer turns thirty. I will concentrate on the album itself very soon but, before that, it is worth looking at the period before 1989. It is fair to say that Madonna revolutionised and transformed Pop through the 1980s. When her eponymous debut arrived in 1983, she was not at her very best but definitely showing true promise and something different. Like a Virgin (1984) was a quick follow-up and, again, an album packed with danceable tunes and Pop flair. There were signs that she was becoming bolder as a songwriter and not just writing about usual subjects: matters of the heart, the perils and unpredictability of relationships and, at times, the need to get everyone together in celebration. Her first big leap occurred in 1986 when she released her third studio album, True Blue. In some ways, it is an album from her early-career that people forget. Not because it is bad – it is far from that! – but, if you had to name five Madonna albums, it is one people forget. True Blue marked a new phase in Madonna’s career. She has ascended from this rising Pop artist to someone who, whilst not quite queen of the scene, was making moves towards the throne!

If the first couple of years’ work was synonymous with these big and bold Pop tunes, True Blue was Madonna mixing loftier themes into her work. The album was released on 30th June, 1986 and co-written and co-produced alongside Stephen Bray and Patrick Leonard (there were a few other writers in the mix as well) – the trio would also work together on Like a Prayer. The young Madonna was blossoming as a songwriter and showing many of her peers – who had teams writing their songs and were essentially cogs in a machine – that she was a cut above. Although a lot of True Blue looks at love’s spectrum - visions of relationships and the highs and lows – there is a definite edge that runs throughout. The title cut is about her then-husband Sean Penn and it is great hearing a very revitalised, positive and happily-in-love Madonna writing these paens to a healthy and life-affirming bond.

 IN THIS PHOTO: On 20th September, 1986 Madonna attended the Second Annual ‘Commitment to Life’ Gala to Benefit AIDS Project Los Angeles at the Wiltern Theatre in Los Angeles, California./PHOTO CREDIT: Ron Galella/WireImage

There was this definite aspect of Madonna trying to engage with an older audience. Classical elements came into True Blue and, on Papa Don’t Preach, there is this distillation of proactive and rare themes, a more mature and less predictable sound and the Pop-queen-in-waiting taking a leap. Papa Don’t Preach, the standout from the album, is indication of where Madonna was heading to on Like a Prayer. Tackling teen pregnancy, pro-choice and dealing with reactions from her family and boyfriend, it was like nothing else in music. The album cover of True Blue also reflected an artist who was growing in maturity - and did not want to be just as another young and bright-eyed Popstar.

Madonna was producing more ambitious music and, at the same time, becoming this fashion icon. She was always a pioneer but, with every album, a new look would come in. Look at the video for Papa Don’t Preach and there is this more Punk-like, short-haired star that was very different to the Madonna who greeted us earlier in her career – more bangles, longer hair and a traditional 1980s look. If Madonna and Like a Virgin flirted with weightier themes and taking on important issues, True Blue was a definite seduction. Maybe La Isla Bonita’s characterisation of certain races and people would not be considered P.C. today but Madonna was adding new sounds and ideas into the modern Pop scene. Open Your Heart’s video is like a peep show and voyeuristic look that portrays Madonna as a stripper. Madonna was experimenting more with sexuality and freedom; it retained a sweet and naïve vibe due to the fact that outside of the strip joint was a young boy waiting for Madonna. It is clear that, since her 1983 debut, Madonna had grown and was becoming more daring with her subject matter and image. All of the signs were there regarding Like a Prayer’s look and sound. Madonna was working non-stop and, when one project ended, she would embark on another one. She launched into the Who’s That Girl tour in 1987: a thirty-seven-date event to promote the film and soundtrack of the same name.

Madonna was no stranger to acting – having appeared in Desperately Seeking Susan in 1985 – and, whilst Who’s That Girl (film) would receive mixed reviews in 1987, her real big flop would occur when Shanghai Surprise reached cinemas. Featuring the then-newlyweds of Sean Penn and Madonna, the 1986-released film looked like it was cinematic gold. Combining huge names on the poster and a plot that had promise – Penn played Glendon Wasey, a sleazy conman struggling to sell glow-in-the-dark neck-ties in Shanghai; Madonna a missionary nurse (Gloria Tatlock) who wants to procure supplies of opium to ease the suffering of her patients; the two unite on a quest to obtain these supplies – it was panned by critics and was a commercial bomb. Most of the criticism came, one suspects, from people wanting to tear Madonna down: at that time she was the biggest artist on the planet and this was a way of kicking her a bit. The slew of bad reviews did not deter her ambitions and visions. If anything, film roles and more prolific touring allowed Madonna the chance to play with personas and naturally inhabit these characters. Within the space of six years, this bubbly and bright new Pop artist had risen through the ranks; performed in several films and brought her music around the world. True Blue went on to sell over twenty-five million copies and, before Like a Prayer was released on 21st March, 1989, Madonna was becoming this global icon.

 IN THIS PHOTO: Madonna, Joe Mantegna and Ron Silver on stage performing in Speed-the-Plow in 1988/PHOTO CREDIT: Brigitte Lacombe

Whilst many artists struggle to manage all their touring and recording demands, Madonna was capable of balancing album duties and her acting desires. She wanted to be a big star on and off of the screen and she was even stepping into theatre. In 1988, she appeared in David Mamet’s Speed-the-Plow and, whilst there were some negative reviews, there was some praise for her performance. It was this break-neck and restless work ethic that amazed people when Like a Prayer arrived – how could someone who was appearing in films and on the stage (not to mention touring the world…) manage to create an album, no less one that redefined Pop as we know it?! True Blue is marked by a sense of happiness and contentment with this new love, Sean Penn. However, by the time Like a Prayer hit shelves, the couple’s divorce was almost finalised – the signatures would be dry by the end of September 1989. Every album saw a Madonna revolution and Like a Prayer was no different. True Blue was this big leap that was unafraid to go off the traditional Pop map regarding its subjects and sounds: Like a Prayer augmented that and, from the cover alone, one could tell Madonna meant business. Together with Herb Ritts – who also was the photographer for True Blue – we had a cover that was fully colour (rare for Madonna) and, whilst it did not feature Madonna’s face (that was a first), it was a lot more striking and artistic than anything she has released.

 IN THIS PHOTO: Madonna pretty looking chic in a 1989 shoot/PHOTO CREDIT: Herb Ritts

Some have compared the album’s cover to Bruce Springsteen’s Born in the U.S.A. – he is wearing denim jeans on the cover but is facing the wrong way round; one hand in his back pocket with a pink/red rag hanging out. That cover was sort of Springsteen as this grafter and rebellious figure. Madonna’s denim-sporting cover was a more mystical, culture-fusing and less sexual thing. Some also feel that Like a Prayer is similar in tone to The Rolling Stones’ Sticky Fingers. That cover is overtly sexual – as the album title suggests – whereas Madonna sports Eastern jewellery and has playfulness to it. When the album came out, she infused it with patchouli oil so that it has this scent of exoticness, eroticism and the peaceful. Let’s pan back a bit and look at Madonna in Speed-the-Plow. She turned thirty during its run and was thinking about her time of life. As Caroline Sullivan discussed in her excellent book, Madonna: Album by Album, other big artists born in 1958 were changing their musical dynamic when they hit/were approaching thirty. Prince experimented with spirituality on Lovesexy (and lost sales) in 1988 whilst Michael Jackson was rallying against injustice and the plight of the world – this would surface on his 1991 album, Dangerous. All three artists (including Madonna) were born relatively close to each other in the Midwest of America and it is interesting seeing these artists transform and evolve by the summer of 1988.

Given the dislocation of her marriage and other problems, Madonna’s Like a Prayer was her most introspective and personal album to date. Songs on the album dealt with her mother’s early death (Promise to Try); her reaction to her father as he dealt with his wife’s death (Oh Father) and the importance of family (Keep It Together). It is hard to say whether the impending divorce from Penn or their decision to have children – the idea was mooted for 1989 but fraught and confrontational issues at home added more nails to the coffin – was the biggest factor when it came to songs about family. It is clear Madonna was moving away from the throes of love and youth and more concerned with something deeper and more important. She addressed AIDS on Pray for Spanish Eyes (on some editions of the album it is just called Spanish Eyes) and domestic abuse on Till Death Do Us Part. Working alongside Stephen Bray and Patrick Leonard, Madonna engrossed herself in work and wrote a lot of the album’s biggest songs over a productive two-week period. Madonna would turn up in the studio with a notebook and, as Patrick Bray told Chris Heath of Smash Hits, she wrote in a stream-of-mood; taking a few hours for song fragments and impressions to turn into fully-formed lyrics. She was still learning but exerting more influence and control over the songwriting. In an age where, today, a lot of artists are too safe and rely on teams to dress and direct them, write their songs and keep them focused…Madonna was not going to write an album that was too safe and commercial.

Like a Prayer was a different beast to anything Madonna has ever produced. She was placing the importance of experimentation and texture over mere beats and easy tunes. Aside from personal circumstances and growing older…the biggest change in Madonna’s music from her True Blue period was the tone. On the album, there is far less of the anthemic and sing-along songs that defined her reputation. If anyone was looking for an album packed with Holiday, Like a Virgin and Borderline-like merriment, they would be in for a disappointment. If anything, Like a Prayer was a much more varied and broad album that anything in Pop at the time. If one was looking for a jam then they had the title-track: God being symbolised as a lover saving Madonna; the icon at her most overt, challenging and bold. Cherish is a simpler song but one that, against her relationship problems, was about embracing love and its wonders. Express Yourself is a thrilling and hugely-catchy song that reminds me of her Madonna/Like a Virgin oeuvre. Every one of Like a Prayer’s eleven tracks has weight - and there is such a huge range of themes and sounds throughout. Madonna continued her sonic endeavour and was mixing more into the pot. The album would receive huge reviews but, almost before things began, momentum was almost derailed. Madonna signed a five-million-dollar deal with Pepsi to promote them…

She was intrigued by this project that mixed commercialism with something more challenging – not merely an artist cashing it in to promote their latest project. Pepsi won the right to broadcast Like a Prayer’s title offering before anyone else and they would also sponsor her tour. The single was due for release on 7th March but the public got an early taste five days previous. The advert was a celebration of inclusiveness and, with Joe Pytka directing (he also helmed Michael Jackson’s Pepsi adverts), it all looked safe on paper. The advert was promoted heavily and almost hyped as this worldwide event! The advert aired during America’s top-rated sitcom, The Cosby Show, and saw two-hundred-and-fifty million people across forty nations tune in. The commercial soon took on a sour tinge when the video for Like a Prayer received backlash from various corners. Most of the antagonism came from churches and religious bodies who felt the image of burning crosses was blasphemous and in support of groups like the Ku Klux Klan.

IN THIS PHOTO: On 21st September, 1989 Madonna was featured on the cover of Rolling Stone magazine for the second time that year (she was also featured in March)/PHOTO CREDIT: Herb Ritts

The sight of Madonna kissing a black man in the video was seen as controversial and many were uncomfortable with what she was putting out. This reaction caused Pepsi to pull their deal and, whilst they had no idea what the video was like and how it would be perceived, they bore the brunt of the negativity – many complaining to them rather than MTV (who aired the video and knew what it contained). The furore and fallout from the Pepsi/Like a Prayer debacle could have backfired regarding the album’s perception and success. The fact that the video for Like a Prayer threatened to overshadow Madonna’s album of the same name is remarkable. As this article from 2016 shows, the video got a lot of attention - not the kind of focus that it should have received:

“As one might expect, the “Like a Prayer” video was talked about incessantly upon its release, which was great in terms of inspiring record sales, but it also led to the cancellation of the contract that Madonna had recently signed with Pepsi to use the song in a commercial. More impressively, the Vatican actually took time to condemn the video.

IN THIS PHOTO: Madonna entrapped in the epic Like a Prayer video/PHOTO CREDIT: Mary Lambert

“I knew that we were pushing some big buttons, but I sort of underestimated the influence and bigotry of fundamentalist religion and racism in this country and the world,” director Mary Lambert told Rolling Stone. “I always think that, if my work is successful, it goes beyond my intentions and in this case it definitely did. The most important thing was to force people to reimagine their visual references and really root out their prejudices. Using burning crosses to reference racism to religion. Why not a Black Jesus? Why can't you imagine kissing him? I wanted to speak about ecstasy and to show the relationship between sexual and religious ecstasy. I think that subconsciously a lot of people understood this and were either enthralled or outraged by it”.

A few reviews felt that the material lacked conviction and was a tad pretentious. To be fair, there were moments of pretention (if you consider she was this boy toy-like figure before Like a Prayer) but Madonna’s delivery and songs were at peak levels of emotion and conviction! Madonna never faked a moment and to call her anything other than true and authentic was an insult. Other critics (rightly) lauded the material as being brave and ambitious: against a Pop scene that was changing in 1989, Madonna was confirming her place as its leader and spiritual guide.

If Madonna’s range was not huge and as impactful as singers like Mariah Carey and Whitney Houston, it was a lot deeper and stronger than it was at the start of her career. Madonna has always been an underrated singer and Like a Prayer is a perfect demonstration of how expressive and rich her voice is. We live in a time when T.V. reality shows promote and celebrate singers who can belt out a tune with power but very little appeal and nuance. Madonna is an artist who has always stunned with her conviction and natural abilities. Six singles were taken from Like a Prayer and, apart from Oh Father (which was the first single not to crack the top-twenty since Holiday), she kept having hit after hit. It seemed that before one hit could die and fade, another was released and creating a storm! In fact, Express Yourself went to number-two and it was helped by its Metropolis-inspired video: based on the Fritz Lang film, the huge-budget video featured Madonna playing the boss of enslaved young men; she then becomes a slave - lots of futuristic scenes and gorgeous looks. It rightfully won three MTV Awards and remains one of her most striking promotional videos ever.

 IN THIS PHOTO: Madonna praying in a fantastic-looking shot/pose from 1989/PHOTO CREDIT: Eric Kroll

Perhaps the only song on Like a Prayer that seemed expendable was/is Love Song. It is one of two songs featuring Prince (his backwards-guitar would feature on the charming, funny and interesting Act of Contrition) but it was not a great showing. There is steaminess and some French vocals; two massive stars on the same song but, when all is said and done, neither added anything great! The fact Love Song is third in the tracklist – behind the massive Like a Prayer and Express Yourself – showed Madonna held hopes it would be a big hit. Most reviews are tepid regarding the song and, whilst it is interesting, it is not Madonna’s best moment. Against minor controversies and missteps, Madonna was ending the 1980s on a huge high. Enormous reviews (as I shall mention soon) gave her confidence and kudos and publications frequently included her in the best-artists-in-the-world lists. Madonna completed the 1980s with a fifty-seven-date world tour (Blond Ambition) and she was the biggest star in the world.

Madonna, on Like a Prayer, was shaping how music videos and Pop music should be; how the 1980s should have been away from the slightly cheesy and kitsch offerings. From 1989 onward, magazines and critics ranked Like a Prayer as one of the most important and influential albums ever – not just of the 1980s. The transformation from Madonna the Pop contender to the uncontested Queen of Pop was complete. She was opening discussions regarding religion and tackling subjects like domestic abuse and AIDS in a very inspiring, open and personal way. It was a turning point where Madonna was being taken much more seriously. One feels her incredible work ethic contributed to a stronger and more assured album. I still struggle to get my head around the fact that Madonna was appearing in various productions whilst still able to produce one of the best albums of the 1980s. Many critics were also stunned when they realised that, not long after she was being reviewed in a film, people were turning their attentions to a fresh album.

Like a Prayer, in many ways, was Madonna blossoming into womanhood. Her fans were willing to follow and she was not shedding them off: the same girls who fell for her in 1983 were with her but Madonna was picking up new acolytes. Like a Prayer was a pioneering album and one of the first Pop records to tackle sexuality, religion and gender independence. One can look at the biggest Pop albums from the past few decades and you can hear Madonna’s influence and see her fingerprints – although none have been as transformative and groundbreaking. The risks Madonna took in 1989 inspired bold albums from the likes of Beyoncé and Lady Gaga in the 2000s. Although Pop has changed a lot since 1989, one can still feel the tremors of Like a Prayer. Contemporary reviews were very positive but Like a Prayer has won its fair share of love since. Pitchfork, when assessing the album in 2015, said this:

 “So maybe Madonna’s protests that Like a Prayer wasn’t autobiographical were a bit of a ruse—or just another way to keep the minds of America’s pop-watchers thinking about her music as she gave them an album where she was less afraid to show her flaws, more willing to try on new personas that had bits of her selves attached. After all, as she told The New York Times in 1989, “What I do is total commercialism, but it’s also art.” Like a Prayer straddles those two ideals with gusto, with even its less satisfying moments adding to the heat given off by the MTV era’s brightest star”.

This is how Blender perceived Like a Prayer in 1989:

“Her divorce album,” says producer Pat Leonard, with the post–Sean Penn fallout most evident on the anguished “Till Death Do Us Part” (“You’re not in love with me anymore”). From the ethereal-metal guitar and globe-shaking drum boom of the title track’s intro onward, Like a Prayer is Madonna’s most touching, least strident record. “Dear Jessie” does “Strawberry Fields Forever”; “Express Yourself” is a mood-elevating pop thrill; and the lavishly orchestrated, dad-baiting “Oh Father” brings mist to the eye. Madonna’s ex-boyfriend Prince turns up on “Love Song,” presumably to piss off Penn”.

One cannot assess the impact and place of Like a Prayer without considering the before and after. We have already looked at True Blue and the transition from 1986-1989 but, between 1989 and 1992, Madonna stepped up and evolved once more. The soundtrack, I’m Breathless (from the film, Dick Tracy, which came out in June 1990) was another foray into film - and one better-received than some of her earlier efforts. The standout track from that album, Vogue, was Madonna promoting gay culture and creating an iconic video. Employing some House elements, Madonna was reacting to the changes in music during the early-1990s. There was this rise in House music and European innovators transforming the landscape.

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The 1991 documentary, Truth or Dare, was a revealing look at Madonna’s life: the superstar we all knew and the person away from the spotlight. There were darker and difficult moments – her arguing and clashing with her Dick Tracy co-star Warren Beatty among them – but it was a well-received and illuminating look at the world’s biggest music star (I omitted to mention Madonna appeared in the 1989 film, Bloodhounds of Broadway. It was another performance that garnered mixed reviews but further proof she was a work-machine!). The success of singles such as Vogue and Justify My Love (a non-album track; it was included in her greatest-hits collection, The Immaculate Collection, in 1990) indicated how she was transitioning from Like a Prayer to Erotica.

IMAGE CREDIT: Spotify/ALBUM PHOTO: Stephen Meisel  

The album arrived on 20th October, 1992 and, one day later, her Sex book hit the shelves.Vogue sold six-million copies and put gay ‘ball’ culture in the spotlight; Justify My Love sold one-million - and there was no stopping Madonna’s momentum! Erotica marked one of the most divisive periods of her career. Unmarried and entering a different phase of her life, the shift from the more spiritual and introspective Madonna to the bolder and more sexual artist was complete. People loved Justify My Love and it was felt that more of the same (in the form of Erotica) would be a big success. Even though Erotica sold six-million copies – compared to fifteen-million of Like a Prayer – it was seen as a comparative disappointment. It was clear Madonna was pushing the envelope and not willing to repeat what had come before.

She wanted something grittier and tougher than the cleaner and more polished Like a Prayer. She was no longer working with Patrick Leonard and Stephen Bray. Instead, writers like Shep Pettibone were brought in to give her work more oomph, House influences and something sexier. Madonna wanted something tougher for the 1990s and turned in her most club-friendly record since her debut (in 1983). If Madonna was entering a new stage and following her instincts - perhaps the public were unprepared for the sex-heavy nature of her work. The video for Erotica certainty turned heads: risqué and sensual, its myriad eye-opening images and visions might have enticed some viewers…but some critics were not impressed. To Madonna (Erotica) was about everyone being able to express their sexuality with freedom and without judgement. She was not trying to corrupt America or lead people astray: instead, her aim was to create these brilliantly expressive and evocative tracks that opened up conversation and inspired the people. If some of the songs sound impersonal - Rain and Bad Girl could have been released by any other artist of the day one feels - the songs get into the head and stay with you.

This blend of softcore porn and artistic expression was another evolution from Madonna but some felt Erotica was a cold and controversial album that contained little in the way of warmth or anything sexy. The Sex book featured images slightly tame by today’s standards but, at the time, Madonna was ruffling feathers and seeing her sales drop. In retrospect, Erotica inspired Pop stars during the 1990s and 2000s. It welcomed in a bolder and more sexually-expressive sound that has been cited by some huge artists. The reviews were not all bad but they were not as glittering as (for) Like a Prayer in 1989. I love Erotica and there are some fantastic songs on the album – including Erotica and Rain – but it was clear, after the attention from the groundbreaking Like a Prayer, Madonna wanted to take her music in new directions and conquer the world. It would take until 1998’s Ray of Light to get Madonna back in the critics’ good books (she received acclaim but nothing as heady as Like a Prayer or Ray of Light) but one can see this fantastic Pop artist exploring and evolving by 1992. I keep using the word ‘evolving’ but it is rare to see an artist change so frequently and boldly! Madonna would face new challengers and Pop-queens-in-waiting during the 1990s but her constant sense of movement and confidence kept her ahead of her peers.

 IN THIS PHOTO: Madonna, looking seductive, only has eyes for Steven Meisel during a Vanity Fair photoshoot in October 1992

Nothing, to me, in the Madonna cannon is as important and iconic as Like a Prayer – even though I feel Ray of Light is her defining album –, and it is an album that, even now, is still being played and celebrated. Musicians have taken it to heart and, whilst we can definitely thank Madonna for opening up discussions regarding religion, darker themes and uncommercial avenues, I do not think an album as bold and brave has been created. It is strange that, in a way, Madonna created this benchmark that has not been equalled. The Queen of Pop is still going strong and is preparing to release her fourteenth studio album, Magic (as I said, it is not 100% confirmed but looks likely), very soon. I believe a new music video is being shot and Madonna has posted photos of her posing with Pharrell and Snoop Dogg; singing with female vocal groups and hinting at a record that will be a mixture of textures, cultures and genres.

IN THIS PHOTO: Madonna gives Pharrell Williams a cheeky little touch as an always-cool Snoop Dogg smokes a cigar in a photo posted by Madonna to her Twitter account on 27th February, 2019. She captioned the photo with the words “With The Godfather and his Consigliere”, perhaps signalling that they might appear on her fourteenth studio album, Magic/PHOTO CREDIT: @Madonna

She is now sixty but is not keen to rest and compromise. Madonna is active on social media and not someone who is stuck in the present: she commemorates big anniversaries and is happy her music is still inspiring and reaching new people. She is posting new tweets every day and it is great seeing this iconic artist engaging so wholly and personally with her fans, whether that means posting photos of her children or keeping people in the loop regarding music. Maybe her insane work rate has declined slightly (lest it kill her) but Madonna is definitely not looking to retire: she loves what she does and, as a Pop innovator, excited to fuse sounds and different cultures. I do hope there are many more years of Madonna albums because one thing she cannot be accused of is being boring! Even now, she is still more brash and organic than most of the music world - one would forgive her if she became a little more settled and cosy but, sh*t, this is Madonna, bitch! We look forward to fresh material and her next chapter but, thirty years on from the biblical sermon that is Like a Prayer, it is worth taking a moment and recognising this incredibly inspiring, popular and milestone album.

Everyone will have their favourite tracks from the record (mine is Express Yourself) but, if you are new or familiar, spin the album in full. 1986’s True Blue hinted at this artist who would become a Pop queen but Like a Prayer confirmed her place and moved the music world. Why was Like a Prayer so important and why does it remain so in 2019?! In this Huffington Post article from 2017, some interesting theories are explored:

 “A Rolling Stone review by J.D. Considine from April of 1989 correctly noted that Like a Prayer was “as close to art as pop music gets.” The album touched on topics such as childhood innocence, childhood loss, child abuse, spousal abuse, women’s rights, and spirituality. It mixed all of these themes together to not only make the listener think and dance, but ask questions as well — some of which were risky to ask in 1989. Like a Prayer proved that an artist can mix style and substance in order to break societal and musical barriers. 28 years later, many pop artists, including Madonna herself, are trying to hit all the correct spots Like a Prayer hit, but they just don’t have the same effect”.

30 years ago today I released Like a Prayer and made a video that caused so much controversy because I kissed a black saint and danced in front of burning crosses! I also made a commercial with PEPSI that was banned because my video... https://t.co/34W0xOWLQa pic.twitter.com/i3SdBxng5k

— Madonna (@Madonna) March 4, 2019

It is a titanic and hugely important album that cannot be ignored. As the A.V. Club explain in this 2014 feature, Like a Prayer was a pivotal moment for both Madonna and Pop music as a whole:

“Like A Prayer was Madonna’s first truly substantial record, the dividing line between her chirpy club-kid days and the mature sounds and themes that increasingly marked her ’90s work. The album’s sustained run at No. 1 buoyed her self-assurance and bravery, and validated that people were willing to follow her even as she transitioned into adulthood. And even today, Like A Prayer remains provocative and progressive: The racial tension alluded to in the “Like A Prayer” video is striking, while the album’s themes of religious and sexual oppression still feel all too relevant. Madonna dictated pop’s future direction while also being firmly in control of her own fortunes”.

There are articles dedicated to how Madonna has changed the world; how Like a Prayer had these unique edges and was a definite progression from the superstar. A lot of Pop from the 1980s and 1990s can date and sound a bit tired when played today. Listen to any Madonna record and that is never the case: Like a Prayer is, perhaps, the album that gives us the most through time and changed music the most. Critics noted how Like a Prayer was as close to art as an album could get.

 IN THIS PHOTO: An alluring and pensive Madonna captured in 1989/PHOTO CREDIT: Herb Ritts

From the huge and moving videos to the album cover and Madonna the fashion icon inspiring legions, this was a music leader laying down an incredible testimony that was far deeper and more important than anything coming from Pop in 1989 - aside from a few other bold artists (like Kate Bush), the year was more defined by other genres and revelations, including a couple of Hip-Hop classics. Many media sources will overlook Like a Prayer or merely nod to it in musical form. One suspects the title offering will be played a lot but what of the lesser-exposed songs such as Promise to Try and Pray for Spanish Eyes?! If the album’s creator was looking deeply at her life at the age of thirty and seeking to make changes, I hope the thirty-year-old masterpiece that came from Madonna creates a similar effect regarding the music scene today. We do it a proper nod of respect and there are so many songs on the album that get overlooked. Till Death Do Us Part mixes something more serious with a spirited and driving composition; Promise to Try’s elegance captures your heart and mind whilst there is a certain audaciousness placing the candid and intoxicating right next to the stately and emotional Oh Father! Really, Like a Prayer is an album so packed, eclectic and nuance that, even now, I am shifting my top-five-songs-on-the-album list!

IN THIS PHOTO: A bubbly Madonna is photoed by Alberto Tolot in 1989

There are numerous why Madonna inspires and guides the scene today but, as Barbara Ellen wrote in The Guardian when celebrating Madonna’s sixtieth birthday last year, she instinctively knows how to write an amazing song!

“In truth, popular culture still reeks of Madonna’s influence for a good reason: she’s earned it. Far from being a shallow shape-shifter, she always knew her way around a pop classic (her oeuvre is full of them), and developed a flair for choosing talented collaborators to keep her music fresh. Moreover, back when she could have played it safe, Madonna called herself an artist and acted like one, tirelessly reinventing herself. From plonking a black saint in the Like a Prayer video to putting out a book called Sex, at the peak of her fame, just about everything Madonna did alienated middle America, because she wanted to define the zeitgeist, not merely reflect it”.

It is evident Pop is strong but nowhere near as strong and compelling as it could and should be. Let’s raise a glass to Madonna (I am sure she will be doing likewise at her home in Portugal!) and, if you have it on vinyl or loaded on Spotify, play the record from its start to finish. The sheer range of moods, subjects and experiences seems like Madonna laying her heart, soul and bones on the table for all to see.

IN THIS PHOTO: The Queen of Pop cryptically posted this image on Twitter on 18th March, 2019 with a message regarding “A taste of things to come”, perhaps signalling new material was afoot/PHOTO CREDIT: @Madonna

It is the nakedness and revelation from her that makes the whole experience so breathtaking. Like a Prayer is a rare musical gift that keeps on uncovering new revelation and surprises. I do hope that journalists make an effort to mark thirty years of Like a Prayer because it is a seismic album and one that changed the foundations of music. Even in 2019, you get the feeling Madonna can shake Pop to its core and deliver something truly staggering. This is an artist who is always moving forward and not willing to follow the herd. In a year where music, I feel, is becoming so closed-off and lacking in optimism, there is plenty on Like a Prayer that can get us in a better mood! This enormous album rose to the top of the Billboard 200 within a few weeks and kept that position for six consecutive weeks - making it her longest-running number-one album. The album spent a total of seventy-seven weeks on the charts and laid down this incredible marker for musicians of the 1990s. Pop artists have been learning from Like a Prayer ever since its release; whether that be tackling controversial themes or showing an incredible, eclectic spirit. Its influence and impact is almost impossible to quantify but I am sure various websites will try and calculate that over the next couple of days. Like a Prayer, as I said, sounds as fresh and exciting today as it did on 21st March, 1989. It is an album that, thirty years after its birth, remains daring, human; passionate, unique and, above everything else, a Madonna who was unafraid to...

EXPRESS herself.

FEATURE: It’s Time to Get Animated! As The Simpsons Nears Thirty: The Music Inside the Humour

FEATURE:

 

It’s Time to Get Animated!

IN THIS PHOTO: U.S. Pop artist Katy Perry (with Mr. Burns) appeared on an episode of The Simpsons, The Fight Before Christmas, in 2010/PHOTO CREDIT: Nicole Wilder/FOX

As The Simpsons Nears Thirty: The Music Inside the Humour

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ONE can hardly believe that any T.V. show...

 IN THIS PHOTO: Lady Gaga (she appeared in the episode, Lisa Goes Gaga, in the show’s twenty-third season)/PHOTO CREDIT: Collier Schorr

could run for nearly seven-hundred episodes. The Simpsons first aired on 17th December, 1989 and its debut episode, Simpsons Roasting on an Open Fire, is full of charm and a rare mixture that would define the show’s glory days. That opening episode saw The Simpsons find their loveable pooch, Santa’s Little Helper – a treasured Christmas gift that came about when Bart and Homer (Simpson) went to the local dog track and, having bet on a loser (Santa’s Little Helper), instantly fall for him. Look at the show now – its thirtieth season, I believe! – and the animation is so much more advanced; the ambitious larger and the feel a lot different. It is almost thirty years since the record-breaking show (the show became the longest-running prime-time scripted series (beating out Gunsmoke) when it passed six-hundred-and-thirty-six episodes back in April (2018)…and there are debates whether the quality is high enough. The reason I wanted to talk about the show before its thirtieth anniversary is because of the way it blends musical guests and original numbers. In many ways, The Simpsons is as synonymous with its great tunes and musical feel as it is the laughs and memorable characters. Many feel that the show was at its peak between the third and tenth seasons (1991-1999): that 1990s’ gold-run that brought the sharpest scripts, best musical numbers and classic moments. Maybe things have changed because Homer has: sharpest and crueller as opposed his more bumbling and loveable days.

It is hard to say but, throughout its long run, The Simpsons has delivered some wonderful musical moments. Even though they are removing one guest (Michael Jackson) from syndicated episodes, look back from the start and there have been guests from all corners of the musical numbers. The top image features Katy Perry: The Simpsons gave her a role during their Christmas special: a rare excursion into live-action that parodied A Christmas Carol. It was quite a raunchy episode in places – for an animated comedy, at least! – but it was great to see a larger-than-life figure transposed and transported into this legendary comedy. One of my favourite music-related episode of The Simpsons is when Home ran for Sanitation Commissioner of Springfield (Trash of the Titans was the show’s two-hundredth episode) after seeing trash build up on the street. Steve Martin appeared as his rival – the current job-holder who was a nice guy but replaced after Homer promised crazy thing that won over the idiotic town – and, before long, Homer descended into crime and illicit ways when it came to hiding the mountain rubbish. U2 appeared in places: we saw them at a concert and, when Homer tries to come on stage to deliver a message, he is pummelled down: another moment sees them at Moe’s Bar, singing a song with their arses hanging out.

IN THIS PHOTO: Sonic Youth appeared on The Simpsons in the 1990s in the musician-heavy fest, Homerpalooza/PHOTO CREDIT: Getty Images

The show has not only been confined to mainstream stars when it comes to guests. I love the fact that they have included The White Stripes and The Rolling Stones; The Who and Britney Spears in some pretty memorable episodes. There are lists that celebrate the best musical moments and, to me, the artist-filled episodes such as Homerpalooza stand out. There, the acting was not up to much but we got to see big acts of the 1990s such as Smashing Pumpkins and Sonic Youth feature and interact in a rare way – in the episode, Homer gets a gig on the music circuit after discovering he can take a cannonball to the gut! Whether it is Linda Ronstadt going into business to rival Homer’s snow-plow endeavour (Mr. Plow) or Homer going to a Rock Camp and meeting the likes of Tom Petty, Mick Jagger; Keith Richards, Lenny Kravitz and Elvis Costello (How I Spent My Strummer Vacation); we have seen these wonderful episodes that combine the worlds of music and comedy. I love the latter episode because we see these iconic musicians brought together and little rivalries form – Lenny Kravitz reveals Kenny Loggins puts a sock down his pants; Mick Jagger and Keith Richards are crunching the numbers rather than rocking-out. Some of the appearances have been crow-barred and a bit fake but some of them, including Lady Gaga appearing in Lisa Goes Gaga (season twenty-three), used a big star to portray a powerful message: Gaga comes to Lisa, who is very depressed, and teaches her the meaning of happiness in the Tim Long-penned episode.

It is wonderful when this influential artist comes into a big T.V. show like The Simpsons and is not nearly there to boost ratings! Perhaps packed episodes like Homerpalooza were not full of great acting moments but when stars get a bigger role, like Lady Gaga, it shows them in a new light. I think some of the best appearances and scenes from The Simpsons have involved musicians. Most of these are during that golden run during the 1990s but Katy Perry’s yuletide raciness is definitely a highlight! Look at when Johnny Cash voiced a coyote – a hallucination Homer had after eating a super-psychedelic chili pepper at a cook-off – and how he added to the show. The late icon brought his authoritative and deep voice to this role and, whilst Cash did not sing, it was a classic moment seeing Cash voice this character. Look back even further when the classic episode, Flaming Moe’s featured, among others, Aerosmith. There, Homer discovered this drink by accidentally mixing cigarette ash, cough syrup (its secret ingredient!) and other assorted liquids when the family ran out of booze after Marge’s sisters, Patty and Selma, were showing holiday slides - much to the ire of the bored family. He confided in Moe and, when the bartender realised this drink would put him on the map, his tavern brought in big musical artists like Aerosmith – everything was ruined when an incensed Homer revealed the secret ingredient just as a businessman was about to lure Moe with a multi-million-dollar contract!

 IN THIS PHOTO: Green Day appeared in The Simpsons Movie in 2007/PHOTO CREDIT: Getty Images

It is hard to say which moment tops them all but, if I had to select two standout episodes, it would be Krusty Gets Kancelled (the season-four episode united big musicians like Bette Midler and Red Hot Chili Peppers during a special show to get Krusty the Clown back on the air after his kids’ show is cancelled). Another one that leaps to mind is when Spinal Tap played a special gig in Springfield – which was fraught with disasters and delays – during The Otto Show in the third season. The show keeps bringing in stars – Green Day appeared in The Simpsons Movie (2007) - and there is a whole list you think should be included. I wonder who else is left to come because, through its near-thirty-year run, The Simpsons has featured everyone from Beyoncé (not a voiceover appearance but her music has featured) and David Byrne to George Harrison. There are many more years left in this iconic show but I look back at all the music appearances and, although it is a brief turn, when Paul McCartney appeared in Lisa the Vegetarian, the show hit its peak. The seventh season episode revolved around Lisa becoming a vegetarian and questioning why she eats meat. She is ostracised and ignored by her family and, when running away from home, she goes to Apu’s Kwik-E-Mart and there, on the roof, is Paul and Linda McCartney. They do not sing – although they tease that a new song is about to arrive – but it is a great use of a famous musician to give the show an extra twist and moment of heart.

IN THIS PHOTO: Linda Eastman (1941-1998) talks to Paul McCartney at the press launch of The Beatles’ album, Sgt. Pepper's Lonely Hearts Club Band, on 19th May 1967. Linda and Paul appeared in The Simpsons episode, Lisa the Vegetarian, in 1995/PHOTO CREDIT: John Pratt/Keystone/Hulton Archive/Getty Images

Whether you love the moment the Ramones are threatened with death by Mr. Burns after performing a raw version of Happy Birthday; you idolise the time Cypress Hill appeared stoned and accidentally hired the London Symphony Orchestra (Homerpalooza) – there are so many wonderful occasions when artists have appeared on The Simpsons. Not only is the animated comedy great when it comes to assimilating musicians into their world but, rare for a comedy, they are nifty when it comes to penning originals. I think about some of the best Simpson-esque songs and I look at when Marge appeared in a local version (with serious flaws) of A Streetcar Named Desire and there was a song called New Orleans - a number dedicated to all the trash and corruption in the city. How about when Homer joined the secretive sect, The Stonecutters (like The Freemasons but less shady!), and there was this hugely catchy song, We Do (The Stonecutters Song) - where members admit that, among other things, they rob cave fish of their sight and keep the metric system down! The wonderful composing and razor-sharp words make these musical numbers almost as standout as the funniest scenes. Of course, The Simpsons’ theme-song (composed by Danny Elfman) is legendary and, love it or not, we can all whistle it! Even if it is a little ditty (Homer singing about the time he was seventeen, got a fake I.D. and sat up listening to Queen whilst drinking beer; an episode, Duffless, where he gave up drink) or it is a more ornate number like we saw in Homer’s Barbershop Quartet.

This was the episode where George Harrison appeared at the end – the story of Homer forming a band followed the arc of The Beatles; when Homer’s band started to fall apart, the show parodied The Beatles’ fraught recording of Let It Be – and the original songs were great. The standout was Baby on Board, a Doo-Wop-like 1950s-inspired number inspired by Marge buying a baby on board sticker to stop other motorists intentionally ramming their car off the road! How about Linda Ronstadt giving Homer’s Mr. Plow jingle a special touch?! Who can forget the rapturous slander, Señor Burns, when Latin-Jazz musician Tito Puente is a suspect in the attempted murder of Mr. Burns. When questioned by the police, Puente admits to hating Burns but denies shooting him. Puente says he prefers an act of musical revenge to violence.

If you had to pin me down to the occasions when The Simpsons got all the ingredients right in a musical number than I would choose Dr. Zaius (A Fish Called Selma) and The Monorail Song (Marge vs. The Monorail). Both songs are performed by the late Phil Hartman. The former is during a production of Planet of the Apes; him revitalising his broken career after a scandal comes out – he marries Selma and gets all these big offers when people realise he is a family man (rumours of him having sex with fish dogged his reputation!). The song is a spoor of Rock Me Amadeus (Falco) and a brilliantly goofy and misplaced song in a very strange theatre production.

The latter song is Hartman playing this shady man trying to sell Springfield a monorail after he learns they have come into some money. He persuades them to buy his dodgy plan after starting this great song. All the townspeople join and add lines; a real musical extravaganza with its catchy melody and superb construction. Maybe that is the best musical number but, when it comes to The Simpsons, we are spoiled for choice! This article has a different view when it comes to the number-one musical number: Why Springfield, Why Not? during season twenty-six’s Walking Big & Tall:

“The new Springfield anthem was created and performed by the town’s children after residents realize the original song was mass-produced for multiple cities. As luck would have it, when Hans Moleman was mayor, he bought the original song from a traveling salesman, as did half the cities in America.

After the town exiles Moleman, Bart and Lisa set to writing and come up with a song that perfectly describes what Springfield is all about.

Sure, our cops are easily bought,
And our dentists are all self-taught
but, Hooray for Springfield.
Give two cheers,
Smallpox free for seven years.
Why Springfield, why not?”

Other comedy shows have used music and original songs – including Flight of the Conchords (who actually appeared on the show) – but The Simpsons has this edge and unique charm. Maybe it the fact it is an animated show and they can bring so many big artists into crazy episodes. Perhaps a guest is there to make the episode stand out or, when done right, they are an integral part of the soul.

The Simpsons turns thirty at the end of the year and it is scary to think that I remember watching the first episode as a six-year-old back in 1989! Nobody thought the show would last past the first season, let alone thirty! There are many reasons why the show has survived and has no end in sight but, to me, one important component is the music. I love every celebrity appearance but get an extra burst of excitement when I see someone big from the world of music inhabit The Simpsons’. I do love the way the show can have these original songs that take episodes in a new direction. I have only mentioned a few but I think about all those earworms from episodes-past that you sing along to and know word-for-word! I watch the classic episodes and I love those times when you hear this big and brash number when characters of Springfield all come together and perform this bold and often-ridiculous song!

From Paul McCartney being instrumental regarding Lisa forgiving Homer for judging her and, similarly, for her being harsh to Homer, right through to Homer having his Rock & Roll dreams fulfilled by heroic musicians, The Simpsons has provided us with countless moments filled with music stars and instantly memorable numbers. Whether you are a bigger fan of the original numbers or prefer the times when well-known artists have made their way into the show, one cannot deny that, at the beating heart of The Simpsons, is this love of music in all forms. I have not even mentioned the late Bleeding Gums Murphy: a fictional late, great Jazz musician who is Lisa’s hero and gives him her saxophone! There are so, so many and I will get all nostalgic and teary-eyed listing them all off! When The Simpsons hits thirty later in the year, there will be multiple celebrations and events around the world. For me, as a music journalist, I am going to mark fondly a show that, through its run, has mixed the worlds of animated comedy and music in...

 IMAGE CREDIT: FOX/Matt Groening

EXTRAORDINARY ways.

FEATURE: Mardy Bum: Is Genuine Joy Escaping from Music?

FEATURE:

 

Mardy Bum

IN THIS PHOTO: Tom Walker/PHOTO CREDIT: Getty Images 

Is Genuine Joy Escaping from Music?

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THIS is something I have raised before...

and it seems that, with every passing month, there is no real improvement. I am thankful we have artists like Lizzo around right now: someone who brings a festival to music and can definitely make you smile. She is not the only one who brings funk and sass to the table. There are others in the mainstream who, rather than mopping or opening their bleeding hearts are genuinely trying to say something positive. I understand it is important being pure and honest and, in fact, two albums I have recently written about, Like a Prayer and The Velvet Rope, had positive and upbeat moments but there were a lot of deeper moments. From domestic abuse to AIDS, they are not exactly light albums. I love both of them and I always approve of artists who put their all into albums and can stray away from the obvious themes of love and heartbreak. Big musicians like Janelle Monáe certainly have a lot of drive and there are plenty of bands out there who can put us in a better mood. A few articles caught my eye over the last few days that seems to suggest that, largely, artists are becoming a bit downbeat and defeatist. I have reviewed some great mainstream albums this year and loved what they were about.

 IN THIS PHOTO: Little Simz (her album, Grey AREA, is one of the top-rated of the year)/PHOTO CREDIT: Vicky Grout for TRENCH

From Julia Jacklin’s Crushing through to Little Simz’s GREY Area, these records are terrific and pack a huge punch. The reason these albums resonate is because the artists are discussing their lives and not shying away from its harshness and realities. There are breezier moments in both albums but, largely, it is a more confessional and stirring listen. One must distinguish between music that is down and slightly negative across the board – in terms of lyrics and music/vocals – and those tracks that have slightly heartbroken lyrics but can build up a real storm with the composition. Many artists are still using love and its sting as their major stock so, invariably, we are seeing a lot of songs that are slower, more repetitive and have that haunting sound. It seems that, especially with male solo artists, there is this rather rigid and predictable sound. Most of them are white and heterosexual; they are quite cosy and, in these troubled times, providing music that is pretty safe but, when you listen to it, somewhat dour. The vibe is not especially captivating and, led by artists such as Ed Sheeran and Tom Walker, we have these samey and identikit men who are willing to talk about their lives with real honesty but you never feel joyed or happier hearing them. This illuminating article from The Guardian talked about this new trend and how a rather boring and unspectacular brand of artist is storming the charts:

“In this moment of international pop utopianism, Britain, naturally, has gone the other way. Our current pop stock-in-trade is a school of male singer-songwriters with exceptional voices and wilfully unexceptional images that entrench an impression of authenticity. They are all white, despite their soulful vocals, which sing of safely secular salvation (they’ll provide it), epic loves (they’ve had and lost them) and struggle (broadly defined). These ordinary boys bolster their yearning with a sound that homogenises sturdy rock heft, EDM dynamism and delicate electronica, with occasional intimations of hip-hop. And hats...

IN THIS PHOTO: Ed Sheeran/PHOTO CREDIT: Getty Images 

“That direct appeal to men has also fostered an environment where these artists can connect by discussing mental health. “There’s an idea in society that men have to be really masculine, tough and unemotional and put on a hard exterior,” says Grennan, who started playing guitar as part of his recovery from a violent attack and the depression that ensued. “I’m sometimes spoken about as being a ‘geezer’, which is weird to me as I’m just a product of my environment – a working-class lad from Bedford. But if that helps other ‘geezers’ talk openly and drop the bravado, then great”.

Look across most genres now and is there one that stands out regarding happiness and something more positive? We used to have a great House and Dance scene that was all about joyfulness; a British Pop movement that, if you see it as crap or not, was definitely determined to make people come together – there has been a massive shift in terms of subject matter and mood in music. I look at the Pop mainstream and even when one looks at some of the biggest artists like Dua Lipa and Ariana Grande; their music might be quite poppy and bouncing but their words, for the most part, are about heartbreak or challenges in life. It is important to have your audience identity with you but I fear, at a time when we need a more positive wave in music, artists are going in the wrong direction.

Look at Country and Folk and, yes, there are happier times to be had but not a huge difference. I listen to a lot of Country and do appreciate that one can definitely find greater energy and excitement when it comes to the compositions at least. Big artists like Kacey Musgraves can get one kicking but, look closely at what is being sung, and there is still an element of being trampled or having to overcome difficulty. I am not suggesting we have this sad-free culture that urges people to come together but I wonder where the chink of light will come from. Another article from The Guardian investigated how a more confessional and revealing style of Hip-Hop is coming about. The genre has always been pretty strong regarding tougher subjects and talking about stuff like suppression, depression and violence in the streets. Now, with so many performers suffering from poor mental-health, this is coming into music a lot more:

“The data – amassed from lyrics in songs featured in the end-of-year charts from 1958 to 2017, using a computer program called TextBlob – reveals that the most popular music genre in the US may also be its most depressed. A rise in rappers discussing mental health has led to a significant spike in the number of tracks mentioning suicide, depression, anxiety and prescription drugs.

The study, run by marketing agency Take 5, found that 24 of the 100 singles overall across rock, pop and hip hop in 1958 mentioned mental health, compared with 71 in 2017. The data also backs the huge popularity of what has been dubbed SoundCloud rap, an offshoot described by the New York Times in 2017 as “the most vital and disruptive new movement in hip hop”...

From the very beginnings of hip-hop, rappers have reflected on difficult lives; in 1982 Grandmaster Flash delivered one of the most seminal verses in pop history with The Message. The lyrics – “Don’t push me ‘cause I’m close to the edge, I’m trying not to lose my head/ It’s like a jungle sometimes, it makes me wonder how I keep from goin’ under” – are just one example, says Dr Carson, that show hip-hop has always been about more than the cliches around gangsta rap”

I have advocated, for a long time, for artists to be more honest with regarding mental illness to ensure that we raise awareness. I have also been keen for political matters to be tackled and, largely, artists have done this – not that I had anything to do with any of it! I appreciate that music is this platform where artists can discuss important and life-threatening issues but is there too much reliance on seriousness and drilling the point home? It would not distil the cocktail and take away from the gravity of subjects like mental-health concerns and drugs if there was some humour and light. So many artists – from be-hatted British mainstream artists to Rap and Hip-Hop stars – are unable to find anything positive and fun to talk about. There is a school of thought that suggests we are beholden to the music we grew up around and modern music is a bit rubbish.

 PHOTO CREDIT: @brucemars/Unsplash

I grew up on artists who would talk about heartbreak and splits and was not immune to the pains they were going through. That said, whether it was The Beatles or Oasis, there was always something upbeat to be found. Whether it was a hands-in-the-air chorus or a beautifully-crafted Pop song, I always had that sense that things would be okay. I do not think I would be invested in music and where I am now were it not for all the sunshine and energy I found growing up. Have we, now, had to settle for a compromise regarding mood? Are we happy enough if a song has a spirited aesthetic and sound even if the lyrics are melancholic. I have hope that a lot of the more promising Pop artists, such as Sigrid and Robyn, are going to keep injecting energy and bangers into the mix. In fact, Robyn was the focus of a recent Pitchfork article. She is unique in this age and has a lot of passionate fans. So many modern artists, such as Carly Rae Jepsen, adore her because of her passion and how her songs make you feel. Even if the lyrics cover something quite sad and heartbroken, Robyn sort of combats that with the sense that things will be okay; that there is light and hope to be found. Jepsen is definitely a convert regarding Robyn’s objectives:

“When I ask Jepsen which of her own songs feels most indebted to Robyn, she picks the airy and yearning “Love Again,” a bonus track on E•MO•TION. “It has that same sad-but-hopeful message, that idea that you get back up and keep going even when it feels like you’re heartbroken,” she muses. Jepsen’s lovestruck, wondering songs on E•MO•TION are full of imprecations to take her to the feeling. That feeling, in her songs, seems closely related to the tropical-house vibe that shimmers out of Robyn’s songs like bodysuit spangles. This is, in many ways, the Robyn Feeling: sad, exultant, vanquished, triumphant. Human romantic longing as epic unstoppable tide, something that might start from within but quickly engulfs from without”.

I do love Robyn’s music and suggest you seek it out if you want to hear pure Pop made by a singular artist. What is it about Robyn’s music that gets to people, though?

“Robyn’s music prioritizes seamlessness and unity. Her tracks feel like Robyn’s moods, her internal weather made manifest. When she sings, “Don’t go messing with love, it’ll hurt you for real/Don’t you know that love kills,” she sounds determined, grim, and defensive, and so does the track. When she walks you through the process of breaking up with your girlfriend so you can be with her instead on “Call Your Girlfriend,” she sounds sly and winsome and flirtatious and empathetic, and so does the track. You can wrap the whole thing around yourself, live inside of it, and still dance to it.

Dance music has a long history of unleashing exultant energies, but Robyn brings an element to that cresting wave that is less common: melancholy. Melancholy, historically, is largely an emotion that makes you drop your arms, hang your head, feel like a coat hanger holding up your own body. But in Robyn’s world, melancholy is blown up, glittering, transfigured. Her music acknowledges the weight of melancholy and pulls against it with apposite weight. The feeling Robyn’s songs want you to have is hard-earned glory: Glory within your own body, however gawky or awkward or weird you believe it to be; glory in your life, however lonely or sad you feel”.

There does seem to be this split between artists who always project something boring, moody or routine – I refer to the British male solo artists who seem incapable of finding light anywhere. Maybe I am being harsh but there is a trend here towards something a bit sunken, confessional and samey. Look at modern Pop and Hip-Hop and, whilst we have some thrilling artists to be found, there is a greater weight regarding the introspective, confessional and quite unhappy. We do not have the same explosive Dance scene we once had and even Hip-Hop is producing fewer of these kaleidoscopic and colourful acts that could bring some wit and humour to the party – I do miss the glory days of De La Soul! Even a treasured artist like Robyn, as we all know, can get people dancing with her tunes and, whilst her messages project hope, there is still that base of something more melancholic. I understand how vital it is for artists to understand what we all go through and write something relatable. We all need to know that artists go through the same s*it and we will all come together. That is great but I do worry, as I have theorised before, music has lost its smile, sense of joy and colour. Surely, as we are more torn and broken, a new wave of House and European invention – that brought us the likes of Deee-Lite, among others -; some innovative and joyous Hip-Hop or Pop that has no agenda and genuinely has a positive outlook in all respects...this is what we need more than ever. The reason I listen to more older music and stuff I grew up around is not because of nostalgia at all but, rather, that I know I can get a hit of fun and positivity with no sour core. We all need something delirious, inspiring and positive to get us through but does that mean, more often than not, we need to...

STEP back in time?

FEATURE: No April Fools: The Best Albums to Own Next Month

FEATURE:

 

No April Fools

IN THIS PHOTO: Fontaines D.C./PHOTO CREDIT: Richard Dumas  

The Best Albums to Own Next Month

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WE have seen a lot of great albums come out...

 IN THIS PHOTO: Aldous Harding

this month but I feel April is going to be another hot one. There are a couple of weeks left but I wanted to look at some of the records you will want to own! It is always hard to get to grips with all the great music coming out but there are some definite standouts from the April-due records. If you have some spare pennies and are looking for what to own next month, I have collected together the essential releases. The days are getting warmer and longer so it is a great time to invest in music. That might sound strange but we are happier when the weather is finer and I feel this season is conducive to a lot of musical passion and fresh investigation – less fatigued than we are in the winter time. As I say, it is challenging deciphering the best from the average but here, in this assortment, are the albums you need to get involved with...

 IN THIS PHOTO: SOAK

IN April.

ALBUM COVERS/PHOTOS: Spotify/Getty Images

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 Circa Waves – What’s It Like Over There?

Release Date: 5th April, 2019

Label: Prolifica Inc.

Standout Tracks: What’s It Like Over There?/Movies/Passport

Pre-Order Link: https://circawaves.com/#home

Key Selection: Times Won’t Change Me

PRIESTS – The Seduction of Kansas

Release Date: 5th April, 2019

Label: Sister Polygon Records

Standout Tracks: Jesus Son/I’m Clean/Control Freak

Pre-Order Link: https://priests.bandcamp.com/album/the-seduction-of-kansas

Key Selection: The Seduction of Kansas

Anderson .Paak – Ventura

Release Date: 12th April, 2019

Label: Aftermath Entertainment

Standout Tracks: Make It Better/Winners Circle/Jet Black

Pre-Order Link: https://buy.andersonpaak.com/collections/music/products/ventura-2xlp-webstore-exclusive

Key Selection: King James

Fontaines D.C. – Dogrel

Release Date: 12th April, 2019

Label: Partisan Records

Standout Tracks: Too Real/The Lotts/Boys in the Better Land

Pre-Order Link: https://www.normanrecords.com/records/174852-fontaines-d-c-dogrel

Key Selection: Big

The Chemical Brothers – No Geography

Release Date: 12th April, 2019

Label: Virgin EMI Records

Standout Tracks: No Geography/Got to Keep On/Gravity Drops

Pre-Order Link: https://www.thechemicalbrothers.com/

Key Selection: Free Yourself

Cage the Elephant – Social Cues

Release Date: 19th April, 2019

Label: RCA Records

Standout Tracks: Black Madonna/Ready to Let Go/The War Is Over

Pre-Order Link: https://www.cagetheelephant.com/2019/01/31/social-cues/

Key Selection: House of Glass

Fat White Family – Serfs Up!

Release Date: 19th April, 2019

Label: Domino Recording Company

Standout Tracks: I Believe in Something Better/Fringe Runner/When I Leave

Pre-Order Link: https://fatwhitefamily.bandcamp.com/album/serfs-up

Key Selection: Feet

Jade Bird – Jade Bird

(NOT ACTUAL ALBUM COVER)

Release Date: 19th April, 2019

Label: Glassnote Records

Standout Tracks: I Get No Joy/My Motto/Uh Huh

Pre-Order Link: https://www.banquetrecords.com/jade-bird/jade-bird/GLS-0242-02

Key Selection: Lottery

Lizzo – Cuz I Love You

(NOT ACTUAL ALBUM COVER)

Release Date: 19th April, 2019

Labels: Nice Life/Atlantic

Pre-Order Link: https://store.warnermusic.com/cuz-i-love-you-digital-album-1.html

Key Selection: Cuz I Love You

Aldous Harding – Designer

Release Date: 26th April, 2019

Label: 4AD

Standout Tracks: Fixing Picture/Treasure/Heaven Is Empty

Pre-Order Link: https://www.normanrecords.com/records/175059-aldous-harding-designer

Key Selection: The Barrel

Peter Doherty & The Puta Madres – Peter Doherty & The Puta Madres

Release Date: 26th April, 2019

Label: Strap Originals

Standout Tracks: All at Sea/Someone Else to Be/A Fool There Was

Pre-Order Link: https://www.amazon.co.uk/Peter-Doherty-Puta-Madres/dp/B07N47DRWJ

Key Selection: Who’s Been Having You Over

SOAK – Grim Town

Release Date: 26th April, 2019

Label: Rough Trade Records

Standout Tracks: Everybody Loves You/Crying Your Eyes Out/Scrapyard

Pre-Order Link: https://store.roughtraderecords.com/products/soak-grim-town

Key Selection: Knock Me Off My Feet

FEATURE: Vinyl Corner: Janet Jackson – The Velvet Rope

FEATURE:

 

Vinyl Corner

IMAGE CREDIT: Spotify 

Janet Jackson – The Velvet Rope

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THIS is the opportunity where I get to put a record...

 IN THIS PHOTO: Janet Jackson/PHOTO CREDIT: Vibe

into the corner and give it special appreciating. As Janet Jackson has been confirmed for Glastonbury, it seemed only right I would focus on one of her albums. I am of all of her work but I have a special love for The Velvet Rope. I was a teenager when it arrived and it instantly took me aback. Jackson signed a contract with Virgin Records for $80 million; the largest recording contract in history at that point. With that sort of money behind it, it was clear her future work had to live up that sort of belief. She was no stranger to hit albums and singles but she was entering the peak of her career and a lot of eyes were on her. Around the time of the album (1997), Jackson experienced an emotional breakdown and was going through a rough time. A lot of the turmoil stemmed from childhood problems and traumas and, rather than sublimate the fear and unhappiness, she used it in a sort of concept album that would tackle these feelings. The title, The Velvet Rope, refers to that need to feel wanted and popular: it also has that sort of feeling that there is a hidden world away from those who are not V.I.P. Jackson put her heart and soul into the album and, whereas there were inner-scars and personal burdens in the songs, The Velvet Rope was a much broader album that looked at things such as same-sex relationships and domestic violence.

By the time of The Velvet Rope, Jackson was seen as one of the greatest and most seductive vocalists of the 1990s. Helped in part by a lot of the album’s charged and passionate songs, Jackson’s status rose and she proved she was far ahead of most of her Pop peers. The inclusion of same-sex marriages and homophobia on The Velvet Rope turned Jackson into a bona fide gay icon and she received huge kudos. The Velvet Rope is a twenty-two-song bonanza that has a running time of over an-hour-and-a-quarter. Many artists embarking on a project of that ambition would be derided and critics would be all over them. Jackson was going through a lot of change and struggle so it is only fair she would be granted the chance to let everything out. Co-writing with her then-husband René Elizondo Jr., Jimmy Jam and Terry Lewis, there were contributions from the likes of Vanessa-Mae, Q-Tip and Joni Mitchell (even if it is more of a sample). Not many artists can boast that sort of eclectic line-up and that was mirrored in the variety of genres on The Velvet Rope. Alongside Pop and R&B was Trip-Hop, Folk and Jazz – a myriad of sounds and expressions. It was clear that Janet Jackson was struggling away from the microphone and she was starting to question her career path. Feeling the pressures of the industry and the demands of fame, The Velvet Rope is a cathartic thing from an artist trying to make sense of everything and see where her future lay.

Although The Velvet Rope received bans and judgements in some nations (including Singapore) because of its look at homosexuality and support of same-sex marriage, it struck a huge chord with critics. In fact, a lot of the criticism was coming from a few corners but it seems strange that, in 1997, singing about homosexuality and sexuality in general would provoke outcry. On various numbers, Jackson addressed AIDs and bisexuality; personal scars and fears as well as a more conventional mixture of topics. Jackson herself saw no issues as, aside from having a lot of gay and bisexual friends, this was her being natural and a true artist. She was pushing boundaries and opening up the conversation and, when the album arrived on 7th October, 1997, it seemed like nothing else. I wonder whether we have seen many albums as bold and eye-opening in the near-twenty-two years since! Listen to the song, What About, and how Jackson discusses domestic abuse. She was unflinching and raw and, alongside some of the other songs on the album, The Velvet Rope could be seen as starling and hard to swallow. Consider the fact that, in 1989, Madonna was addressing similar themes on Like a Prayer - including AIDs, domestic abuse and freedom of expression. In this article udiscovermusic talks about The Velvet Rope being this risk-taking album that saw the growth of this Pop rebel:

“By the time The Velvet Rope came along in 1997, the girl from Gary, Indiana, had morphed into a confident young woman whose two follow-up albums to Control – 1989’s Rhythm Nation 1814 and 1993’s Janet, both co-produced by the singer with the dependable Jam & Lewis – made her the most famous woman in the world at that point...

The whole album was an access-all-areas invitation into Janet Jackson’s internal private world – a world usually cordoned off by a velvet rope. Explaining the album’s title and concept, Jackson said, “We’ve all driven by premieres or nightclubs, and seen the rope separating those who can enter and those who can’t. Well, there’s also a velvet rope we have inside us, keeping others from knowing our feelings. In The Velvet Rope, I’m trying to expose and explore those feelings. I’m inviting you inside my velvet rope.”

Despite the controversy it engendered, The Velvet Rope topped the album charts around the world on its release in the autumn of 1997 and reaffirmed Janet Jackson’s position as the pre-eminent top-selling female recording artist of her generation. But Jackson’s main goal was more about personal development and exorcising her demons than selling records. Above all else, her honesty on The Velvet Rope was genuine and sincere. “I think it’s important to be true to yourself in your music,” she said. “I think that’s the only way I can actually write music”.

PHOTO CREDIT: Getty Images

Away from the (unnecessary and overactive) controversy, The Velvet Rope remains this hugely inspiring and different album. It is, as The Guardian explains, a hugely eclectic and challenging album:

“There are also the various shades and moods that go with a 22-track album, showcasing what lifelong fan How to Dress Well, AKA Tom Krell, refers to as the album’s “recklessness with genre conventions and restrictions”. For pop star MNEK it covers “the full human condition. The whole thing bares a sadness but still a joy.” Not many albums utilise a Tubular Bells sample next to a solo from violinist-turned-Olympic skier Vanessa Mae...

At its core, too, is the enduring relevancy of its subject matter. Written following a severe bout of depression – “I’ve been burying pain my whole life,” she told Ebony at the time – the songs are therapy-esque monuments to self-discovery (very 2017), bookended by sensual self-exploration (Rope Burn) and, on the cover of Rod Stewart’s Tonight’s the Night, the suggestion of bisexuality. The jazz-tinged Free Xone, meanwhile, tackles homophobia. “It felt incredibly personal, like I was diving into someone’s creative process,” says lo-fi pop practitioner Shura of the first time she heard the album. “I love the idea that a fearless record like The Velvet Rope has inspired artists and albums that are so vastly different”.

In terms of its influence, The Velvet Rope has inspired so many artists since. Janet Jackson helped make the dark and riskier album seem part of the fabric. Before then, there were not many artists talking about such weighty topics as domestic abuse on their albums. Jackson was also mixing genres like never before and combining Jazz, Folk and Techno shades to create this bright, unique and stunning soundscape. Artists who followed her could see what could come from fusing strange bedfellows and taking greater risks regarding subject matter. The Velvet Rope was a rarity regarding mainstream releases and was creating all these wonderful angles and digressions. Jackson was this liberal and explosive songwriter who was sexually free and showing that this was okay – that was a big revelation in 1997! In terms of its nakedness and boldness, artists like Rihanna and Fiona Apple have been inspired. The list, in fact, is long and one can link a lot of songs/albums back to Velvet Rope. In this time, we do not see many albums like The Velvet Rope and I wonder whether artists need to take note. The 1990s did see bolder and expressive artists put out these incredible albums and, in many ways, things have become softer, safer and less risky. I do think music needs to learn from artists such as Janet Jackson and ask why we are more reserved and less brave regarding what is put out there.

Some were unsure about The Velvet Rope when it came out but a lot of retrospective reviews have seen the album in a more positive light. There is a lot to enjoy about it. In this review from SLANT, they look at the sexual themes expressed and how her honesty and emotional openness was the finest quality of all:

“For a sex album that also seems to aim at giving fans an unparalleled glance behind the fetish mask (literally, in the concert tour performance of “You”), Janet’s probably never been more cagey.

But behind the sex is something even more compelling, because it gradually dawns on you that Janet’s use of sexuality is an evasive tactic. That it’s easier for her to sing about cybersex (on the galvanizing drum n’ bass “Empty,” one of Jam and Lewis’s very finest moments, maybe even their last excepting Jordan Knight’s “Give It to You”) and to fret about her coochie falling apart than it is to admit that it’s her psyche and soul that are in greater danger of fracturing. Soul sister to Madonna’s Erotica (which, in turn, was her most daring performance), The Velvet Rope is a richly dark masterwork that illustrates that, amid the whips and chains, there is nothing sexier than emotional nakedness”.

Following the announcement Janet Jackson will play at Glastonbury, it is a good time to look back at her catalogue and gems like The Velvet Rope. Although it is quite tricky tracking the album down on vinyl, there are second-hand copies and chances to pick it up. After all this time, it still sounds completely forward-thinking, revolutionary and raw. It will be exciting seeing whether any of the songs (from the album) make their way to the Glastonbury stage and how the crowd react to them. Maybe Janet Jackson released more critically-acclaimed albums than The Velvet Rope but, to me, she never released...

 PHOTO CREDIT: Getty Images

ANYTHING more accomplished.

FEATURE: Glastonbury 2019: Has It Moved Forward at All?

FEATURE:

 

Glastonbury 2019

IMAGE CREDIT: @GlastoFest  

Has It Moved Forward at All?

__________

THE list of artists who will play this year’s Glastonbury...

 IN THIS PHOTO: Christine and the Queens/PHOTO CREDIT: Eva Pentel for DIY

have been announced and, whilst there are more names coming, we have the idea regarding the sort of sounds that will define the festival, it is interesting to see how things have changed through the years. It is definitely a packed and varied festival with plenty of great talent in the pack. Here, as The Guardian writes, there is an eclectic spirit running through the line-up:

“The Killers and the Cure have been announced as the final headliners of the 2019 Glastonbury festival. Brandon Flowers’ Vegas band will headline on the Saturday, and Robert Smith and co on the Sunday. They join the previously announced headliner Stormzy, who will close the Pyramid stage on Friday night.

It is the Cure’s fourth time headlining Glastonbury, following slots in 1986, 1990 and 1995. They join Coldplay as the only groups to have headlined the festival four times.

Down the bill, there are first-time Glastonbury appearances from Janet Jackson, Lauryn Hill and Miley Cyrus, among others. Liam Gallagher will follow his packed Other stage show at Glastonbury 2017, and Christine and the Queens returns for her second Glastonbury, having provided a flash of European optimism with her debut at the 2016 festival, the day after the UK voted to leave the EU.

There is a strong showing for the crop of young, game-changing pop stars: the goth-pop icon-in-the-making Billie Eilish joins the hip-hop and flute polymath Lizzo. The Spanish flamenco trap musician Rosalía, Norwegian power-popper Sigrid, British producer Shura and Fiona Apple-endorsed King Princess also perform...

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Getty Images

The UK rap scene is well represented with Stefflon Don, Little Simz, Kate Tempest, Loyle Carner, Slowthai and Bugzy Malone, as is the burgeoning international jazz community with Kamasi Washington and Britain’s Sons of Kemet and the Comet is Coming. Britain and Ireland’s male singer-songwriter set is represented by George Ezra, Hozier, Rex Orange County and the socially conscious guitarist Sam Fender”.

I do like the fact Glastonbury have mixed in new Pop artists and the best when it comes to British Rap. It is hard to include every genre together but the fact Glastonbury is not all about Pop and Rock is rewarding. Stormzy is a good headline shout because it breaks away from the usual Rock bands and provides a platform for British Grime and Rap. I will come to the headliners soon but I do like the look of the artists under the headliners. More names are coming through but some of my recent favourites, like IDLES and Jorja Smith, have a chance to capitalise on successful 2018s and get their music to a new audience. Similarly, it is good that newer artists like Anne-Marie get to sit alongside established names such as Sheryl Crow. Glastonbury has always been good regarding its blend of the older and new and this year is no exception. This means that revellers of all ages will come along and there will be this great community.

 IN THIS PHOTO: Kacey Musgraves (omitted from this year’s Glastonbury line-up)/PHOTO CREDIT: Getty Images

Look down at the line-up and one can have few reservations regarding the mix of genres. There has been criticism that some genres have been left out. I wonder whether Country artists like Kacey Musgraves got a call and whether Country as a whole was considered. I do feel like there is a place for greater variety. The same can be said of Metal. Maybe adding a big Country name like Kacey Musgraves alongside a legendary Metal band or newer name would make Glastonbury even broader. I know there are specialist festivals for Metal but many would like to see it play a part at the country’s biggest event – it has been missing for a very long time now. More names will be revealed so we cannot say we have seen everything yet. It is the powerful female showing of Janelle Monáe, Christine and the Queens and Janet Jackson that excites me. Many, myself included, are thrilled to see Janet Jackson included on the bill. Many of us know her biggest hits but she will have chance to play a career-spanning set to a delighted crowd. I am about to feature her album, The Velvet Rope, later today so I will be in Jackson territory for the rest of the day! It would be good to see more bands in general because, largely, this year’s line-up is solo-heavy.

 IN THIS PHOTO: Janet Jackson/PHOTO CREDIT: Getty Images

I am glad obvious names like Foo Fighters and Muse are excluded but there are a lot of great bands emerging that would benefit from a spot. Look at the best albums from 2018 and it is a little odd not seeing some of their creators included. Cardi B (Invasion of Privacy) and Ariana Grande (Sweetener) could sit alongside The 1975 (A Brief Inquiry Into Online Relationships) and Robyn (Honey). There is no inclusion of Arctic Monkeys and I do hope some of these names get included later. It is wonderful Lauryn Hill and Liam Gallagher are involved but I do wonder why names such as George Ezra keep getting appearing so high! He is headlining and dominating festivals at the moment and I cannot figure out why! He has a bland sort of Pop charm but it is not something that needs to appear at so many big festivals. Kylie Minogue has been confirmed already to play in the ‘legends’ slot and I do wonder whether we will see more like her, who can bring genuine fun, coming along. I was a little shocked to see artists such as Hot Chip and Pond appear on the bill when there is an absence of bigger acts. I guess you need to balance the established with the rising so, in many ways, it is hard to please everyone. There is a nice balance of British and American artists but not that many from outside these two countries – except for a bit of Swedish and French shine.

 IN THIS PHOTO: Stormzy/PHOTO CREDIT: Shirlaine Forrest/WireImage

To me, the biggest benefits and standouts from the names already announced is the variety of sounds. It is one of the most multifarious rundowns and many new punters will come to Worthy Farm in Somerset. I do feel like, in future years, a few extra steps can be taken regarding ignored genres but we have Rap, Grime; Jazz, Pop and everything else thrown into the blender! A major festival should not be just about big names and those who have enjoyed long careers. Stormzy’s headline set is a rare chance for a new artist – only one album in – to have their say. Including icons like Janet Jackson, Kylie Minogue and Lauryn Hill in the mix gives Glastonbury a strong backbone and that sense that, regardless of the weather, people will flock to see them! Although organisers Michael and Emily Eavis tried to get a fifty-fifty gender balance, about 42% of the names are women. I am curious how one tries and fails to get a fifty-fifty split. Surely it is simple arithmetic and you just invite a few more women?! One doubts they’d refuse and so, next year, there is no excuse for needlessly having a male majority...however small it appears. Artists like Kacey Musgraves, St. Vincent and Dream Wife would have been terrific and, if it meant bumping a few lesser-known male names then so be it! It is strange hearing excuses and wondering why, when the most exciting music made right now is by women, there is still that male majority.

 IN THIS PHOTO: A guaranteed crowd-pleaser, Lizzo/PHOTO CREDIT: Getty Images

It is good to see Sharon Van Etten on the bill and also Little Simz. They have both turned in terrific albums this year – Remind Me Tomorrow and GREY Area respectively – but where is Julia Jacklin? She has been consistently great and, with Crushing, provided us one of the best albums so far this year. Despite my gripes, the bill is pretty solid and a lot of effort has gone in. Seeing the names most likely to provoke excitement and dance and, again, they are women. Look at Janet Jackson, Christine and the Queens and Kylie Minogue; Lizzo, Billie Eilish and Sigrid; Miley Cyrus is in there too – an unusual booking but a pretty good shout. There is a lot of energy in there and, when compared to some of the boys on the bill, I think the greatest power and pull will come from the women! I understand that Janelle Monáe is headlining a stage and Kylie Minogue is the big name in the legend slot but when it comes to the Pyramid Stage and, effectively, the major headliners it is another case of men ruling. I could forgive, maybe, male-heavy headliners if the rest of the bill was dominated by women. As it stands, we have an imbalance further down the bill and 100& men as the headliners. Excluding names I have already mentioned, I could rattle off a dozen-plus women who could replace any of the headliners.

 IN THIS PHOTO: The Cure’s Robert Smith/PHOTO CREDIT: Getty Images

I knew The Cure were headlining because they have been odds-on for weeks now and nobody is shocked. You need a legendary act as a headliner and The Cure’s inclusion is good. I was wondering whether Sir Paul McCartney would get the call but The Cure have a huge fanbase and their headline slot is welcomed. They have headlined before but I know they will be adding new songs and elements to their set this time around. Stormzy’s headline nod was always going to divide people but, as we have a new male artist and an iconic male group already confirmed then why add a third?! The Killers have their own qualities but they are not really adding anything truly exciting or new to Glastonbury. You need a female voice at the top of the bill and, looking at this year’s headliners, it seems like we are traveling back in time. Glastonbury’s bill shows progression but the headliners seem to have frozen us about a decade or two back! The headliners are the big selling-point and a big reason to come to Glastonbury. I am annoyed, if not surprised, there is an all-male look – cast your eye back to the last decade of Glastonbury and you can pretty much count the female headliners on two hands and have fingers left! – but it is general quality that frustrates me. I do think that, looking forward, the Eavis’ need to think more about gender balance and providing a more exhilarating headline look.

 IN THIS PHOTO: The Killers/PHOTO CREDIT: Eric Weiss

2017 saw Ed Sheeran included alongside Foo Fighters (turning in the same old set) and it has been a long time since we have seen a truly standout, history-making set. Regardless of the predictable gender imbalance and that beige headline booking, the rest of the bill should sort of set an example as to what we want the headliners to be about. The fact Janet Jackson is getting more positive buzz than The Killers makes me wonder why she could not have been booked as a headliner. There is definite forward-movement regarding genre diversity and bringing more to the party. I do feel like that reach need to stretch a bit more for 2020 but it is a pleasing mix of newer and big names on the poster. Even if the weather does not hold up, there is plenty of strut and electricity to get people jumping and united. That is what we need, I guess. We are in a very testing and struggling time so music can fill that gap. I am not quite enticed enough to go to Glastonbury – the headliners need to be a bit stronger – but it is wonderful seeing so many promising newcomers get their shot. To mark a busy and eclectic Glastonbury – with more names still to come – I have put together a playlist of songs from the artists already booked. As the playlist shows, the sheer assortment of sounds...

 IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Kylie Minogue/Getty Images

IS amazing.

FEATURE: The March Playlist: Vol. 3: Our English Rose

FEATURE:

 

The March Playlist

IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Harry Wade 

Vol. 3: Our English Rose

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IT is a bit of a slender week…

PHOTO CREDIT: Arcade Fire

regarding big new releases. Aside from new tunes from Lucy Rose, Billie Marten; Arcade Fire, Solange and Shura, there is a bit of a mixed bag. It goes in cycles so you can never tell when we will get a really hot week or whether it will be a bit quiet. In this case, things are a little on the quiet side but there are still some great songs to be found. There is enough in there to keep you energised as you go through the weekend and, if anything, a chance to look at the lesser-known artists breaking through at the moment. As the weather is still a bit rough, let’s settle down with this week’s new music and let the assortment of sounds…

IN THIS PHOTO: Shura

DO their work.  

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artists

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Lucy Rose – Treat Me Like a Woman

Billie Marten – Betsy

Shura - BKLYNLDN

PHOTO CREDIT: Mary Ellen Matthews

Arcade Fire – Baby Mine

Wallows - Sidelines

PHOTO CREDIT: Eliot Lee Hazel

Karen O & Danger Mouse – Turn the Light

Jade Bird – My Motto

PHOTO CREDIT: Elias Tahan

Solange – Binz

PHOTO CREDIT: Pennie Smith

The Good, The Bad & The Queen – The Truce of Twilight

Foals – White Onions

Kara Marni – Lose My Love

Twin Shadow – Truly

IN THIS PHOTO: Vampire Weekend

Vampire Weekend (ft. Steve Lacy) - Sunflower

Jenny Lewis – Wasted Youth

Julia Michaels – Apple

Khalid - Talk

PHOTO CREDIT: Bennett Raglin/Getty Images for Power 105.1

Juice WRLD –Hear Me Calling

PHOTO CREDIT: Israel Ramos

Anderson .Paak - King James

Emeli Sandé – Sparrow

IN THIS PHOTO: Etta Bond

Etta Bond (ft. Kojey Radical, Shaé Universe) – If I Fall

Iggy Azalea – Sally Walker

Lennon Stella – BITCH (takes one to know one)

Rachel Platten – Wonder (from Wonder Park)

Tierra Whack - Wasteland

Una Healy - Strangers

IN THIS PHOTO: Cheat Codes

Cheat Codes, Daniel Blume – Who’s Got Your Love

PHOTO CREDIT: WDZIEKONSKI

King Gizzard & the Lizard Wizard – Fishing for FishIes

Joy Williams – When Does a Heart Move On

Hands Off Gretel – It’s My Fault

Laleh – Knock Knock

Sophie Zelmani - Sunrise

Natalie McCool – Woman’s World

FEATURE: We Stand Together: The New Zealand Playlist

FEATURE:

 

We Stand Together

IN THIS PHOTO: Christchurch, New Zealand/PHOTO CREDIT: Getty Images 

The New Zealand Playlist

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IT has been an horrific day for the people of Christchurch...

 IN THIS PHOTO: Christchurch, New Zealand/PHOTO CREDIT: @edwardmanson

in New Zealand. A terrorist attack has left forty-nine dead and many wounded in a senseless and insane attack. People around the world are sending their sympathies and best wishes but one wonders how it happened and what provoked anyone to carry out so a violent attack. The BBC reported the news here:

“Forty-nine people have been killed and at least 20 wounded in shootings at two mosques in Christchurch, New Zealand.

Prime Minister Jacinda Ardern described the incident as a terrorist attack and one of New Zealand's "darkest days". It is the nation's deadliest attack.

A gunman identifying himself as an Australian live-streamed the rampage at Al Noor mosque to Facebook.

A man in his late 20s has been arrested and charged with murder. Two other men and one woman were also detained.

Firearms and explosive devices were recovered, Police Commissioner Mike Bush said. One of those detained was later released.

The gunman live-streaming the attack from a head-mounted camera said he was a 28-year-old Australian called Brenton Tarrant. The footage showed him firing indiscriminately at men, women and children from close range inside the Al Noor mosque.

Police called on the public not to share the "extremely distressing" footage online. Facebook said it had removed the gunman's Facebook and Instagram accounts and was working to remove any copies of the footage”.

New Zealand is known for its peaceful people and safety and this comes as a huge blow – a moment of evil that has shocked a nation! Although there is nothing that can make things better, I wanted to bring together some New Zealand-born/based artists and celebrate the music of the country. There will be a lot of questions following the terror attack and we hope the death toll does not raise. New Zealand is a fine nation and, as you can tell from the playlist below, it is a country that has produced...

 IN THIS PHOTO: Lake Tekapo, New Zealand/PHOTO CREDIT: @tokeller/Unsplash

SOME truly wonderful music.

FEATURE: Violently Happy in This Post-Utopia: Björk’s Studios Albums on Cassette: Her Five Essential Releases to Own

FEATURE:

 

Violently Happy in This Post-Utopia: Björk’s Studios Albums on Cassette

 IMAGE CREDIT: @bjork  

Her Five Essential Releases to Own

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GOOD news for Björk fans because...

 IMAGE CREDIT: @bjork

she has announced her studio albums will be released on tape! It is not only great for her fans – such as myself – but it will capture the imagination of other artists. Some might say it is a bit of nostalgia and who really owns a cassette player in this time? I must admit it is quite tricky getting hold of a stereo tape deck but I think it is great we get to see these multi-coloured Björk albums available in a nice bundle. You can order your favourite albums or you can get hold of the lot. Here, as Tiny Mix Tapes explain, 26th April is an exciting date to put in your diaries!

 “Here’s what you can get: Debut, Post, Homogenic, Vespertine, Medúlla, Volta, Biophilia, Vulnicura, and Utopia (R.I.P. Selmasongs) individually or in a bundle as stunning colored cassettes. They’ll look incredible on your shelves! (Or, more realistically, the Discogs Marketplace.)

For fans who love Björk as much as they love inconvenience, lack of durability, and low fidelity, you can pre-order one or all of the cassettes here, with an official release date of April 26. Individual tapes cost £8.99, while the bundle will run you £69.99, which Google tells me is currently equivalent to 92.91 United States Dollars (or 10,972.77 Icelandic Króna!), which is honestly a steal”.

I do think that, following Björk’s announcement, more artists need to get involved with cassettes. I will definitely be buying Post and Debut on cassette and I would love to see other bands and artists do the same.

… we have another surprise for you …
we are very happy to release a line of limited edition cassette tapes
pre-order: https://t.co/9id3fTtlNU pic.twitter.com/IZ7P8v9WXo

— björk (@bjork) March 14, 2019

It is not mere nostalgia and a way to accrue new interest in her back catalogue. Instead, we get to see her work in a new light and, against digital onslaught, this is a way we can truly cherish her albums. I think I still have a cassette player somewhere but, at any rate, I can see a new interest in tapes. Vinyl is healthy and we are still crazy about that but, with the decline in cassette sales, many of us are either buying records or going digital. There is the problem with cassettes and the plastic: if an alternative material could replace plastic then I can see more people buying them. I would love to see The Beatles’ catalogue back on cassette and a limited edition run of tapes from someone like Joni Mitchell. There are endless possibilities and artist options and I think Björk will definitely start a bit of a wave. It has been twenty-six years since her Debut release and, since then, she has released some of the most arresting records ever. It might be a bit pricey buying all her albums but, if you want an affordable bundle of five, I have picked the ones you need. Every Björk album is full of life and interest but, with so many cool and colourful cassettes about to come out, here are the five...

 IMAGE CREDIT: @bjork

THAT you’ll want to snap up.

ALBUM COVERS: Spotify/Getty Images

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Debut

Release Date: 5th July, 1993

Labels: One Little Indian/Elektra

Producers: Nellee Hooper/Björk 

Key Cuts: Venus as a Boy/Big Time Sensuality/Violently Happy

Review:

“Björk's playful energy ignites the dance-pop-like "Big Time Sensuality" and turns the genre on its head with "There's More to Life Than This." Recorded live at the Milk Bar Toilets, it captures the dancefloor's sweaty, claustrophobic groove, but her impish voice gives it an almost alien feel. But the album's romantic moments may be its most striking; "Venus as a Boy" fairly swoons with twinkly vibes and lush strings, and Björk's vocals and lyrics -- "His wicked sense of humor/Suggests exciting sex" -- are sweet and just the slightest bit naughty. With harpist Corky Hale, she completely reinvents "Like Someone in Love," making it one of her own ballads. Possibly her prettiest work, Björk's horizons expanded on her other releases, but the album still sounds fresh, which is even more impressive considering electronic music's whiplash-speed innovations. Debut not only announced Björk's remarkable talent; it suggested she had even more to offer” – AllMusic

Standout Track: Human Behaviour

Post

Release Date: 13th June, 1995

Labels: One Little Indian/Elektra

Producers: Nellee Hooper/Björk/Graham Massey/Tricky/Howie B

Key Cuts: Hyperballad/It’s Oh So Quiet/Isobel

Review:

“On Björk second solo album, Post, the ex-Sugarcube finds a bizarre and irresistible connecting point between industrial-disco, ambient-trance, and catchy synth pop. She even shoehorns in a big-band number, though few will confuse the Icelandic pixie — with her otherworldly lyrics and supernatural pipes — with Peggy Lee. Luckily, there’s a conviction to Björk’s delivery and an assurance to her hooks that make her most surreal passages as relatable as moon-June standards. Ultimately, she reinvents that tradition, constructing standards for the cyber age” – Entertainment Weekly

Standout Track: Army of Me

Homogenic

Release Date: 22nd September, 1997

Labels: One Little Indian/Elektra

Producers: Mark Bell/Björk/Guy Sigsworth/Markus Dravs/Howie B

Key Cuts: Hunter/Bachelorette/Alarm Call

Review:

“Björk’s voice is, without question, the life force of this music. You can hear her finding a new confidence on “Unravel”: The edge of her voice is as jagged as the lid of a tin can, her held tones as slick as black ice. A diligent student could try to transcribe her vocals the way jazz obsessives used to notate Charlie Parker’s solos, and you’d still come up short; the physical heft and malleability of her voice outstrips language” – Pitchfork  

Standout Track: All Is Full of Love

Vulnicura

Release Date: 20th January, 2015

Labels: One Little Indian/Megaforce/Sony

Producers: Björk/Arca/The Haxan Cloak

Key Cuts: Lionsong/Black Lake/Mouth Mantra

Review:

“On History of Touches, a nostalgic litany of old intimacies is backed by a series of weirdly muted electronic explosions; Mouth Mantra, a song about escaping the numbness of a relationship’s end and finding your voice again sounds like a sudden gushing of pent-up sounds, exploding from a waltz into sonic chaos.

The album ends with Quicksand, a song on which a relatively positive, life-must-go-on sentiment – “Hackle this darkness/ Up to the light … When we’re broken we are whole” – feels undermined by its nervous rhythm. It sounds like a breakbeat with some essential workings missing: it moves forward, but refuses to swing in the way it should. This is a fitting conclusion to an album that begins, on Stonemilker, with Björk’s frank admission: “I better document this.” You could say there’s something gimlet-eyed about a woman who realises her relationship is collapsing and automatically thinks: still, great material. But it’s nothing if not honest. And besides, on the evidence of Vulnicura, she has a point” – The Guardian

Standout Track: All Is Full of Love

Utopia

Release Date: 24th November, 2017

Label: One Little Indian

Producers: Björk/Arca/Rabit

Key Cuts: Blissing Me/Utopia/Tabula Rasa

Review:

“The electrifying Tabula Rasa is even more specific, speaking of Björk’s “deepest wish”. “We are swollen from hiding his affairs,” Björk mourns as flutes sigh. She wants to wipe the slate clean. “Tabula rasa for my children/ Not repeating the fuck-ups of the fathers/ For us women to rise and not just take it lying down.” Later, the discussion widens out, away from the personal. “Embarrassed to pass this mess on to you,” Björk aches. Eventually, rain falls.

Traditionalists might still wonder where all the nice steady beats have gone, why so little music here is anchored. The dominant message, though, is of limitlessness, of hope and, on Future Forever, of “a matriarchal dome” with “musical scaffolding” – The Guardian

Standout Track: The Gate

FEATURE: Sisters in Arms: An All-Female, Spring-Ready Playlist (Vol. III)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Shura 

An All-Female, Spring-Ready Playlist (Vol. III)

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ALTHOUGH things have been a bit...

 IN THIS PHOTO: Lady Leshurr/PHOTO CREDIT: Zoe McConnell

stormy regarding the weather, there are hopes that it will calm down and brighten in the next few days! I am excited to experience so proper spring weather and get rid of the gusts. Even if things are a bit rubbish outside, there is plenty of great music out there. I have been looking for female-led sounds that should get the energy levels up and everyone in a better mood. It is a great time when it comes to new talent and there are some wonderfully rich and diverse artists around right now. Many overlook female artists and assume they are not capable of offering much in the way of surprise, strength and range. That is not true and, as I show here, they are bringing a lot of spirit, energy and pop. We need some sounds that fight against the weather and all make us feel a little better. Take a listen to the songs here and I am sure you will find something...

IN THIS PHOTO: Rachel Wammack/PHOTO CREDIT: Joseph Llanes (edits by Matthew Berinato)‬

THAT suits your tastes.

ALL PHOTOS (unless credited otherwise): Getty Images/Artists

____________

Nasty Cherry – Win

PHOTO CREDIT: Tom Dream

Art School Girlfriend – Come Back to Me

PHOTO CREDIT: Anne-Line Nygaard

Moyka – Colder

PHOTO CREDIT: James Rushton

MEI (ft. Sans Soucis, Toya Delazy) - Homebound

girl in red – i need to be alone

Holly Herndon – Eternal

Chelsea Cutler – Out of Focus (Recorded at Spotify Studios N.Y.C.)

Grace VanderWaal – Hideaway (from Wonder Park) 

Rachel Wammack – Damage

PHOTO CREDIT: Kaine Crowhurst Imagery

Sarah Saint James – Bittersweet

Sara Diamond – Ride

Kira Isabella - Handcuffs

PHOTO CREDIT: Flore Diamant

Tusks – Peachy Keen

PHOTO CREDIT: @vitelleschi

So Below – Bone

Emeli Sandé – Sparrow

RuthAnne – Love Again

Sofia Reyes (ft. Rita Ora, Anitta) – R.I.P.

Ruthie – Spirit Now Moves

Clara Mae – Lost

PHOTO CREDIT: Patrice Brylla

La Fleur - Aphelion

Lady Leshurr – Horrid

Poppy Ajudha – Devil’s Juice

Hannah Grace – The Bed You Made

Violeta Skya – I Need You

Lauren Jenkins – Running Out of Road

Clara Sanabras - Helium Horses

Foundlings – Busan

Shura – BKLYNLDN

FEATURE: Bricks Turning to Faux Wood: The Social, London: Another Iconic Venue Facing Closure

FEATURE:

 

Bricks Turning to Faux Wood

ALL PHOTOS/IMAGES (unless credited otherwise): The Social/Getty Images 

The Social, London: Another Iconic Venue Facing Closure

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ONE is always fearful and cold when...

a great music venue is threatened with closure! Although there are some thriving and safe sites, there is no real security regarding the fate of most of the great venues around the country. A lot of venues outside of cities struggle because there is not the same choice regarding music - and it can be hard attracting big names. Cities are not immune and, if anything, high rent prices and competition for spaces means, often, venues are muscled aside and replaced by those able to stump up the rent. I will come to look at London’s changing skyline and why it is ridiculous to see wine bars and hipster joints taking the place of some of the most-established and best venues around. London’s The Social is the latest venue facing an uncertain fate. NME have covered the news:

 “They have just two weeks to raise £95,000

Legendary London venue The Social needs to raise £95,000 in just two weeks or face threat of closure.

Following a long-running and successful club night by Heavenly Records in the ’90s, the label opened The Social on Little Portland Street in West London in 1999. Since then, they’ve played host to the likes of Arctic Monkeys, Florence & The Machine, Beck, Jack White, Vampire Weekend, The Horrors, Doves, Lily Allen, Aphex Twin, Super Furry Animals, Shame and many, many more.

As the venue’s 20th anniversary approaches, they’ve now launched a crowdfunding campaign to urgently raise money to prevent redevelopment...

“Rising rents and an offer to the building’s leaseholder from a cocktail and wine bar chain have put The Social under very serious threat,” the venue said in a statement. “The bar’s founders need to raise money to buy a controlling share in the venue from the leaseholder in order to keep The Social open.

“Unless new investment is found in the next two weeks then the iconic venue will be forced to close its doors. We’re asking you for help.”

The venue added: “We need to raise £95,000 ASAP as a down payment to get the venue off the market, save it from turning into just another bar and then kick start a second round of private investment so we can take full control of The Social lease and secure its long-term future.”

If saved, the venue promise to offer the ‘biggest small festival in the world’ in celebration of their 20th anniversary, as well working to put on more club nights and artists, help to promote independent breweries, and open more venues across the UK.

IN THIS PHOTO: wych elm (So Young Magazine presents the E.P. release party for the Bristol band on 22nd March)/PHOTO CREDIT: wych elm

“If The Social is saved we would quickly look to set up further venues and take the kind of music and arts culture clash we’ve promoted in Little Portland Street to the rest of London and beyond,” they said.

“Basically, wherever anyone wants us, we’ll be there.”

One would think a venue in the city would be safe! Some new venues are being built but, largely, it is the venues we have here already that have this established core of supporters; they are coming through the door and putting money behind the bar. Artists are still flocking to The Social but, more and more, extortionist rent prices are proving too high for spaces like this. In the case of The Social, it seems a wine bar/bistro will take its place – if money cannot be raised to keep the bricks standing. In 5 Little Portland Street – just near Oxford Street; a great spot and perfect location – one would expect to see rather fancy and unnecessary wine bars festooning the view. I often pass by the venue and it offers character and richness to the area. Look around The Social’s boundaries and you see plenty of cafes, restaurants and bars – another is not needed at all! It is great to see a gig there and you are spoiled for choice when it comes to pre/post-gig options. If we get rid of such a reputable music venue then the area becomes less sociable and exciting. In many cases, noise pollution and drug problems can threaten a venue – this is not the case here.

 PHOTO CREDIT: @scottiewarman/Unsplash

The Social is not the only venue that has been threatened lately. As the NME article continues, venues around the U.K. are struggling to meet demands and high rent charges:

“This comes after beloved Oxford venue The Cellar announced this week that they too would be closing down following a rent battle.

Last year, a number of leading artists and industry figures led the Agent Of Change campaign to stop the closure of independent live music venues across the UK.

“Without the grassroots clubs, pubs and music venues my career could have been very different,” said Sir Paul McCartney of the campaign. “If we don’t support music at this level, then the future of music in general is in danger”.

London’s ‘Night Czar’, Amy Lamé, has come under fire given the news. She is committed to preserving venues around the capital and ensuring London’s place as an essential music hub is preserved. She is working with the city’s Culture at Risk Office – a resource to support cultural spaces and venues at risk – and discussions are happening. One cannot blame any single person but it seems sad that, in so many cases, venues are closing because of rent issues and an inane and faceless bar taking its spot. Gentrification is needed but, if we are replacing these loved and popular venues for something soulless and high-priced then you are going to drive people away and deprive artists.

 IN THIS PHOTO: London’s Night Czar, Amy Lamé/PHOTO CREDIT: Matt Writtle

London’s Mayor, Sadiq Khan, has helped keep venues alive – alongside his Culture at Risk Office and Night Czar, Amy Lamé – but there are many others that have a rather shaky future. There are great articles promoting terrific venues around London and one wonders, in years to come, whether they will still be standing. There are few good reasons to replace a popular and terrific venue with any other business but the fact we might see a wine bar in the place of The Social is horrifying. In an area already stuffed with bars and options for every human, what rationale is there for making things more exclusive and stuffy?! The Social cannot be accused of being controversial or adding a sour tone to the area: it is a trouble-free part of London that offers great music and nightlife to punters. London is at its strongest when it balances great entertainment and its nightlife. If we start replacing music venues with cafes, bars and bistros then where do artists play and what is the future of London’s music stature going to be?! It is hard to compete with other cities in the world – such as New York, Los Angeles and others – if we keep letting venues shut their doors. It is hard for everyone but I do fear the increased rents and rich businesses angling in compromises a lot of our best and brightest venues.

Why is The Social such a respected and go-to venue?! Not only is its twentieth anniversary coming up – it would be a hard pill to swallow if they were not able to see that! – but so many great artists, big and upcoming, have played there. The Social themselves tell the tale:

“The Social opened in the summer of 1999 as part of a thriving musical landscape in the capital. One of the first public buildings designed by hugely respected architects David Adjaye OBE and Will Russell, The Social joined a list of central London music venues such the Astoria, the LA2, the End, Turnmills, Plastic People, The Falcon, the Metro and Madame JoJos (to name a few). Now, it’s one of just a couple of places left to see bands or DJs in the West End.

The Social evolved out of the legendary Heavenly Sunday Social club nights that ran in various venues between ’94 and ’99 and helped push the career of the Chemical Brothers (nee Dust Brothers). Rather than act as a bricks and mortar extension of those nights, The Social quickly developed a reputation as a free-thinking, boundary-pushing destination for open minded drinkers from all over the capitol.

Since it first opened its doors, The Social has played host to everyone from the Chemical Brothers to Edna O’Brien (twice), Wolf Alice, Adele, Caitlin Moran, Horace Andy, Bon Iver, Florence and the Machine, Young Fathers, DJ Yoda, Fatboy Slim (who sorted his records in the toilets before playing), Kate Tempest, Alt-J, Arctic Monkeys, Al Murray, MGMT, Tim Westwood, Rudimental, Jarvis Cocker, Four Tet, Cold War Steve (his first public exhibition anywhere in the world), Jack White, Irvine Welsh, Saint Etienne, Black Midi, Shame, Hip Hop Karaoke (the legendary club’s longterm home) Jeremy Deller...

IN THIS PHOTO: Florence and the Machine is just one in a long list of big acts who have played at The Social (photo is not from her gig at The Social) since its birth/PHOTO CREDIT: Lillie Eiger  

Fat White Family, Doves, Laura Marling, James Dean Bradfield (Manic Street Preachers), Beck, the Avalanches (first UK DJ gig), Michael Kiwanuka, Artwork, Boy Azooga, Super Furry Animals, Baxter Dury, Goat Girl, Sleaford Mods, Hot Chip, The Horrors, Trojan Records, Vampire Weekend, Huw Stephens (who’s hosted a monthly night for the last thirteen years), Nabihah Iqbal, the Charlatans, Frank Turner, Aphex Twin (Italo Disco set) and Lily Allen to name a few.
As well as gigs and club nights, The Social has held regular literary salons with friends from Faber & Faber and Caught by the River and art and photography exhibitions from established names and new talent alike. As far as we can tell, there isn’t another venue in London – possibly even Britain – that’s staged such a diverse and inspirational list of performers.

IN THIS PHOTO: Another popular artist who has played at The Social, Michael Kiwanuka

Go to their website and contribute to the crowdfunding campaign. They have raised a lot of money so far – they are just over one-third of the way to their ninety-five-grand target – but there is not much time to get your money in! The fact The Social is coming up for twenty is a great thing we all want to see:

If the Crowdfunder campaign is successful, The Social would organise twentieth birthday celebrations at Little Portland Street. Key to these will be the ‘biggest small festival in the world’ – a month of gigs, DJ sets, talks and discussions and exhibitions from a handpicked selection of friends of The Social who’ve performed there over the years. These intimate shows will be captured for a film documenting the rebirth of the bar at twenty years. Following the birthday parties, we have plans to considerably freshen up promotions in The Social. This will see a host of new nights, a series of streamed gigs and the return of some old classic nights rebooted for 2019.

Alongside promotions in the downstairs area, we would aim to donate a minimum of a day a month to charity. This would involve giving over either (or both) floor to a rotating list of charities to hold events and asking drinks partners to offer up charity kegs to maximise donations.

A key aim in moving forward is to increase the variety of draught beer on sale by installing new lines and pushing independent beers/breweries alongside those we already work closely with. In an ideal world, The Social would become something like a permanent beer festival attached to the best spirits bar in the world.

And finally, if The Social is saved we would quickly look to set up further venues and take the kind of music and arts culture clash we’ve promoted in Little Portland Street to the rest of London and beyond.

Basically, wherever anyone wants us, we’ll be there”.

It is never the case there are too many venues and many are expendable - every venue has its place! Rising artists are coming through all the time and they need spaces in which to play. As The Social proves, huge names like Beck are happy to come through their doors! We definitely do not need more places to drink and eat because, as a city, I think London already has it covered! Music venues, on the other hand, are a different matter! The Social is much more than a music venue. It hosts poetry and arts events; it is this eclectic space where you can chill in a friendly environment and catch great music and art with like-minded people!

 PHOTO CREDIT: @felipegraphy/Unsplash

If we keep replacing the proud bricks and mortar of our music spaces and replacing them with fake wood and artistic flourishes, then we are making the city more elitist and making our music scene much weaker. It is always sad to hear of a venue being challenged but The Social is looking forward to twenty years and to spoil the party with threats of closure is awfully sad. I am hopeful The Social can be rescued and the wine bar – or whatever crap was going to occupy 5 Little Portland Street! – will have to look elsewhere. Contribute a few quid in order to save The Social and I hope, if it can be saved, measures are taken to ensure its survival and success – we would all like to see it turn fifty in thirty years to come.

It is hard ensuring all venues are safe and funded but there needs to be more of a kitty reserved for our music landscape. There seems to be endless capital for ridiculous bars and businesses: when it comes to music venues, where is that security net?! Let us ensure that the musicians coming through right now can find ample spaces in London and, for those who love a great gig, their local is not marginalised. There are twelves more days to save The Social and they need another sixty-three grand to survive. I feel they can do it but I am worried what will be in the next few years. Can this sum of money lead to a more secure future or is it a stall to keep the wolves at bay?! The Government needs to do more and we cannot keep reading news of great venues going under. If you love music and want to see the capital’s best spaces flourish then head here and ensure The Social gets to celebrate...

ITS twentieth anniversary in style!

FEATURE: Albums of the Decade: Part III: 2016-2018

FEATURE:

 

Albums of the Decade

IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY 

Part III: 2016-2018

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THERE are not many months left in the decade...

 IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Frazer Harrison/Getty Images

and I am pretty sure there will not be many contenders that will challenge this list. Speculated albums from Madonna and The 1975 might be in with a shout of being the albums of the decade but I am carrying on the rundown with a look at the best albums from the three-year period that covered 2016 to 2018 (inclusive). Every decade boasts terrific records but this decade has been really strong and seen some truly unexpected revelations. Here are the fifteen albums that made the years 2016 through to 2018 wonderful. Future parts will bring us right up-to-date but here, in this third part, we can see albums that helped make this decade...

 IN THIS PHOTO: Lorde/PHOTO CREDIT: Dean Chalkley/NME

SUCH a winner.

ALL ALBUM COVERS: Spotify/Getty Images

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2016:

David Bowie - Blackstar

Release Date: 8th January, 2016

Labels: ISO/RCA/Columbia/Sony

Producers: David Bowie/Tony Visconti

Key Cuts: Blackstar/Girl Loves Me/I Can’t Give Everything Away

Standout Track: Lazarus

Review:

“Only seven tracks and 42 minutes long, Blackstar is impressively hard to place in his back catalogue and feels completely self-contained. It has some of the off-kilter character of his late Seventies Berlin trilogy (Low, Heroes and Lodger) but little of their electronic flavour.

It is shot through with a late-life melancholy that sits intriguingly with the jazzy modulations. Beneath the swooning cinematic rush of Dollar Days beats a gorgeous, bittersweet piano ballad on which Bowie proclaims himself “dying to... fool them all again and again” but the phrase breaks apart until he sounds like he might be singing “I’m dying too” – The Daily Telegraph

Beyoncé - Lemonade

Release Date: 23rd April, 2016

Labels: Parkwood/Columbia

Producers: Various

Key Cuts: Hold Up/Don’t Hurt Yourself/Freedom

Standout Track: Formation

Review:

“Her voice though, in its rawness of emotion and tear duct-filling emotion, pushes at the boundaries of what is considered acceptable. Likewise, 6 Inch where her voice starts to crack and falter, sounding oddly vulnerable.

In a week where we have has to come to terms with the loss of one more explosive and unpredictable and talented and genius pop star, it is so reassuring to know that Beyoncé is still among us – and from the sounds of this – has still yet to reach her peak. Both Prince and Nina Simone (whose voice also features here) passed away on April 21. Sometimes it feels like Beyoncé is determined to pick up the mantles of both” – The Independent

Buy Album (Lemonade is not available on Spotify): https://www.beyonce.com/album/lemonade-visual-album/songs/

Radiohead – A Moon Shaped Pool

Release Date: 8th May, 2016

Labels: XL/LLLP/LLP

Producer: Nigel Godrich

Key Cuts: Daydreaming/Decks Dark/Ful Stop

Standout Track: Burn the Witch

Review:

“And then there’s “True Love Waits.” It’s an old song, one that has been around in various forms for over two decades, but unlike “Burn the Witch” or the other teased sketches and scraps that Radiohead diehards pick apart on forums, it’s long been a part of their canon. It appeared on the 2001 live album I Might Be Wrong and, dragged into 2016, feels like a relic from a different geological era. “I’ll drown my beliefs,” Yorke sings, “just don’t leave.” It is the message they leave us with, this very open-hearted song that has always felt like an open wound in their discography, a geyser of feeling erupting out of scorched earth. Its very inclusion is a striking moment of transparency” – Pitchfork   

Solange – A Seat at the Table

Release Date: 30th September, 2016

Labels: Saint/Columbia

Producers: Various

Key Cuts: Rise/Don’t Touch My Hair/Scales

Standout Track: Cranes in the Sky

Review:

“In "Borderline," a chugging machine beat and a lilting piano line form the backdrop of a scene where Knowles and her partner tune out the world for the sake of their sanity. Then, after Nia Andrews and Kelly Rowland's half minute of proud harmonic affirmation, along comes "Junie," a squiggling jam on which André 3000 makes like the track's namesake (Ohio Players and Parliament legend Junie Morrison), where Knowles delivers a sharp metaphorical smackdown of a cultural interloper like it's merely an improvised postscript. All of the guests, from Lil Wayne to Kelela, make necessary appearances. The same goes for Knowles' parents and Master P, who are present in the form of short interludes in which they discuss segregation, self-reliance, cultural theft, and black pride. These segues shrewdly fasten a cathartic yet poised album, one that weighs a ton and levitates” – AllMusic   

A Tribe Called Quest – We Got It from Here... Thank You 4 Your Service

Release Date: 11th November, 2016

Label: Epic

Producers: A Tribe Called Quest/Q-Tip/Blair Wells

Key Cuts: Solid Wall of Sound/Dis Generation/The Killing Season

Standout Track: We the People....

Review:

“Q-Tip, the group’s leader and politically conscious straight man to Phife’s ribald sports fan, takes on subjects from gentrification to the mis-sold dreams of African American youth. He calls out to those he sees as his heirs – from Kendrick Lamar to Earl Sweatshirt – to keep the Tribe flame alive. The album closes on The Donald, a tribute to Phife (not the new president), and there is a real sense of this being the group’s final testament. At times the album can seem tired and mid-paced, and some of the collaborators (Andre 3000, Anderson Paak) are more effective than others (Talib Kweli, Jack White). But for those who value Tribe’s contribution to music, this is a record to be grateful for” – The Guardian    

2017:

Kendrick Lamar – DAMN.

Release Date: 14th April, 2017

Labels: Aftermath/Interscope/Top Dawg

Producers: Various

Key Cuts: DNA./LOYALTY./GOD.

Standout Track: HUMBLE.

Review:

“Lamar’s gift is not just that he can say why he’s the best (“I got power, poison, pain and joy inside my DNA”), but also that he articulate how this responsibility feels (“I feel like the whole world want me to pray for ’em/But who the fuck prayin’ for me?”). He can paint pride and agony with the same brush, and it’s that ability that makes “Fear” probably the most emotionally rich song in his entire discography. Like Sigmund Freud meets Scarface, Lamar connects the dots from the seven-year-old terrified of catching a beating from his mother to the 17-year-old terrified of being murdered by police to the 27-year-old terrified of fame. “I practiced runnin’ from fear, guess I had some good luck,” he raps with ease. “At 27 years old, my biggest fear was bein’ judged.”

Much like the recent A Tribe Called Quest record, Damn. is a brilliant combination of the timeless and the modern, the old school and the next-level. The most gifted rapper of a generation stomps into the Nineties and continues to blaze a trail forward. Don’t be confused if he can’t stay humble” – Rolling Stone

Lorde – Melodrama

Release Date: 16th June, 2017

Labels: Universal/Lava/Republic

Producers: Various

Key Cuts: The Louvre/Liability/Writer in the Dark

Standout Track: Green Light

Review:

“It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months. The message might be that Lorde considers herself wild and flawed and bruised (“I’ll love you till you call the cops on me,” she sings, on the deliciously bitter ‘Writer In The Dark’), but we all do sometimes. That’s the neatest trick the album pulls off – universal connection, in spite of the squad and the praise and the superstardom and the pressure. Humanity intact. Artistry assured. Brilliance confirmed” – NME

St. Vincent – MASSEDUCTION

Release Date: 13th October, 2017

Label: Loma Vista

Producers: Jack Antonoff/St. Vincent/Lars Stalfors/John Congleton  

Key Cuts: Sugarboy/Slow Disco/Smoking Section

Standout Track: Pills

Review:

“Clark recently told Buzzfeed that Masseduction asks, “What does power look like, who wields it, how do they wield it—emotionally, sexually, financially?” Exploring those balances of power gives Masseduction its inherent tension and anxiety. But it also doesn’t let instability win. The final song, “Smoking Section,” talks about going to the edge, nearly giving in to violent and dark tendencies, then deliberately taking a step back. “It’s not the end,” Clark repeats, in a weary and increasingly faded-sounding voice, as ghostly pedal steel smoke rings curl up around her.

Defeated as she sounds, it’s an unmistakable declaration of power—an emotional cliffhanger that leaves the door cracked for new beginnings. Masseduction is a manual on how to go through hell and back, then emerge stronger than ever. It’s a record that wrests control from turmoil and believes that a different, better future is possible. It’s the best encapsulation of her vision to date, here fully under her control” – The AV Club

Thundercat – Drunk

Release Date: 24th February, 2017

Label: Brainfeed

Producers: Flying Lotus/Sounwave/Thundercat  

Key Cuts: Show You the Way/Day & Night/Walk on By

Standout Track: Friend Zone

Review:

“The presence of yacht rock kingpins McDonald and Loggins may indicate at first glance that Bruner is taking the current vogue for cheesy soft rock to new heights. Yet there’s considerable merit to how the supple and hugely earwormy Show You the Way works in relation of the rest of the Thundercat universe.

Changes shares a title with a Buddy Miller album and a sample from the Isley Brothers’ Footsteps In the Dark as its enticing R&B pounce and prowl builds and develops with added elevation from a slippery Washington sax line. The Turn Down has Pharrell showing he can do art-pop as well as pop-pop, while Friend Zone is a Valentine’s Day card for all the jilted would-be lovers pining for those who just want to be friends.

The only soundtrack you’ll need for the year of the ’Cat” – The Irish Times

Laura Marling – Semper Femina

Release Date: 10th March, 2017

Label: More Alarming Records

Producer: Blake Mills  

Key Cuts: Wild Fire/Don’t Pass Me By/Nouel

Standout Track: Soothing

Review:

“Some things have changed, though. Marling has a new producer in Blake Mills (Conor Oberst, Sky Ferreira) and together they create a motley set of textures. ‘Always This Way’ delivers its rueful tale with a muted acoustic thrum; ‘Don’t Pass Me By’ ripples with glum reverberation; ‘Next Time’ hints at inner conflict with some somersaulting fretwork straight out of a bizarro Joanna Newsom composition. It all adds up to the most serene, stylistically varied album Marling has ever created – and that’s surely the point. “Fickle and changeable are you,” she smiles to a dear girlfriend on ‘Nouel’, “and long may that continue”. Hear that, Virgil?” – NME

2018: 

Christine and the Queens – Chris

Release Date: 21st September, 2018

Label: Because

Producers: Christine and the Queens/Cole M.G.N.

Key Cuts: Doesn’t matter/5 dollars/Feel so good

Standout Track: Girlfriend

Review:

“Crucially, Chris' purposeful sound doesn't come at the cost of Christine's vulnerability -- in fact, her newfound strength lets her dig deeper and reveal more. On "Whats-Her-Face," she brilliantly captures how teenage bullying can still feel like it happened yesterday. "The Walker" is an unbowed ballad that compares bruises to violets and wears them like badges of honor, while "Doesn't Matter" is a crisis of faith that's impossible not to dance to; even though she questions everything, Christine urges her listeners to find a ray of hope and run with it. As she examines what masculinity, femininity, strength, and vulnerability mean to her, Christine has never sounded more exposed -- or in control. A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies” – AllMusic  

Mitski – Be the Cowboy

Release Date: 17th August, 2018

Label: Dead Oceans

Producer: Patrick Hyland

Key Cuts: Geyser/A Pearl/A Horse Named Cold Air

Standout Track: Nobody

Review:

“Right from the overshot volume on the album's opening organ attack, abrasive sounds also put cracks in the surface. Stomping, clapping, and relentless keyboard bleeps permeate the brutal, danceable "Washing Machine Heart," evoking the appliance as well as the wife's frustration ("I'm not wearing my usual lipstick/I thought maybe we would kiss tonight"). Elsewhere, "Me and My Husband" opens unambiguously with a heavy sigh. After passing moments of more raucous rock, atmospheric synths, dance rhythms, irregular percussion, melodic sweetness, and dissonance, Be the Cowboy closes on the tender "Two Slow Dancers," the album longest track at four minutes. Wistful, string-like keyboard tones accompany sentimental lyrics that conclude that the couple has grown apart. In the end, rather than being a disappointment, Be the Cowboy's point of view provides a brilliant twist, one that channels all the unease, unpredictability, and intuitiveness of Mitski's previous work -- even for those who don't take in the lyrics” – AllMusic   

Noname – 25

Release Date: 14th September, 2018

Producers: Phoelix/Noname

Key Cuts: Window/Regal/Part of Me

Standout Track: Blaxploitation

Review:

“Once again favouring the live instrumentation that intricately underpins her languorous delivery, the glacial elegance of ‘Regal’ and infectious funk strut of ‘Part Of Me’ finds Warner effortlessly flitting between two changes of pace, the latter buoyed by turns from Benjamin Earl Turner and collaborator Phoelix.

Even if the delivery is often delicate, the record’s deft lyricism is arresting and unflinching, exploring themes of police brutality on ‘Prayer Song’ and terminal illness on the impeccable ‘Don’t Forget About Me’, while firing the haters a stinging retort on ‘Self’: “Y’all still thought a bitch couldn’t rap, huh?”

‘Room 25’ should find few protesting” – CLASH

IDLES – Joy as an Act of Resistance

Release Date: 31st August, 2018

Label: Partisan

Producers: Space/Adam Greenspan/Nick Launay

Key Cuts: Colossus/Danny Nedelko/Television

Standout Track: Samaritans

Review:

“But he can also be laugh-out-loud funny. “You look like a walking thyroid / You’re not a man you’re a gland,” he sings at the small-town bully in Never Fight a Man With a Perm: “a Topshop tyrant / Even your haircut’s violent.” Conversely, June addresses the death of Talbot’s daughter at birth, with a version of the poignant, six-word poem often attributed to Ernest Hemingway: “Baby’s shoes. For sale. Never worn.” The band tackle everything from I’m Scum’s Fall rockabilly to soul classic Cry to Me, previously recorded by Solomon Burke and the Rolling Stones. Idles won’t be for everybody: this isn’t good-time, aspirational, radio-friendly pop. But for anyone in need of music that articulates their concerns or helps them to work through their troubles – or anyone who simply appreciates blistering, intelligent punk – they might just be Britain’s most necessary band” – The Guardian    

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Producers: James Ford/Alex Turner

Key Cuts: American Sports/Tranquility Base Hotel & Casino/Science Fiction

Standout Track: Four Out of Five

Review:

“Perhaps the great mystery of Tranquility Base Hotel & Casino is not its knotty themes or cryptic lyrics but what’s motivating Turner. With the keys to the most lucrative and well-oiled indie-rock band around, he’s regenerated Arctic Monkeys in service of a delirious and artful satire directed at the foundations of modern society. This is not an act of protest: Implicated in its sprawl are gentrification, consumerism, and media consumption, but rather than address these meaty topics, he strafes around them, admiring their transformation in the laboratory of his word tricks. In the end, his helpless struggle for meaning is what makes him relatable. For all this record’s hubris, the long-touted “generational voice” that is Alex Turner has never sounded more real, or more himself” – Pitchfork     

FEATURE: Spotlight: Stella Donnelly

FEATURE:

 

Spotlight

IN THIS PHOTO: Stella Donnelly/PHOTO CREDIT: Pooneh Ghana

Stella Donnelly

__________

THERE are a lot of great artists out there at the...

 PHOTO CREDIT: Emily Mackay

moment but I am struck by Stella Donnelly. I am not hearing a lot of great Australian music being promoted in the mainstream but with Julia Jacklin, Confidence Man and Perth’s Stella Donnelly, there is definitely a case to be made for featuring more Australian music. Whereas Confidence Man have a distinct Pop and their lyrics are more concerned with something a bit lighter, Jacklin and Donnelly are songwriters who deal more with the serious – not that this is a bad thing. If Jacklin’s latest album, Crushing, looks at repairing after a relationship, Stella Donnelly is looking to the outside world and tackling some big themes that she feels compelled by. The young songwriter released her debut E.P., Thrush Metal, in 2017 and her debut album, Beware of the Dogs, came out last Friday. She is being covered quite impressively in the media here and it is all justified. Her music has a sense of breeziness and the light and, whilst some numbers do concern big themes, there is plenty of personal hope and relief. It is a nice balance of emotions and themes and the abiding sense (when listening to Beware of the Dogs) is one of fulfilment. Her voice has a potency and calm; there is a nice mixture of textures but we have this very beautiful and nuanced sound that makes all the songs come to life.

 IMAGE CREDIT: Spotify

On the albums best moments, there are glorious backing vocals and a Pop sound that takes one back to the 1960s; this rushing mood and sensation that takes you away. As she told NME earlier in the year, her debut album does address some pretty provocative and controversial themes:

““No story is ever a simple story in itself. Now, I guess that ‘My Old Man, for example, is a reflection on the taste in everyone’s mouths post-#MeToo and how we’re dealing with it now, and whether enough has happened,” she says. “For example, Harvey Weinstein has only just been charged and on trial. There are people out there who are still suffering and particularly in Australia, as our defamation laws are very strict. So it is really hard for any victim to speak out in the way that those living in the US have done”.

She spoke about Australia and nationalism; the accusations of sexual assault made against Geoffrey Rush and how it was a turning point for her. It is rare to hear an album from an Australian artist that references their country specifically – maybe I have not been listening hard enough. It almost reminds me of Midnight Oil’s Diesel and Dust and how they talked about aborigines being displaced and the way their government operate (this was back in the 1980s).

“When I was writing the album, there was a conversation about nationalism, and the pride that we, as Australians, have at the expense of other people’s freedom and rights,” she says. “We break a lot of Human Rights laws in terms of how we treat our First Nations people. At the time, I was writing about the fact that I’ve got a lot of friends who have suffered at the hands of the Catholic protocol system that we have in our country. I say ‘harmless’ with inverted commas here, but there’s a lot of ‘harmless racism’ that happens in Australia”

One of the most important things to Donnelly is being able to join the conversations and talk about harder subjects through her music. She was born in Wales and moved to Australia when she was eleven. She spent her teenage years busking and joined various bands; she performed various gigs and her confidence gradually grew. There are many reasons why you need to seek out Stella Donnelly but, as I hinted, she can balance the personal and universal. She is not one who walks away from meaty topics: her songs are keen to uncover those who do wrong and put them in the spotlight. Beware of the Dogs can be quite a hard listen but it is often funny and brilliantly sharp. I think, in 2019, it is important to reflect the harder truths and talk about subjects beyond mere heartache and personal doubts. Another thing Donnelly addresses is marriage equality. Here, when speaking with The Guardian, she talks about marriage equality and abortion repeal in the Republic of Ireland:

“Donnelly was relieved when marriage equality passed in 2017, particularly since the referendum followed Brexit and Trump’s election, “so I had no idea what was gonna happen”. She was equally overjoyed to play in Dublin on the night of the abortion referendum and still has her “Tá!” (yes) badge on her guitar. It made her investigate Australian abortion laws (“Ours are based on state, which I didn’t realise, and very unprogressive in many ways”) and prompted another idea: the uneasy lounge pop of Watching Telly is a characteristically conversational song that frames her abortion at 21 in the context of society’s control over women’s bodies. “It’s not an easy thing to get, and it is tough and it hurts and you have to sit there bleeding for two weeks, and it’s fucked,” she says. “But at the same time, it’s our choice. We’ve fucking chosen to do that”.

Stella Donnelly can write from the heart about herself but it is the way she can make slightly edgier aspects of societal ill seem accessible and educational. Never preaching and too angered, the way she integrates natural tones and humour does not detract from the seriousness of everything – instead, it makes for a more rounded and memorable experience. She is, as she continues in the interview, keen to change perspectives and minds:

“Too sharp to have written an album of blunt-edged protest songs, Donnelly knows that such conversational, unexpected approaches have a stronger impact than lectures. She recalls her dad collecting an award for Boys Will Be Boys on her behalf. “He said something like, ‘I hope this song helps to change the attitudes we have, even if it’s one dickhead at a time.’ Having my dad – a 50-year-old, privileged white man – do that probably made more difference than me getting up and saying it.” She has “blind confidence” that society has to change. “I know it’s gonna go there because everyone’s voice is too loud for it to stop.” She stops, laughs and mocks her utopian ideals: “I just want world peace!”

With her giant eyes and gregarious attitude, Donnelly is charismatic enough to carry the sentiment. Plus, she knows first-hand how transformative the relationship between art and the public can be. “When my dad first heard Boys Will Be Boys, he told me, ‘It won’t be yours any more and that’s OK.’ It allowed me to let go. My friend who it was about had the same attitude. That’s how I dealt with it,” she says. “Letting it be everybody else’s song”.

These are still early days for Stella Donnelly but she has progressed as an artist and, as debut albums go, Beware of the Dogs is one of the best you’ll hear all year! Indeed, she has a busy time ahead so keep an eye on her socials regarding tour dates and general movements. Her album is getting a lot of love and, in this review from The Student Playlist, they drill down to its heart:

“Many aspects of Beware Of The Dogs are autobiographical, but Stella Donnelly also acts and sings like a vessel for the hurt and rage of others. Time and again, she observes on behalf of friends who have experienced abuse and unfairness. There’s rarely any hint of optimism about proceedings, but the manner in which she delivers her messages makes the whole package positive and graceful. And, just to show the breadth of her talent, Donnelly is also capable of turning the microscope on herself – on the slow, sparse ‘Mosquito’, she compares her lust to a blood-sucking parasite, and the forlorn ‘Allergies’ is played with a much straighter bat with none of the hint of irony of the rest of the album.

Truly, Beware Of The Dogs is a remarkable and deeply affecting album, memorable on all possible measurements of how anyone would rate a debut LP, and Stella Donnelly is a ferocious, funny and highly empathetic songwriter whose future is incredibly bright”.

It may take a while for her music to affect changes and truly open eyes but, as she says, she is content to open...

 IMAGE CREDIT: Stella Donnelly

ONE eye at a time.

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Follow Stella Donnelly:

 PHOTO CREDIT: Pooneh Ghana

Official:

https://www.stelladonnelly.com/

Facebook:

https://www.facebook.com/stellamusicband/

Twitter:

https://twitter.com/stelladonnelly

Instagram:

https://www.instagram.com/stelladonnelly/

Spotify:

https://open.spotify.com/artist/2mHjhKyKCLh6MZELuCe1Es?si=eelK8727RK-Y0koWHy94fQ

YouTube:

https://www.youtube.com/channel/UC-zarOGIlfLqxsRc21Aj-gw

FEATURE: On the Flip Side: Kate Bush: The Other Sides

FEATURE:

 

On the Flip Side

IMAGE CREDIT: Getty Images/Fish People 

Kate Bush: The Other Sides

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HOW often do we get to hear unreleased...

Kate Bush material at all?! She has been remastering her back catalogue recently and, last year, committed everything to these box-sets of vinyl. I am a massive fan of hers and have already got quite a few of her records. You check the details out from the Fish People website but there is this treasure chest of Bush material that is essential for any music lover! It is worth investing in as many box-sets as possible because they are sought-after and I feel like these sets are really valuable. Among the collection were these B-sides and rarities; remixes and unheard songs that have not been released so far – now they are out into the world. You can buy is swiftly here - and there is a bounty of these rare tracks. Videos have been coming out and the most-recent one is Kate Bush performing The Man I Love – originally by George Gershwin. It features Larry Adler and is a sumptuous, charged and gorgeous performance that shows some of her non-album tracks are as powerful as those that are standalone. A few of the covers we find are not that essential. There are takes of Elton John’s Rocket Man and Candle in the Wind and, whilst she does not quite hit the right notes on the latter, the former is interesting if inessential.

The first disc/quarter of the collection are remixes of existing songs. We get to hear a Meteorological Mix of The Big Sky (from Hounds of Love) and an extended mix of Experiment IV – a non-album track that was included on her sort-of-greatest-hits, The Whole Story, in 1986. It is interesting hearing this already-extraordinary songs being given these new elements and seeing them take on new forms. I am not always a fan of remixes and find they can be a little bit weary and hit-and-miss. In this case, I would recommend any Kate Bush fans to seek them out and have a listen. Lesser-heard songs like Walk Straight Down the Middle (included as an extra track on some releases of The Red Shoes) and Lyra are beautiful and, whilst not her strongest songs, it is fantastic to hear them together. I already mentioned Experiment IV and it is almost like The Beatles releasing Strawberry Fields or Penny Lane: not tracks you find on any studio albums of their but just as mighty as their best work. The track (with the video directed by Bush herself) has this sort of chilling sound but it is one of her most complete and nuanced tracks. I keep listening to and trying to unravel its secrets! Under the Ivy (a B-side of Hounds of Love’s Running Up That Hill (A Deal with God) is often cited as one of her best tracks; worthy of album inclusion and a truly remarkable piece. It is indeed and deserves to be heard in full.

Be Kind to My Mistakes and Un Baiser D’Enfant are great tracks but not as strong as a lot of stuff on The Other Sides. I have already mentioned the cover versions – comprising the final disc/quarter – and there is a mixed-bag regarding interpretation and quality. The Elton John songs mean a lot to her but I think Candle in the Wind better suites John’s voice. One would not expect a song famed by Marvin Gaye, Sexual Healing, would sound as sweaty and electric coming out of Kate Bush but it does indeed! Some have given her version a bit of a bashing but I really like it and she brings a new perspective to the song. As you’d expect from Kate Bush, the choice of cover versions are not obvious and there is not a lot of mainstream stuff in there. This is good because it allows listeners the chance almost to discover these songs fresh. Mná na hÉireann is an Irish poem written by Peadar Ó Doirnín  - Kate Bush is half-Irish – and it sound perfect and natural coming out of her mouth. In terms of other slightly odd choices, My Lagan Love and The Handsome Cabin Boy can be discovered. It is a beautiful mix of the lesser-known and some bigger songs. She brings her own voice and spirit to them all and, for many, these recordings are fresh. It is the third disc/quarter of the collection that is really interesting.

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy

Included are some Christmas numbers. Home for Christmas and December Will Be Magic Again are wonderfully evocative and delightful and there is the feeling you can play these songs at any time of the year and they would work. Elsewhere, there is a remix of Wuthering Heights and the incredible Passing Through Air (a B-side on Army Dreamers). Ran Tan Waltz (a B-side on her single, Babooshka) is, perhaps, not an essential inclusion but still a curious track. I love the fact that artists like Kate Bush can bring out B-sides and, given the quality of her A-sides, you know there are some treats in there. The Other Sides is a fabulous collection of rarer cuts and some remixes that should be in everyone’s collections. There have been some hearty reviews but Rolling Stone, here, drill down to the essence of the multi-disc album:

“There’s plenty more to (re-) discover. The French version of Never For Ever’s “The Infant Kiss” (“Un Baiser D’Enfant”), based on the 1961 film The Innocents, and the French original “Ne T’Enfuis Pas,” make a diptych suggesting Bush might’ve had a nifty collaboration with Serge Gainsbourg. With its hollered declaration “it’s you and me babe, against the world!,” “Burning Bridge” is one of her most dizzying vocals; at point she sounds like she’s making herself seasick. “You Want Alchemy” is a fairly jaw-dropping Prince channeling with strings, r&b brass, feral orgasmic squealing and gospel-infused backing vocals...

The 12” versions, more extensions than reinventions, include the unhinged “meterological mix” of the Hounds Of Love single “Big Sky,” pumped up with machine-gun handclaps and didgeridoo drones. Completists will notice some omissions, like the 1979 live EP On Stage, which documents the only tour of her career, and her sole live shows before the Hammersmith Apollo residency 35 years later (check the glam-tastically proggy, partly shrieked 6-minute version of “James & The Cold Gun”).

Nevertheless, the motherlode is here. Bush’s oeuvre is singular, and has stood alone for decades. But lately its brilliance feels especially prescient, reflected variously in the sound and approach of (among others) Robyn, Florence Welch, and Annie St. Vincent Clark, whose confession of tipsy karaoke-ing “Wuthering Heights” is one of the highlights of that delicious 2014 Bush documentary. So the timing of this deep-cuts set couldn’t be better. Most of the tracks feel as contemporary as they ever did; maybe more so”.

Kate Bush still inspires artists around the world, over forty years on from her debut album, The Kick inside (1978). Even though nobody can match her incredible heights, you can aspects of various songs in some of the artists we hear at the moment. I advise everyone to get hold of the latest release from Kate Bush: a wonderful combination of her lesser-exposed material through the years shows how varied her music was and how special she is. I would keep writing but I need to play Bush’s version of The Man I Love...

ONE more time.

FEATURE: The Big Sky: A New Music Platform Where Everything Is in One Place

FEATURE:

 

The Big Sky

PHOTO CREDIT: @dchuck/Unsplash 

A New Music Platform Where Everything Is in One Place

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THIS morning, I wrote about...

 PHOTO CREDIT: @johnschno/Unsplash

the thirtieth anniversary of the World Wide Web and whether we have used it for good or bad. There are many great aspects of the Internet and social media. In terms of music, we are all able to connect with each other and discover the hottest new releases without searching too much. It is great we can follow artists and be part of their world. I do wonder whether, on a daily basis, social media is providing the content we want to see. I know there are filters and ways of cutting out stuff we do not want to see but, of a day, so much stuff comes through and I wonder what the cumulative effect is. I do like to follow a few celebrities and news sites but, largely, I am on social media for music and music-related news. Look away from social media and what we all look at regularly and is it easy to get a handle on everything?! I look at music news sites and blogs; I also check a range of different sites as well as streaming services. It is hard to get a grip on it and I feel there should be a way of having everything in one place. The Big Sky is a preliminary name for the site but, as a massive Kate Bush fan, I think she symbolises what I want to see from the site.

 IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Getty Images

I have written pieces before regarding similar websites but I think it is feasible to deliver a site that has imagination and not too complex. The home page would be this entrance into a studio. There would be drop-down menus and where you could go to any part of the site. There would be rolling animation and features where we would see musical figures, past and present, interacting and moving around the screen. When one goes in, there would be this cutting-edge and cool design where you can sort of navigate around a studio setting and various different locations. At each point there would be options to click and it would provide a more interactive option than social media. The main aspect is the features and they would be the reason to join. Many might say that adding a new sites would make people spend more time on social media but, for those who love their music, it would allow people to get all they need under one roof. There would be options to see rolling music news and find a list of online sites and blogs that fit your tastes; all the latest happenings in the world of music and links regarding journalism and how to get started. In this section, say, you would have everything you could need regarding music journalism and how to get involved; archives and bespoke articles to your personal site – so you do not have to wade through a lot of stuff you do not need.

 PHOTO CREDIT: @rani33/Getty Images

There would be a similar tact when it comes to archived music and bringing streaming services together. We have Spotify and YouTube but I wonder how easy it is to look for songs from the past and have that organisation. I know where to look but there are songs and artists I stumble upon that I sort of find by luck. You can have an integrated sort of platform that brings together Spotify, YouTube and existing sites and adds a special engine/feature. You can easily search for music from a particular period/genre and it would be easy to discover fantastic old music and the best new release suitable for you. This would also involve bringing in existing apps that make it easy to find the songs you love but broaden the mind. As I say, there is a lot of bringing existing sites and apps together but making everything tied together and united. I am keen to do a lot with the music/streaming side of things so that a lot of newer artists are not overlooked but we allow listeners an equal amount of time to look back and listen to music they might have forgotten or are not aware of. There would be a social side to things but, in terms of social media, one need know have another option. It would, instead, incorporate and customise your view so you can bring in all your usual feeds but personalise it so you do not get stuff you do not want to see – including people’s retweets and random stuff.

 PHOTO CREDIT: @rani33/Unsplash

There would also be another option where you can integrate music news feeds into social media so you only get music stuff and do not have to keep scanning all your usual sites! Not only am I keen to get streaming sorted and make sure everyone is as rounded as possible, there is that archive aspect where you can see documentaries, look at album covers and take a tour of musical history from the one page. This, again, would bring in existing sites like YouTube but there would be special reference libraries and articles; a look back at music from specific years and, indeed, everything you could possible want to know. The website, The Big Sky, would offer an album of the day suggestion; there would be options to loom at music venues and spaces in any town/city; a way of searching for something specific. Say you wanted to find all new Rock bands from Austin, Texas, there would be search functions where you could hone down; taking you to their websites and social media feeds. Education and awareness would be big aspects so there would be chances for contributors – musicians and people in the industry – to post videos covering anything from gender-inequality to the history of Hip-Hop. There would be a special side of the site and would include a discussion board, articles and way for people to communicate with one another and create this safe forum. The user would have access to libraries of archives and information and they would be able to have their mind opened regarding various aspects of music – from education and charity through to burning issues.

PHOTO CREDIT: @priscilladupreez/Getty Images

One would be able to access any International radio station so, essentially, it is this site where you can personalise and ensure you do not need to hunt too much. If one is curious regarding music attraction and museums then that is in there; you can learn how to set up your own record label or venue. There would be this whole site for managers and bookers and, again, bring in existing platforms to make it a more interactive and complete experience. I am also interested in having areas that discuss things like mental-health and sexual abuse. This is not often promoted by social media platforms and I feel it is vital to include. If a musician or anyone in the industry (or a listener) needed help or wanted to discuss their problems there is a list of all numbers, videos and ways we can interact and support one another. The same goes for anyone in the industry who has been the victim of abuse and assault. Nobody should be made to feel alone and, not only can one share their stories on social media, there will be this huge resource of support and interaction. Another thing that intrigues me – and I have not seen a lot of – is being able to pitch music video ideas and collaborate. There are websites where you can see video treatments but I want to make that more interactive and have programmes where you can submit a rough pitch or part of the video; links where one could learn how to become a director and anyone can submit a treatment and, if an artist thinks it fits their song, get in touch.

 IN THIS PHOTO: The Beatles/PHOTO CREDIT: David McEnery/Rex/Shutterstock

I like the idea of one being able to collaborate online; whether it is a remix or a sampling album. I want a part of the site where artists pitch to have their track remixed and there are opportunities for creators to communicate more easily. If one wanted to create a samples album – very hard these days – there are links and information where you could find out about a song and who owns it and get in touch. You could then piece together your own album and see it come to life. In the same spirit, tools where you can design an album cover and then send that to photographers and see if they can realise it – there will be links to different photographers in various areas near you. I am very eager for there to be lots of creative options; from learning to play an instrument or starting your own band – where one could post old-school ads to recruit people. I have just touched the tip of the iceberg but there would be so many different corners of the site/interactive studio that would be everything anyone could need. I am always open to suggestions but I want to invent tools where musicians can get their music heard by more people and earn more money; people who want to get into various aspects of music find adverts, chances and sites where they can further those ambitions.

 PHOTO CREDIT: @mbgrfk/Unsplash

From the cool homepage – where one can customise things – to the album suggestions and endless options, there is this mix of unique and specially-designed sites/tools and bringing the best of the web together. I want to make sure The Big Sky is a safe space and there is no abuse and trolling. You can customise your social media feeds but there would be tough penalties for anyone sharing anything offensive on discussion boards or discussion sides. Making sure everything is fair, equitable and peaceful is vital; providing so many different resources and options to those who adore music and connecting people in a very quick and stress-free way is paramount. I have always wanted to launch this idea but have been told it is too ambitious or expensive. On the money side, I think there could be crowd-funding where pledgers would get rewards and gifts for their donations. I want to bring big labels, tech companies and organisations in to help with the technical side and donate and, in exchange, allow them to advertise. Another aim is to get a contract from tech companies where they would be a fairly big sum each year but get extra revenue and business from the site – no annoying adverts but bespoke and tailored adverts for people. I want that money to go into investment and making this as good as possible.

 PHOTO CREDIT: @mbgrfk/Getty Images

Feedback is important and I would like people to have their say regarding new elements and improving other ones. I get frustrated by how vast the Internet is and how it is hard to find everything you want. So many people like me lose a lot of music information and great new sounds because it is hard to get a handle on it all. There is also this feeling that there are things missing and not enough resources out there. Regardless, The Big Sky would not entail any extra time online and, instead, it would be more economical for those interested in music. I feel social media does not have enough filters and you get a lot of stuff in front of you that is irrelevant or asinine. This would be a way of combating common issues but discovering so much more. It might take a long time to get it going but I feel, if there is a consensus it is a good idea, then that is a start. As more and more artists coming onto the market, it can be mind-boggling and exhausting keeping up! I am excited and do feel that, if something can be designed that is this one-stop area for everyone who is interested in music then this is a really good thing. I definitely would like to see it and I know there are many out there...

PHOTO CREDIT: @aaronpaulos/Unsplash

WHO feel the same way.

FEATURE: The World Wide Web at Thirty: Creating a More Positive Internet and Social Media for Musicians…and the Entire World

FEATURE:

 

The World Wide Web at Thirty

PHOTO CREDIT: @brookelark/Unsplash 

Creating a More Positive Internet and Social Media for Musicians…and the Entire World

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IT seems amazing that the World Wide Web...

 IN THIS PHOTO: Tim Berners-Lee, the inventor of the World Wide Web/PHOTO CREDIT: Olef Blecker

is a mighty thirty. There is a difference between the World Wide Web and Internet but, as we are sort of celebrating this big technological breakthrough, it is worth looking back to 1989 and a very special time. I was in primary school then and still can recall having these enormous discs we put in primitive computers; playing this – as they appear now – ancient and very basic video games. They thrilled us and anything as radical as being able to connect with people around the world by computer seemed such a strange and impossible thing. Look at where we are now and anyone, anywhere can pretty much find out anything they want; they can look at God knows what and there is this entire universe available from the comfort of home. Yesterday, to mark thirty years of the World Wide Web, the BBC published this article that charts the beginnings and what we experienced in the earliest days:

“Thirty years ago today, Sir Tim Berners-Lee submitted his proposal for the world wide web. To celebrate its anniversary, tech firms, early web users and retired politicians are flooding #Web30 on Twitter with nostalgic posts remembering their first interactions with the world wide web.

The earliest computing technology was conceptualised in the mid-19th century by British mathematician Charles Babbage. The first computer wasn't built, however, until 1939. Soon after, the first computer company was founded...

In the 1960s, two MIT Graduate students theorised and then created a technology that was able to transfer small packets of information from one computer to another. This interconnectivity, first called the Arpanet, marked the first traces of the internet.

PHOTO CREDIT: @kylejglenn/Unsplash 

The technology was primarily used for US defence strategy throughout the Cold War. This was until two decades later when Tim Berners-Lee sought to streamline a connection between a larger network of computers. Thus, the internet browser and the world wide web was created.

Today, we think of the internet as millions of links networked on a variety of browser options like Google Chrome, Mozilla Firefox or Internet Explorer. We can thank Berners-Lee for it because a "browser" was first coined in his 1989 information management proposal.

The first ever web address that started it all was http://info.cern.ch/ and it still exists today”.

Look at that report and one can see some of the earliest websites. By today’s standards they look almost alien and we can all remember the experience of connecting to the Internet: that screeching dial-up tone that would last forever and you’d have to wait until something cranked up. Photos and information would almost form on screen as though somebody was designing it on-the-fly and it was a very slow, yet exciting, experience. We have come a long way but it seems like, in every aspect, there is dangerous and anti-social behaviour. The fact that yesterday’s Brexit vote was rejected means that many of us are unsure what happens next. It is worth alluding to Brexit and the issues musicians will face but I wanted to see whether the Internet as we know it is a good force for artists.

It is definitely handy being able to connect with anyone and get your music out there. For everyone in the industry, it is quick and seamless when you need to communicate and share some news. The flow of information means that we can all keep informed and educated but, in many ways, the ease in which we can all have our opinions read is a negative. Before speculating as to how we can change the Internet and make it a safer space, this article from The Guardian celebrated the World Wide Web at thirty and spoke with Tim Berners-Lee:

 “It’s understandable that many people feel afraid and unsure if the web is really a force for good. But given how much the web has changed in the past 30 years, it would be defeatist and unimaginative to assume that the web as we know it can’t be changed for the better in the next 30. If we give up on building a better web now, then the web will not have failed us. We will have failed the web.”

Berners-Lee breaks down the problems the web now faces into three categories. The first is what occupies most of the column inches in the press, but is the least intrinsic to the technology itself: “deliberate, malicious intent, such as state-sponsored hacking and attacks, criminal behaviour and online harassment”.

He believes this makes the system fragile. “It’s amazing how clever people can be, but when you build a new system it is very, very hard to imagine the ways in which it can be attacked.”...

Berners-Lee’s solution is radical: a sort of refoundation of the web, creating a fresh set of rules, both legal and technical, to unite the world behind a process that can avoid some of the missteps of the past 30 years.

Calling it the “contract for the web”, he first suggested it last November at the Web Summit in Lisbon. “At pivotal moments,” he says, “generations before us have stepped up to work together for a better future. With the Universal Declaration of Human Rights, diverse groups of people have been able to agree on essential principles. With the Law of Sea and the Outer Space Treaty, we have preserved new frontiers for the common good. Now too, as the web reshapes our world, we have a responsibility to make sure it is recognised as a human right and built for the public good”.

I do love that musicians can get credit and praise when they put their songs online. There is this feeling that anyone can achieve anything and we can instantly hear some of the best new music within an instant. There are loads of positives but I think there are a lot of bad sides that are affecting musicians’ mental-health and well-being. The tensions we are all feeling right now seem to spill out into some rather negative communications and a sense of negativity.

Many people are venting and lashing out; I am hearing of so many people in music who are recipients of hatred and vile. From attacks on female musicians regarding weight and looks to racism and sexism, there is this platform where everyone can get away with what they like. I do feel there are benefits of the Internet - and how it has developed over the years – but I wonder whether we are using this technology for good and genuine positivity? Many of us are fearful regarding the future of the U.K. and we all must come together. Music is an industry that has its problems and, for many, it is not safe space. Rather than ban everyone who posts something hateful and toxic, I think there needs to be more education; channels that can allow artists and those in the music industry to talk about big issues and creating this dialogue. I feel the sheer size of the Internet and social media platforms makes it hard to control the volume of communications and a lot can get lost. Whether an artist is being body-shamed or there is something negative written about an album, all of this is having a big impact on people.  It is no coincidence that the rise and proliferation of the Internet can be linked to greater anxiety and depression. It is worth noting there are a lot of good people out there but there is too much negative energy and argument.

 PHOTO CREDIT: @clemhlrdt/Unsplash

I have been thinking about it for a while but I do wonder whether there should be a unique website for those in music. Rather than rely on the normal social media channels, having a website that is safe, monitored and can better control hatred would be a bonus. I think people can still use Twitter and Facebook but having this bespoke site that not only filters out negative comments and the worst elements but creates this educational and constructive forum would be great. It would be a one-stop space for the passionate music-lover and you’d have so much information and networks. It would not be overwhelming and, one hopes, addictive in a good way – more in terms of benefit and education rather than idly sitting at a screen for no reason. There are big threats regarding the Internet but I think ensuring there is less hate and angry interaction is vital. Making this secure website is important and there needs to be a more open-minded and positive area. It may sound utopian but I do think social media, as it is now, is this big and messy thing that is impossible to safeguard. Every day, I see so many tweets shared that propagate such awful notions. Many artists are talking about the comments they receive and how that makes them feel. The World Wide Web was created as this exciting and hopeful innovation and, to a certain point in history, it has been massively positive and a force for good.

PHOTO CREDIT: @infectedluna/Unsplash

I am not saying social media is the worst element of the modern-day Internet but I do think there are so many people feeling buried and unsafe. From women receiving disturbing images and messages through to hopeful bands being hammered and having their self-esteem destroyed, things can only get worse. I think Tim Berners-Lee is right when he prophesises this rather dystopian future and a world where there are scammers and we feel unsure about our privacy. I think a lot of people have too much choice and are spending too much time relying on the Internet; many people in music cannot get out of the lure of social media and others are revealing how they are having their details shared and being scammed for money. It is a big dream to revolutionise the Internet and the way we all feel. There is so much power and technology at our feet and I do think we can all come together, as Berners-Lee hopes, and make these changes. In a musical realm, either creating this website/social media platform that erases the worst of the current options and adds so much more; maybe looking at why there is so much tension and hatred and trying to incorporate new elements into Twitter and Facebook. Rather than penalise and ban those who offend and go too far, creating videos and links that create awareness and give them information.

I am not sure but I do have a feeling that, the more divided we are become, the more we see poison and anger replace anything genuinely warm and together. That is not a good thing to realise. Music is a wonderful medium and there are so many positive aspects that, I feel, are getting swamped under a lot of tension. Thirty years down the line, we can experience music like never before and have access to pretty much anything recorded. We can send messages to our favourite acts and the networking opportunities are incredible indeed. All of this is brilliant but I feel more time should be invested regarding repair and monitoring as opposed seeing how advanced and fancy the Internet can be. Social media channels are vital for people in music – and everyone in general – and most of what I see on a daily basis is either quite negative or inane. Making it constructive and purposeful is as important as creating a less hostile and depressive platform. If, looking at the next decade-or-so, we can help ease anxieties and fears and improve the Internet/social media as we know, that will lead to something truly remarkable. It is within our grasp and I think we can all get behind a dream where our lives are a lot richer and more secure when we go online.

PHOTO CREDIT: @akshar_dave/Unsplash

That is not to discredit all the good that we have seen over the decades and how the music industry has been transformed. I do not think any of us would be where we are without the Internet and we can all owe it to the modest and curious World Wide Web that arrived thirty years ago. It would have been unbelievable if someone had claimed in 1989 that, in only a few decades, there would be this incredible highway and world where we could all reach one another. It would have been scary to hear but also very heart-warming and wondrous. I think this rather ideal and inspiring desire is within reach but it down to those in power (regarding social media) to...

PHOTO CREDIT: @linkedinsalesnavigator/Unsplash

HELP make that change.

FEATURE: What Kind of Name Is That, Anyway?! The Storm Gareth Playlist

FEATURE:

 

What Kind of Name Is That, Anyway?!

PHOTO CREDIT: @falconart/Unsplash 

The Storm Gareth Playlist

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THERE is a storm brewing and the weather...

 PHOTO CREDIT: Mitya Ku/Flickr

has been pretty shocking the past day or so! We are going to get a lot of bad weather tonight and tomorrow and, by Thursday, things should start to calm down a little bit. The approaching Storm Gareth – stupid name…but there have been worse – will bring extreme gales to parts of the U.K. tonight and cause power cuts and structural damage. That is all pretty bad but, as we prepare for some pretty hellacious conditions, it is best to stay inside and wait for the worst of it to blow past. In honour (if that is the right word) of the upcoming Storm Gareth, is an appropriate playlist of wind, rain; storm and Gareth-related songs that will provide good distraction against the pretty crappy weather that is coming across the country right now. Take care in the storm and do not go out unless you absolutely have to. Keep safe and, instead of braving the outdoors, stay inside and...

PHOTO CREDIT: @elijahsad/Unsplash

LET these tunes distract you.

FEATURE: Role Models: The Artists Who Are Inspiring Change - and Why We All Need Their Voices in These Hard Times

FEATURE:

 

Role Models

IN THIS PHOTO: Beyoncé and JAY-Z in 2018/PHOTO CREDIT: Courtesy of The Cut 

The Artists Who Are Inspiring Change - and Why We All Need Their Voices in These Hard Times

__________

I wanted to tie this in with a piece I am going to write...

 PHOTO CREDIT: @carlheyerdahl/Unsplash

concerning the thirtieth anniversary of the Internet. I will cover that tomorrow but, in that spirit, I wonder whether we have come forward or backwards when it comes to using the Internet for good. It is interesting to see all the developments: how we can all communication with one another and share the latest news at the click of a button. On the other side, there is the toxic side: people being inflammatory and attacking others; the swell and wave of abuse people suffer on a daily basis. It is a delicate balance but, more often than not, we are seeing negativity reign and something quite depressing emerge – the good-news stories are rare and where do we go when we want a positive blast?! Although it is not directly linked to the Internet, I am always gladdened when I hear about something positive in the music industry. I read this article that shone the spotlight on Beyoncé and Jay-Z: the pair are to be honoured because of their work supporting the L.G.B.T.Q.+ community:

“According to Deadline, GLAAD has announced that it will be presenting the Vanguard Award at the upcoming GLAAD Media Awards to certified vanguards Beyoncé and JAY-Z. Deadline says the award is for “allies who have made a significant difference in promoting acceptance of LGBTQ people,” with previous winners including Britney Spears, Cher, Kerry Washington, Patricia Arquette, Janet Jackson, Charlize Theron, and Jennifer Aniston....

IN THIS PHOTO: Britney Spears (a previous winner of the Vanguard Award, presented by GLAAD)/PHOTO CREDIT: Getty Images 

As for JAY-Z and Beyoncé, a statement from GLAAD president and CEO Sarah Kate Ellis notes that they’re “global icons and passionate defenders of human rights and acceptance for all people,” adding that “the world becomes inspired” when they speak and that their “voices of acceptance have been heard loud and clear” by the LGBTQ community.

Beyoncé has been a longtime advocate for LGBTQ issues, but this will actually be JAY-Z’s second year in a row getting award by the GLAAD Media Awards. Last year, he received a Special Recognition Award for the song “Smile” from his album 4:44, which was based around the revelation that his mother is a lesbian. The GLAAD Media Awards will be handed out a pair of ceremonies, starting on March 28 in Los Angeles and then May 4 in New York”.

It is no surprise that Beyoncé is being honoured and acknowledged. She has, through her career, always spoken for the L.G.B.T.Q.A.+ community and has been fierce when it comes to having her voice heard regarding politics, sexism and injustices. This is a piece of good news that, in a hard couple of weeks, provides a bit of relief and positivity. It has been a bit of a busy time for Jay-Z too. This Guardian article explains how Jay-Z has become this civil rights activist of note. A rather shocking case that has come up in America moved Jay-Z to take action:

“On an early Monday morning in February, 11-year-old Jabari Talbot, who is African American, decided not to stand for the pledge of allegiance in his classroom at Lawton Chiles Middle Academy. Another classmate, who is not African American, joined him, a civil rights complaint obtained by the Guardian claims, but the child was not questioned by the substitute teacher...

IN THIS PHOTO: Jay-Z and Meek Mill attend the launch of The Reform Alliance at John Jay College on 23rd January, 2019 in New York City/PHOTO CREDIT: Kevin Mazur/Getty Images for The Reform Alliance 

“Equality in this country is not fair ... black people are not treated fairly,” he answered the teacher when asked why he would not stand, adding, “[and] police don’t treat black people fairly”.

Within a month, the sixth-grader has had the help of not only his local legal counsel in Florida, the attorney Roderick Ford, but also the rapper Jay-Z; Team Roc, the philanthropic arm of Jay-Z’s organization Roc Nation; and one of his famed attorneys, Alex Spiro, who has worked on dozens of civil rights and social justice-related cases at the request of the hip-hop mogul.

“I do think there is a common thread to [Jay-Z’s] work and to ensure that all people are treated equally,” said Spiro, the 36-year-old New York-based attorney for a number of celebrities, who, at the request of Team Roc, stepped in to assist the sixth grader. “If we can get involved in a young person’s life early before someone is convicted, before they are sidetracked by the criminal justice system or detained, you have a better chance to affect change or create progress,” Spiro added.

Many of the cases Jay-Z has been involved with, with the help of Spiro, have mirrored the issues plaguing America in recent years: the debate around the former NFL quarterback Colin Kaepernick refusing to stand for the pledge of allegiance – and as a result, no longer playing professionally; the absence of accountability for police actions; and the ever-expanding, albeit inherited, system of immigrant detention under the Trump administration...

IN THIS PHOTO: U.S. attorney Alex Spiro/PHOTO CREDIT: An Rong Xu  

“You always want to be on the right side of the issue,” Spiro explained, discussing why he has worked with Jay-Z on many of these cases in recent years. For example, right before Jay-Z rushed in to help Jabari, he was advocating for the release of the Atlanta-based rapper 21 Savage after he was detained by US Immigration and Customs Enforcement (Ice) and threatened with deportation back to the UK on Super Bowl Sunday this year”.

I am always pleased when musicians make a stand and we see something good coming out. Jay-Z and Beyoncé are just examples of musicians backing a cause and not standing for injustice; making sure those without a voice have one and standing against intolerance. Jay-Z and Beyoncé are role models, not only for the black and L.G.B.T.Q.+ communities, but the world as a whole. You do not have to be a mega-famous musician to get people interested and make people take notice. I feel like, at a time when there is so much anxiety and negativity, it is hard to see a light and find those who are striking out. I have always said music and musicians have the power to change things and make the world better. Maybe it is not drastic in the case of Beyoncé and Jay-Z but it is news I wanted to share. I do feel that a lot of artists either do not have time to get involved with other organisations and areas outside of music or they are a bit nervous about commercial ramifications.

 PHOTO CREDIT: @andrewleu/Unsplash

What are the consequences of a big artist talking about something like race and the L.G.B.T.Q.+ community? What happens if they are political and take a stance? I feel it is important that artists, mainstream or not, are as active as possible fighting for causes and getting involved. There is a feeling that, gradually, artists are getting more involved with politics. A lot of Folk and Bluegrass acts are speaking up and putting politics into their music. Maybe it is easier to be a role model and inspiring when it comes to areas like sexism, racism and sexuality. Politics, in many ways, can be more divisive and it is hard to take a stand and keep all your fans happy. Taylor Swift is an example of a Pop artist who has spoken about politics before but, with such a huge fanbase and reputation, it can be damaging talking about politics – even if everything you are saying is right and morally-just. Now, with the 2020 elections in the U.S. not a million miles away, she has vowed to get more involved:

“Taylor Swift has vowed to become more active in politics ahead of the 2020 US presidential election, saying she feels it is her responsibility to speak out against “disgusting rhetoric”.

“Invoking racism and provoking fear through thinly veiled messaging is not what I want from our leaders, and I realized that it actually is my responsibility to use my influence against that disgusting rhetoric,” the pop singer wrote in an essay in Elle magazine in which she lays out 30 things she learned before turning 30 years old...

IN THIS PHOTO: Taylor Swift photoed in 2016/PHOTO CREDIT: Danny Moloshok/Reuters  

“I’m going to do more to help. We have a big race coming up next year,” she added.

Swift broke a years-long silence on political issues in 2018, when she endorsed two Tennessee Democrats in November’s midterm elections. A spike in voter registrations followed her Instagram post encouraging fans to register”.

There are more musicians making their voices heard regarding politics and not be silenced. I mentioned how grassroots Folk bands of the moment are particularly keen. This article featured a few great examples and showed that how tackling difficult subjects, if done right, can be very powerful and effective. It is an illuminating piece but among the most vociferous of the Folk troupes taking on big issues is Lankum:

“That subject has particular resonance for Lankum, a band who weave politics subtly through their bible-black, poetic songs. An original song of theirs, The Granite Gaze, references the women who had to “sneak away across the foam” to Britain for terminations before the referendum in the Irish Republic last year; they played it at a protest when the pope visited Dublin in August 2018. They also did so outside the city’s last Magdalene Laundry, one of Ireland’s notorious houses of confinement for “fallen women”. “It only closed in 1996,” Peat points out, her eyes looking cold at the thought. “It felt very special singing it there. And after the referendum…” She smiles. “I love singing that line now.”...

Of all modern folk bands, Lankum are the most full-throttle, jaw-dropping bunch. Signed to indie titans Rough Trade in 2017, where they are the favourite band of label-mates Sleaford Mods, they mix stunning versions of traditional songs with modern originals about poverty and injustice – as well as more raucous jigs about drunkenness and strange old men.

I do feel like politicians are letting us down and, when it comes to doing good and making positive steps, I wonder whether they are doing as much as they should. There are artists all over the spectrum that are becoming active regarding the political debate and creating hugely moving and wonderful work. From Post-Punk bands to Folk groups; to Pop artists discussing racism and discrimination in the world through to those who have spent their careers championing those who get overlooked. I feel that, the more we become anxious and unsure of what is happening around us, the bigger opportunity music has to lead and heal. Not only can the music itself help balm and give us all guidance but those who use their voice and platform to affect change and discussion deserve praise. It can be risky taking political sides and changing your lyrical narrative. I do think more musicians should use what they perform to talk about big topics and, where possible, use their voice to help make the world better.

 IN THIS PHOTO: Lisa O’Neill (an Irish musician who tackles difficult subjects through her songs)PHOTO CREDIT: Katherine Anne Rose/The Observer

Maybe the examples I have shown are not radical in any sense but it shows that many artists are passionate about change. There are essays that suggests musicians should act as role models to our youth and, at a time when there is so much need for inspiration, I can agree with that. I understand that it might be harder for established acts to use their voice to help bring about movement because there is that commercial aspect and whether they risk offending or dividing their fans. It almost comes down to this battle as to whether you want to take that risk or remain quiet. I do think it is always worth taking a chance and, if you are passionate about a cause, not being afraid to do something – easy enough for me to say! I do truly believe musicians are more influential than politicians and they hold so much power. Whether they are inspiring, like many political acts, through their music or getting out into communities and using their platform to do good it is always wonderful to see. I think we can all do with some wins and good news so I was keen to share the report concerning Beyoncé and Jay-Z’s acknowledgement. They will surely compel others to follow in their lead and I know there are artists all around the world who are shaping up to be terrific role models. So many people look to artists for wisdom and inspiration and, if they can open our minds and hearts through their music or conversations then it can compel us all to...

PHOTO CREDIT: @nicholaskampouris/Unsplash

FIGHT for what we believe in.

FEATURE: Erasing History: Is Banning Michael Jackson’s Music from the Airwaves a Bad Decision?

FEATURE:

 

Erasing History

IMAGE CREDIT: Spotify 

Is Banning Michael Jackson’s Music from the Airwaves a Bad Decision?

__________

EVEN though there is not the same amount of talk...

 IN THIS PHOTO: Michael Jackson in 2005/PHOTO CREDIT: Carlo Allegri/Getty Images

regarding Michael Jackson and the allegations made against him over the past day or two, there is still a lot of development and ‘progress’. By that, people seem to be on the side of Jackson’s accusers, Wade Robson and James Safechuck. In fact, by the day, it seems Jackson’s work is disappearing from the world. Drake has dropped a Michael Jackson song from his setlist amidst the controversy. Whilst there is a lot of talk regarding the Leaving Neverland documentary – where Robson and Safechuck have told their story – it is only these two guys who, nearly a decade after Jackson’s death, are now coming out. It makes me wonder whether their motive is money or justice. Certainty, even if there was concentrate proof regarding Jackson’s guilt, he could not be taken to task and imprisoned. This article looks at what was missing from the recent documentary:

“But while the documentary recounts both men’s damning claims against the singer, Leaving Neverland doesn’t include every aspect of the decades-long allegations against Jackson, who died in 2009 of a drug overdose.

Some parts, such as testimony from the singer’s staff and his own family, have been purposely omitted by director Dan Reed, who argued they needed to be left out in favour of focusing on the victims’ voices.

However, those omissions and others, like the long-running Federal Bureau of Investigation probe into Jackson that never resulted in conviction, have been seized on by the singer’s supporters who have claimed the film is one-sided as a result...

Mr Robson and Mr Safechuck’s failed legal action against the late singer and previous claims they were never sexually abused by the singer have been highlighted again and again by Jackson “truthers” in the wake of Leaving Neverland’s release.

In 2004, the FBI again provided police with assistance in investigating claims against the singer, forensically analysing 16 computers from Jackson’s home and finding nothing of note, according to Billboard.

In September that year the FBI was asked to look at possible sex charges against the singer after the discovery of an unnamed alleged victim living in New York, CNNreports.

However, the case was closed after the alleged victim told the FBI he would “legally fight” any attempts to try and make him testify against Jackson”.

I would never make light of any situation like this but, as Michael Jackson has been accused of being a pederast, people have to take it seriously. No matter what side of the debate you are on, the man himself can never have his say or have his moment in court. All of those who accuse him are doing so based on no evidence and assumptions – because he has shared a bed with children does not automatically equate to abuse. It is clear the words of Jackson’s accusers are shocking but there are a lot of holes. They have changed their story a few times and one wonders why if – as it is claimed they were abused hundreds of times – they kept going to Jackson’s home.

Why would their parents allow that and why would the children, knowing it was not right what was happening, continue to go rather than staying at their homes? Maybe there is fear and the sense they want to be near their idol but there is a lot more to the case than meets the eye. The sheer complexity of this matter means that we might never know for sure what happened and whether there is truth in anything that has been said. At any rate, many people seem to have Michael Jackson pinned and figured. This BBC article explains the fallout:

“Paul Blanchard, founder of the PR company Right Angles, says it's too early to tell what lasting impact the revelations will have on Michael Jackson's legacy.

"This is the Brexit of pop music. People will be more divided than ever. The longer it goes on the more alienated and divided people are.

"As we've got nearer to Brexit people have become even more polarised and even more opposed to each other and not come together.

"I think this will happen with Jackson's legacy. For those who are starting to turn off him they will become more entrenched in that view.

"For those that think he's a victim of blackmail and these people are trying to get money out of him - they will continue to think that ever more strongly".

It is not only the fans that are divided – with some turning off – but one must wonder what affect this is having on Jackson’s family. These allegations affect them and his nearest and dearest, including his daughter Paris Jackson, will carry this with them forever:

“Michael Jackson's family has strongly denied the claims made against him and says the allegations are about getting money from the singer's estate.

His nephew Taj Jackson spoke to Newsbeat on Wednesday to defend his uncle and said the singer would be "crying" over the allegations.

But other high profile family members - such as his mother, and sister Janet Jackson - haven't addressed the claims.

His daughter Paris has kept a low profile since the documentary was shown and hasn't spoken about it directly.

But on Thursday she sent a tweet in which she told her followers to keep calm, saying: "Y'all take my life more seriously than I do".

Nobody wants to overlook what has been said in the Leaving Neverland documentary but it seems that a lot of the media’s perceptions and reactions have been one-sided: finding Jackson guilty and appalled at what has come out. I know that music is a personal thing so, if someone feels they cannot listen to Michael Jackson again, then that is up to them to decide. One of the most shocking decisions to come out of all of this is radio stations turning off Jackson’s music.

The BBC article explains what is happening so far:

“Some radio stations across the world - including in Australia, New Zealand and Canada - have stopped playing Michael Jackson's music.

Leon Wratt, the boss of MediaWorks - which owns nine radio stations across New Zealand - said the company is guided by the audience and wanted to "err on the side of caution".

But radio stations in the UK haven't taken such a public stand.

The BBC says it doesn't ban artists and Michael Jackson could be played on its radio stations.

A spokeswoman said: "We consider each piece of music on its merits, and decisions on what we play on different networks are always made with relevant audiences and context in mind."

While Global, which owns stations including Heart, Capital, Classic FM, Smooth and Capital XTRA, says it "never comments on editorial (playlist) decisions".

The fact that the stations not playing his music are doing this because they want to be cautious is ridiculous. How can you ever disprove what is being said about Jackson? Because there will never be an absolute truth, does this cautious approach means his music will be banned forever?! This statute of limitations might extend for decades and one wonders, if it is a temporary ban, then why bother at all. I can understand there might be some discomfort playing songs so close to the documentary coming out but, now that it is out in the world and there are two sides to the debate, why keep this ban in place?!

 IN THIS PHOTO: Jackson and a young Wade Robson/PHOTO CREDIT: HBO

Radio is a medium for everyone and should not be dictated by station bosses. There are people in Australia and Canada who are Michael Jackson fans and I feel it is wrong to have this blanket-ban and deny those who want to hear him. Even though the U.K. has not taken such an extreme stance, I feel like they are holding back. Consider stations that, until a few weeks ago, played his music fairly regularly. Everyone from Heart to BBC Radio 6 Music played his material and I do not think I have heard a Michael Jackson song played on any station here since the controversy. Even if they have not banned his music then, by not playing it, they are effectively doing the same thing. I received comments on Twitter when I announced I was going to do a piece on Michael Jackson; I asked whether it was a bit unwise writing a piece about him given the news coming out. Some said that, because he was a bigger star than people like Rolf Harris (who has put music out there and is not as famous) then does that mean he should be given a pass? Do we overlook the nature of a crime if the music is really good and popular?

 IMAGE CREDIT: Spotify

In the case of artists who have been accused and arrested – including Rolf Harris and R. Kelly – the situations are different and, in both cases, the men are alive to face justice – Harris has already been to prison. It does bring up an interesting debate regarding the music and the man. I have talked about this before but, until anything conclusive is revealed and we know Jackson is guilty, everything is hearsay and up for scrutiny. Everything is hanging on this documentary and the words of two men – if it were dozens then we might have to take action regarding Jackson and his music. Even if more people do come through, how does banning his music get rid of the problem? The argument we should be having is how to protect young fans and women in the modern times. There is, fortunately, nobody like Jackson around today who invites children into his home but there are men in music who are abusing women. We need to look more at protection and avoiding any ghastly situation rather than scrapping back catalogues. If Michael Jackson were to be found guilty and there was concrete evidence, what would be the use in banning his music? Jackson cannot benefit from any sales and he is not alive to record anything new. People were still buying his music and stations were playing his music when allegations were made back in the 1990s and early part of this century. Why, then, has another revelation pushed some stations to the edge?!

I do hope the radio stations that have banned his music relent soon enough because, when the attention regarding Leaving Neverland dies away, what is going to happen? Listen to any Michael Jackson song and he is not referring to children being in his bed and having a thing for them. It would be commercial suicide if he did say that but his love songs all refer to women and are fairly safe. Even when Jackson is edgy and at his angriest, that is aimed at those doing him wrong. I do think anything in his catalogue has alluded to being in bed with young boys or anything to that affect. It is sad that we should tarnish an icon whose personality and music are different things. One can say the artist and man are one of the same thing but I disagree. Music is a personal choice and one can see why someone like Rolf Harris’ music would be maligned – the fact he actually sung a song called Two Little Boys would leave a sour taste in the mouths of many! Jackson has been dogged by accusations through his career and, whether there is substance in any of the allegations, why deny people his music? The weight of his legacy is shifting and many are seeing this iconic musician who transformed Pop and affected real change as a reviled and awful human.

In homes and in lives all around the world, the music of Michael Jackson will always exist. If the U.K. radio brands are being too cowardly to commit either way – they have not banned his music but are definitely not playing it like they did – then we can rest assured that Jackson will be played by his fans. Music is a personal choice and should not be dictated by radio stations and broadcasters. His music is available on Spotify and they have not committed; one can see his music videos on YouTube and there has not been this embargo. T.V. shows such as The Simpsons are not taking any chances – as the BBC article from before explains:

“An episode of The Simpsons featuring the voice of Michael Jackson is being pulled from streaming services and streaming channels.

The singer voiced a character called Leon Kompowsky, who meets Homer in a psychiatric hospital, in an episode which originally aired in 1991.

"It feels clearly the only choice to make," executive producer James L Brooks told The Wall Street Journal.

He added: "I'm against book burning of any kind. But this is our book, and we're allowed to take out a chapter".

We are already seeing fallout and damage that might never be repaired. By playing his music on radio, you are not sending out a message that says the man is brilliant as a human: you are promoting his music that, throughout the decades, has brought countless joy to millions – including the men who have accused him.

 IN THIS PHOTO: A shot from the West End Musical, Thriller Live/PHOTO CREDIT: Getty Images

If Jackson stood to profit then there might be cause to suspend his music for a while but the man has been dead for almost a decade. There is a musical in the West End, Thriller Live that has been running since Jackson’s death and people are still queuing to see that. Maybe the musical will not attract those who are not already fans of Jackson but neither too have the doors been closed. A lot of Jackson’s family have been quiet regarding the situation and that, again, says more about Jackson as the man than the artist. It seems many cannot or will not distinguish between the two and have already made their decision. From a moral standpoint, Jackson was not completely clean and few can deny he was a rather unusual human. One will never know what happened at his Neverland ranch but where do we draw the line? Look back the Rock bands who would often bed under-age girls back in the 1960s and 1970s. Even if it was consensual then why should they be idolised and their music flourish? The situations are different but it is clear that, through the decades, musicians have broken the law and, yet, they are still popular and not being tarnished. I think an artist should be judged on what the law says and whether they are adjudged to be guilty or not. Whilst there is still a difference between the musician and the human, we need that absolute proof and conviction of wrongdoing – right now, a legendary artist is being tarnished based on people’s assumptions and perceptions.

I do not feel Jackson’s music should be banned on radio or played any less than it would have been years ago. It continues to delight many and, in these hard and tense times, his music provides joy and energy. He inspired multiple musicians and, to the best of my knowledge, none of them have been accused of being pederasts. What do people think will happen if the music is played on the radio? The artists who have been influenced by Jackson have taken his music to heart and the way he performed – not how he behaved as a human away from the spotlight. Many might not be able to separate the performer and man but, in musical terms, one cannot merely erase and overlook a legacy because they feel a little uncomfortable or icky. If someone does not like a Jackson song being played then that is their call. The size of his impact on music is larger than the hit from the Leaving Neverland documentary and it makes me wonder whether he will still have a brand in the future. We have never seen a Popstar as big as him have to go through this so I wonder, in a decade or so, will anyone play Jackson’s music at all?! It would be a shame to think the die has been cast and this is the sign of the future. The pacificity from the U.K., I feel, will continue and I do not think they will play Jackson a lot. The U.S., largely, is not banning him but neither are they playing him as frequently as they might otherwise do. The final nail seems to have been added by Wade Robson and James Safechuck and it makes me concerned two human beings can influence radio stations around the world. Michael Jackson’s music is phenomenal and could inspire generations to come but, if we continue to take such rash and unwise action based on no proof whatsoever, then that can have a hugely damaging effect on Pop music and the industry...             

 IMAGE CREDIT: Getty Images

FOR decades to come.