FEATURE: Se-X-X-X Laws: Is Music Becoming More Cautious When It Comes to Sexual Content?

FEATURE:

 

 

   Se-X-X-X Laws     

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ALL PHOTOS: Unsplash 

Is Music Becoming More Cautious When It Comes to Sexual Content?

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IT is bloody typical that The Guardian has just published…

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a piece I was going to write! Whether there is something in the air or not; they have released their opinions regarding sex in modern music. I have covered this topic a bit but I have been hankering to return to the topic. Past pieces have looked at sexism and exploitation in music videos; whether there is too much sex on show in modern music. Now, I am taking an opposite approach and asking whether things are too muted and conservative! One can look at the scandals in Hollywood and sexual abuse claims as a warning to all artists to think about how they behave. Whilst there has not been the same unadulterated and despicable cases we have seen in Hollywood - Harvey Weinstein, especially – I have heard far too many cases of sexual assault and inappropriate behaviour in music. Bands and artists have been shamed; testimonies revealed and allegations made – there are many more afraid to come forward and so many potential incidents that have not been oxidised. I am not suggesting music has long been the back parlour of Caligula’s summer house: cavorting and flesh-revealing antics mixing with debauched imagination. Musicians, for decades, have used sex to sell and provoke a reaction. I have just finished up writing a piece that included Madonna. She was/is no stranger to causing controversy and stirring people up but, in actual fact, it is people’s misconceptions and overreactions that have been the problem.

Madonna has always been about empowerment and pushing boundaries. Her music, imagery and videos have compelled and inspired generations. There are still artists who put sex into their music and videos but, look around, and things have gone very quiet. I can still recall when Miley Cyrus was tarred and feathered for her Wrecking Ball antics. Others, including Britney Spears and Christina Aguilera, have been accused and judged before for revealing flesh and dancing provocatively in their videos. It seems, in most cases, it is female artists receiving most of the moralising and judgements. Men, on the other hand, approach sex in a different way. Whilst a lot of females have been in the press for empowerment and body confidence; a lot of male artists have been accused of inappropriateness, sexism and lewdness. There are definite gender divides and moral lines we need to consider. In any case, I feel modern circumstances and times have dictated how sex is discussed in music. Many current Popstars are writing about relationships in more sorrowful and diary-like ways. They are chronicling heartbreak and self-reflection rather than the joys of passion and the quest of lust. Some genres, like Hip-Hop and Rap, still boast physically assertive and sexually defiant artists (both male and female) but the goalposts have moved.

There are no rules written that have dictated this sea change but it is interesting to observe how sex is less potent and visible than as recent as a few years ago. To quote from the competing Guardian article; they have looked at ‘sad/sexy’ – how nihilism and a more introspective version of sex have infiltrated music:

As the decade progressed, sad/sexy spread everywhere: the melancholy libido pulsing through the music of the Weeknd, James Blake and the xx (Intro became ubiquitous), you could hear it in the mumbled force of the self-styled Scandinavian sad rappers such as Yung Lean and Spooky Black. Gay culture was gifted a sad/sexy icon in Frank Ocean, who wrote a mini-anthem to the restless dissatisfaction of pharmaceutical cold coupling with Novocaine – a kind of dress rehearsal for sad/sexy’s own three-tier Bohemian Rhapsody, Channel Orange’s Pyramids. The boyband milieu gained its own sad/sexy pinup, too, as One Direction lost their resident weed magnet, Zayn Malik, who went on to pick up the sad/sexy cues of his immediate heroes – Drake and the Weeknd – in Pillowtalk, hooked by the none-more sad/sexy parentheses of “fucking and fighting”.

Not that mainstream heavyweights like Drake and James Blake have gone all soft and lost their libido. Sex is, as the article explores, complicated in this decade. Artists are concerned with mental-health and social media’s effect on the mind.

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Whilst we are still engaging and exploring sex as before; perhaps the digital takeover has changed the way we think, interact and spend out leisure time – have artists the time, energy and focus to even think about sex?! It seems the projection of quick-fix and sexual release is rather ill-judged and cloying at a time when sexual indiscretion and abuse of power is in focus. Maybe we are all too sucked into the machine and guiding our lives through technological eyes. Dating apps and the Internet have changed the way we date – not always for the better, it seems. I am not suggesting we are interacting less but modern musicians, new and mainstream, have less free time to socialise and are relying on the Internet for communication, dating and hook-ups. One can still find male artists writhing and thriving with their trousers down; there are female artists promoting empowerment and their femininity…others are more direct and happy to show curves and a sly smile to get YouTube videos up and their key demographic engaged. Many Pop and mainstream artists are making music for teens and young minds. A more sanitised and moral-minded scene has to come in to ensure the wrong messages are not being put into the world. How explicit an artist should be is a difficult thing to judge.

I agree that sex and relationships are becoming defined by anxiety and a more thoughtful approach. Scandal, accusation and thrills still can be found in music but, largely, heartbreak and rebuilding broken foundations play a much stronger role than tantalisation and getting your rocks off. You are spoiled for choice when it comes to the list of best sex-themed songs ever. NME produced one last year - and a lot of the inclusions (sixty-nine in total, appropriately!) are from an awful long time ago. Modern(ish) songs like Lana Del Rey’s Cola take a rather direct and unapologetic tact – the title refers to the taste of her pussy – but that is rather tame in comparison to what we have witnessed previously. Once was the time when groupies surrounding the biggest bands are there were hellacious and eye-watering stories of sex and excess. Those days have gone (for the most part) and musicians have to be a lot more cautious and responsible in this day and age. There is, too, a line between sexiness and explicitness. One can claim a lyric from Lana Del Rey is more provocative than it is sexy. One does not need to talk about sex in a juvenile and pornographic way: the sheer tease and sense of allure can be much more potent and powerful.

From Beyoncé, Kelis and Ciara making demands and making their intentions known to some of the biggest male Hip-Hop stars boasting of their exploits and ‘measurements’ – there has been a definite decline when it comes to discussing sex in music. Maybe the content is still there but it is not as spicy, memorable and evocative as once was. For those who feel this decline happened at the start of the decade; there is proof to suggest, in 2011 at least, there was plenty of sex in the music mainstream:

Get your heads out of the gutters, America's musicians. We always knew that with all your nipple-showing and lesbian-kissing and crotch-grabbing that you're obsessed with sex, and today we have the science to back it up: "Approximately 92% of the 174 songs that made it into the [Billboard] Top 10 in 2009 contained reproductive messages," says SUNY Albany psychology professor Dawn R. Hobbs in Evolutionary Psychology. That's right--"reproductive messages," our newest favorite euphemism.

Those 174 top-selling songs were analyzed in order to determine how many sexy messages they contained in any of 18 sexy categories, including "arousal," "sexual prowess," and "genitalia." There was an average of 10.49 sex-related phrases per song, with R&B being head-and-shoulders(-and-maybe-some-other-body-parts) above the two other musical genres analyzed, country and pop. "Sexual appeal" was the most popular theme among both R&B and pop songs, while "commitment" (yawn) was most prevalent in country music”.

Sex is more readily available on the Internet and the media. We have sites that offer cheap hook-ups and stringless-sex; the raciness and thrill we once got from music videos and Pop, in comparison, seems a bit tame – or it is too overloading, perhaps? Another article, from earlier this year, differentiated between ‘love’ and ‘sex’. Plenty of artists can articulate the complexities of love and how it has positive and negative effects. Sex, in many ways, is a less complicated area of study. Many songs fit in an overlap where sex and love intersect: many solely discuss sex whilst others do not bring it to the table.

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A lot of the most provocative and sexually revealing Pop artists have got older and, with children and marriage, changed their worldview and are focusing on more family-orientated themes. Modern Pop acts like Dua Lipa and Tinashe are stirring and alluring – able to show flesh and lick their lips without getting too ‘detailed’ and explicit. Male artists, especially, in modern Pop are straying away from the topic. There are genres where sex is freely explored but look at the modern charts and how many songs on the rundown look at sex? This article asks whether sex sells and looked at its (sex) prevalence through the decades. They answered the big question:

Okay, so I know I’ve really been riding my luck with guessing what you’re thinking, but how else do I link my points? Here’s to hoping you’re thinking DOES SEX REALLY “SELL” THEN?!?!?!? Interestingly, sex mentions follow a consistent up and down cycle, peaking for a year or two before falling dramatically, suggesting that sex sells until people get fed up with over-saturation.

…Additionally, artists who largely mentioned sex but did not mention love would have maximum 50 weeks on the charts, yet artists mentioning sex spent much longer on the charts if they also mentioned love. Also, many artists did well on the charts with many mentions of love with few or no mentions of sex. This once again reinforces the idea that sex itself doesn’t sell, but love definitely sells”.

Look back through music’s history and you can see a gradual decline – with a few peaks and dips here and there – when it comes to sex in the mainstream. Love, as I said, is still burning bright but more often than not artists explore intimacy and emotional connection as opposed physicality. Why, then, do I bring up this issue?! I am happy with what is happening in music and am not a sex-craved listener who wants to get his fix anywhere possible. I feel, however, we are in an uncomfortable and difficult time when we must tread carefully and be aware of the consequences of what is being put into the world. Recent scandals, coupled with a changing lifestyle that is more technology-driven and less ‘human’ has changed how we date and bond with one another. I do worry we have gone too far and are being too safe. I am not suggesting artists are puritanical and have lost their libidos altogether – it would be nice to see a bit more expression, boldness and risk-taking from artists.

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I understand caution should be employed and artists need to be responsible for their content. Taking precautions should not replace expression and being honest about sex. We all have it – speak for yourself! – and there is nothing wrong with it at all! Rather than use it as a commercial selling point and push too many boundaries for the sake of streaming/video success; talking about sex in a very real and relatable way is perfectly acceptable. Confident females are not afraid to express their sexuality and empower their peers. Male artists, in some genres, are discussing sex but making sure it is not too seedy and crass. Perhaps we have become too guarded and are not really sure where lines should be laid and what is seen as ‘too much’. I know there is sex out there but I would like to see more of a spark and revival. Artists can talk about sex in a very inspiring, empowering and educational way. One assumes any sexual reference is lurid and offensive: when done right, it can be incredibly powerful and memorable. From songs like Teenage Kicks (The Undertones) and Like a Prayer (Madonna); Love to Love You Baby (Donna Summers) and (I Can’t Get No) Satisfaction (The Rolling Stones) – music is stocked with sexy and arousing songs. Whilst we do not need a full-on sexual revolution and awakening; I would suggest a bit more expression and optimism is needed from modern artists. It is okay to write about melancholy and heartbreak; talking about love’s capriciousness connects with listeners and is as honest as anything. It would be nice, once in a while, for an artist to lock the door, turn the phone ringer off…

AND let the postman knock the damn door down!

FEATURE: The Legends Club: Artists Who Have Endured and Continue to Inspire

FEATURE:

 

 

The Legends Club     

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IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images 

Artists Who Have Endured and Continue to Inspire

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A couple of interesting things have come out of this weekend…

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PHOTO CREDIT: Getty Images

that has made me reflect and look carefully at the music industry. Paul Simon, as we know, will soon be retiring from touring forever. He is on his Homeward Bound tour and has played at London’s Hyde Park. It is sad to think the American legend will not take to the road after he has completed this tour. Many artists say they are going on a ‘farewell’ tour but they come back for the money and milk it until the cow is dry. It is a good tactic, I guess: scaring the fans and letting them believe this is the last time you will see your heroes on the road! It reminds me of a sale where a shop is closing down and you need to hurry now! It goes on and on and then, when they have enough money, they keep trading as normal! Paul Simon, sadly, is sincere and serious regarding his declaration. The man has won his right to spend time with family and take things a bit easy. Not that a lack of touring miles translates to ‘taking the load off’. Simon is still going to record material and, in fact, has announced he is to release In the Blue Light: a record that sees some of his best-loved material reworked. This is not a new thing in music.

Kate Bush did the same with Director’s Cut. She took songs like This Woman’s Work and added a new spin to them. Paul Simon, on the album, will reinvestigate songs like Love and How the Heart Approaches What It Years. You can learn more here and discover the blend of material that is being reworked by the master. The article I have just quoted provides some useful and revealing information:

Simon writes in the liner notes: “It’s an unusual occurrence for an artist to have the opportunity to revisit earlier works and re-think them; to modify, even completely change parts of the originals.

“Happily, this opportunity also gave me the gift of playing with an extraordinary group of musicians, most of whom I hadn’t recorded with before.

“I hope the listener will find these new versions of old songs refreshed, like a new coat of paint on the walls of an old family home”.

In any case; it is another solo album from Paul Simon; a career that started back in 1964 with Simon and Garfunkel’s debut album, Wednesday Morning 3 A.M. It seems extraordinary to think Simon has been releasing material for over fifty years! His thirteenth solo album, Stranger to Stranger, was met with critical acclaim and it showed, at the age of seventy-five, he was able to produce work that rivalled his very best. Only two years later and we will get ANOTHER record from Simon.

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IN THIS PHOTO: Fleetwood Mac/PHOTO CREDIT: Rock Hall Library and Archive

The fact Simon is still producing work and looking ahead makes me think about the legends of music and how they have endured. I will mention a few more but look at Rock gods such as The Who and The Rolling Stones. With so many of their peers biting the dust or unable to get along – Pink Floyd springs to mind! – it is amazing to consider they have not stopped playing/recording since the 1960s. Fleetwood Mac, another band that has endured some turmoil and upset, are still going – without Lindsey Buckingham, mind – and show no signs of quitting. They are embarking on tours and, whilst another album might be a way away; it is good to see the band going strong and in love with music. I will bring up another music-based revelation that has got me thinking about sustainability and endurance. Today, many argue, is a very different scene to that of the 1960s, for instance. Artists need to promote themselves endlessly and be kind to themselves and each other – look after their mental-health and be as supportive as possible. A couple of articles look at longevity in the industry and give helpful hints to musicians. This article looks at social media and creating a brand:

The next question is – how do I develop myself enough today to get longevity in the future? Hard work and dedication are two of the most important values that you have to think about when you’re in the music industry.

When you’re first starting out, you need to be able to find a fanbase. These fans might already be focused around one particular artist that fits in with the music you are producing but you’ll appeal to them with your own, unique brand. Establishing a brand is extremely important because that is how your audience will know who you are and why they should like your music beyond “it’s good.”

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 PHOTO CREDIT: Unsplash

The first thing to ensure that you have a solid brand would be getting a social media. This is important to have if you want to continue to build your brand and to make sure that you are consistent on each website that you use. Instagram, Facebook, Twitter, and even Snapchat can engage both current and new fans. It is also important to get your music on as many different platforms as possible, either by streaming it online on Spotify, Soundcloud, or Apple Music or by selling physical copies if that’s a profitable option for you”.

How do the Rock titans like Mick Jagger, Robert Plant; Roger Daltrey and Chrissie Hynde (The Pretenders) ensure and survive? This article, written ten years ago, put Rock stars under the microscope and theorised why they continue to work and retain a fanbase. One pointer that struck my eye was the issue of changing your style. Do you keep the same character/sound going or change it up or risk losing some support?

So does one evolve within a particular way of writing as Nick Cave has done slowly and spectacularly, or constantly try new things? Both can work if done well. I know many people who, after a youth pursuing the shock of the new through Frank Zappa or Naked City, are now beginning to "get" Bruce Springsteen. Why are they warming to these conservative chord sequences? It seems Bruce sustains a career thanks to generation after generation of youngsters growing up just enough to get his romanticism of the everyday. Whereas Joni Mitchell, Björk or, occasionally, Neil Young maintain a hardcore following while gaining and losing admirers from project to project, Bruce just accumulates through maintaining a general level of solid quality”.

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IN THIS PHOTO: Bruce Springsteen/PHOTO CREDIT: Danny Clinch for Variety

I guess you could say it is as hard to survive now as it was back then. By that, I mean artists like The Who and Paul Simon started in a different time when music was very different and they did not have to promote in the same way. There were fewer competitors and they did not have to face up against a mass of new and unsigned artists. On the flip side; those who were releasing albums and in the charts were incredibly good and determined. Not only have these musicians overcome a tough scene and quality rivals but they have managed to settle in the present time – where there is social media, a new way of working and fresh demands. Not only do the long-standing artists have to think about retaining fans and winning new ones but they have to make that decision whether to change their style or keep going as they are. Consider Bob Dylan and Neil Young and how radically their music has shifted since the 1960s. In fact…it isn’t such a leap, really?! They have not succumbed to the need to add synths and pumping drums to their music: they have kept that solid and reliable foundation and adding the odd touch here and there. Look at someone like Madonna, mind, and she has taken bigger gambles. I guess a Pop artist is in a different position to a Folk act.

She could not really produce the same sort of music she was producing back in the 1980s. Consider her pumping out Like a Virgin and Cherish in 2018 and it would not really sound right. Ironically, 1980s-inspired music is big now and many artists have taken from Madonna. The Queen of Pop turns sixty next month and it will be a fantastic opportunity to pay tribute to her influence and legacy. She continues to tour and release material and reinventing herself at every turn. Consider how she has shifted from her 1980s albums such as Like a Virgin and Like a Prayer and what she came up with on 1998’s Ray of Light. She took a gamble adding darker electronics to her sound at the end of the 1990s but it paid off; she entered a new creative phase and continued to score big reviews and sell-out venues.

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PHOTO CREDIT: Tabak/Sunshine/Retna UK

Even as she enters her sixties; the Queen of Pop puts out spirited, raw and sexual material that shows immense confidence and direction. She has updated her early-career sound and add modern touches and hooked up with the best talent of today – rather than resting on her laurels and assuming she does not need to change a thing. Madonna has always influenced and directed music. Matt Cain, when speaking with The Guardian, discussed how Madonna opened up gay culture and made self-expression and sexual revelation more acceptable. She

“…But I love how Madonna’s never wanted to be seen as a nostalgia artist and how in recent years she’s become even more politically outspoken. Her speech at the Billboard women in music awards in 2016; she called out the “blatant sexism and misogyny and constant bullying and relentless abuse” she’d experienced as a woman in the music industry. So many people have relied on Madonna’s music for emotional support in their lives and I’m so glad she’s still here, still expressing herself, absolutely on her own terms. Because if she hadn’t been doing that when I was younger, I’m not sure I’d be here now – and I certainly wouldn’t be the person I am today”.

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IMAGE CREDIT: Getty Images

Madonna opened up discussion about sexuality and feminism. She continues to speak out about misogyny and sexism in the industry – it is that strong voice and passion that keeps people hooked and compelled. Madonna changed popular culture and transformed the way we look at women and music in general. It is not a surprise, therefore, as she approaches sixty that she has that huge fanbase and a big demand – there are whisperings she might appear at next year’s Glastonbury Festival. Madonna, like Paul Simon, has produced such a vast body of work and created different personas. She has survived and managed to change skins; keeping fascination high and inspiring generations. When she hits sixty on 16th August; it will be a great opportunity to mark her endurance and what she has given musicians. Sadly, a lot of icons have passed because of addiction and drug-related deaths. Prince, Whitney Houston and Michael Jackson are a few who have succumbed to drugs – whether accidental or not. I know bands like The Who and The Rolling Stones have ‘dabbled’ in the past but they remain clean and focused today – they know they need to stay healthy and, essentially, alive to continue their careers.

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IN THIS PHOTO: Paul McCartney leaving Apple headquarters (London) in 1969/PHOTO CREDIT: Getty Images

I have been thinking about others, like Paul McCartney, have had decades-lasting career and continued to evolve. McCartney has gone from The Beatles to Wings (who, he claims, were not a great group) and has endured a successful solo career. If Madonna has survived criticism and attacking voices – against her promiscuousness and confidence; others who feel she is a diva – and not embarked on farewell tours and the ‘comeback trail’. McCartney, too, has received criticism – not the same sort but he has overcome doubting tongues – but shrugged it all off and remained level-headed and professional. McCartney, during an interview last year talked about balancing fame and fortune with being grounded and normal:

For someone who's been so famous for so long, this particular billionaire vegetarian seems surprisingly charming and self-effacing. But with anyone whose life and work has been explored at length from every angle, it can be difficult to separate the myth from the man.

How would his friends describe him, does he reckon?

"They'd say 'Paul is one of the best guys you could ever meet. He's honest. He's loyal. He's friendly. He's funny. He's a great mate, generally'."

He forgot devilishly handsome. "Yes, true. Also, devilishly handsome. Or do you want the real version? But yeah, I'm lucky. I've got some great mates, and they keep me grounded. One of my big fears in life was gettin' too full of meself. When you have the sort of success I've had, it would be easy to go 'You know what? I'm dead cool!' But coming from Liverpool, that's not the cleverest thing”. When I go back up to Liverpool, if there's any of that, it's like, 'Eee, Paul. Whatcha doin'? Now f… off!'. I get pulled back to reality real fast. "

Musicians today could learn a lot about remaining settled and grounded. I feel so many musicians from the 1960s and 1970s do not get too carried away.

Some might argue against that point but there is little room for egos if you want to keep growing your fanbase and winning critics – unless you are Kanye West, I guess! Discipline and that experience all make a big difference. A lot of new artists have just arrived on the scene and have to adapt very quickly. The big, long-lasting artists have been there and know what it takes to succeed. There is no secret to succeeding for so many decades. Some bands/artists split up or succumb to excess whilst others change their music and lose their fanbase. Those who keep releasing music and packing people in have changed with the times but not lost what made them special in the first place. I guess it is their love of music and passion for the fans that keep them going and drives their creativity. They act as a guide for new artists that you can endure for a long time and succeed in music. Whilst Paul Simon releases a new album and Paul McCartney gears up for touring a new solo album (Egypt Station); Madonna continues to perform and is sixty next month – The Rolling Stones, against all odds, are still kicking and owning stages around the world. We thank and celebrate them for their immense work and lighting up music for so many years. As we talk about disposability, commercialism and come-and-go artists today who do not last for that many years; have a look around at the legends of music that have changed music as we know it and continue…

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IN THIS PHOTO: The Rolling Stones/PHOTO CREDIT: Getty Images

TO create amazing work.

FEATURE: Mercury Revs: Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

FEATURE:

 

 

   Mercury Revs     

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IN THIS PHOTO: The album cover for Let's Eat Grandma's I'm All Ears/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press Association 

Which Albums Are in with a Shout of a Mercury Music Prize Nomination?

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IF you enjoyed a British album…

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IN THIS PHOTO: Last year's Mercury Music Prize winner, Sampha

released between Saturday, 22nd July, 2017 and Friday, 20th July, 2018 (looking a few days ahead, it seems!); chances are it will be in with a shot of a Mercury Music Prize nod. The dozen longlisted albums will be announced on Thursday, 26th July and it will be exciting to see who makes the cut. Last year’s winner, Sampha, impressed judges and the public with Process – a fine record from the London songwriter. Hyundai, again, are putting their name to the prize and there is talk as to who might be nominated this year. Many feel the Mercury Music Prize has lost a bit of direction and is not inclusive enough. I think a couple of things need to happen when it comes to announcing the longlisted. It is too late to change course – as the albums have been selected/most have – but one suspects there will be a mix of the mainstream best and the outsiders. There is always a Jazz or Folk record alongside the finest from Pop, Rock and Alternative. In terms of the best albums from 2017; look at most rundowns and you will see a largely American crew. Artists such as St. Vincent, Thundercat and The National. I look at the assumed best of this year (so far) and there is a bit more variation – are we to assume the twelve albums that will appear on the list are going to be taken from this year?

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Thursday, 20th September will see a new British champion crowned and I wonder whether judges will go with an album like Sampha’s Process or something Rock/Pop-based? Dizzie Rascal’s Raskit was released a day before the cut-off point for eligibility (it was released on Friday, 21st July, 2017) but that could have been a good outside bet. Whether you love or loathe the new album from the Arctic Monkeys; Tranquility Base Hotel + Casino seems like a Mercury-worthy record! Many say it is not as intense and immediate as other albums from the Yorkshire band. I know it is a grower and seems like an Alex Turner solo album but there has been some great critical reception. At the very least, it would show the panel are willing to take risks and recognise an album that may not seem like a classic right now – something that has the potential to grow and establish its worth years from now. It is hard to make early predictions and one glaring thing stands out. Whilst there have been some tremendous British albums from the past year; look at the critics' lists and most of them focus on American works. In fact; type in ‘The best albums of 2018’ and the vast majority will be American. That is not to indicate British albums have not been able to cut it alongside the American best. A lot of the votes and lists are compiled by American critics who, let’s be fair, have myopic views and do not tend to spend too much outside their own nation.

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A couple of albums I have rather enjoyed are Microshift (Hookworms) and Open Here (Field Music). Both of the records scored well from critics; both bands are northern (Field Music are from Sunderland whilst Hookworms are from Leeds/Halifax). It would be good to see both of these records get a nod and sit alongside the very best. Young Fathers’ Cocoa Sugar, perhaps, is the frontrunner. The Scottish band won the prize back in 2014 for their album, Dead, and I would not bet against them winning the award for the second time. Critics have been raving and drooling over their latest work. Alexis Petridis, in a review for The Guardian, proclaimed:

The trio are smart enough to keep their experimentation sharp and to the point: the longest track here lasts four minutes, while the shortest – Wire, with its oddly Viz comic-like refrain of “Ooh, ya fucker!” – is over in 100 seconds. The end result is fascinating and forbidding in equal measure, and there’s clearly an argument that it’s also very timely: twisted and broken-sounding pop music for a twisted and broken era, replete with villains (the protagonist of In My View, a “greedy bugger”, actively enjoying not just the taste of his foie gras, but the cruelty of its manufacture) and lyrics that appear to swipe at nationalism and toxic masculinity, albeit obliquely. But equally, its strangeness feels less reactionary than internal: not so much the outcome of looking on, horrified, at the world in 2018 and trying to find a soundtrack, than the product of a band who inhabit a world of their own”.

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IN THIS PHOTO: Young Father/PHOTO CREDIT: Julia Noni

I am certain Cocoa Sugar will be on the list of selected twelve – it is almost guaranteed to be among the shortlisted and frontrunners. Although Superorganism take their membership from various parts of the world; they formed and are based in London – they can be seen as a British band. I would think their album, Superorganism, is going to be included and I think it could be the album-to-beat alongside Young Fathers’ third L.P. Look at the choices I have selected so far and there is a lot of Pop and Rock in there. You get some synths and Indie shades in there but, largely, there are no Urban touches to be found. I am confident the likes of CHVRCHES, for Love Is Dead, will be among those getting the voting panel revved. Who would bet against Goat Girl getting Mercury recognition for their sublime debut, Goat Girl?! I have mentioned my love for Young Fathers but there is another proposition that could upset the odds: the marvellous duo of Let’s Eat Grandma. Their second album, I’m All Ears, is one of the best-received records of this year and a sure-fire Mercury nomination. The Sunday Times provided their view regarding the album:

Norwich’s Rosa Walton and Jenny Hollingworth were 17 in 2016, when they released I, Gemini, a dreamlike debut that captured the magical otherness of adolescence. Their second album is a fun, futuristic mix of alternative pop and dance music that sounds like the product of two young women going out and discovering the world”.

I have reviewed most of the albums I have mentioned so far – not biased or anything! – and can attest to their brilliance. Looking at other fresh releases and Boy Azooga come to mind. Their staggering gem, 1,2, Kung Fu!, is one of my favourite albums from this year. I am expecting Boy Azooga to be in the chasing pack and, in no way, an outsider. Although, again, we are not straying too far from Pop and Rock; 1,2, Kung Fu! goes through different emotions and stages. It is a record that I am in love with and would like to see scoop a lot of awards. A couple of artists who deserve to be on the list but might be on the borders of winning are Bryde and Kate Nash. The former is the moniker of Sarah Howells and her debut, Like an Island, turned a lot of heads. A sample review, from DORK, tells you all you need to know:

Over the course of the record, Bryde juggles her mystical soundscapes and unapologetic guitars with pristine skill. There are moments of infectious beats and danceable choruses, of soft vocals and wisps of electronica. ‘Fast Awake’ is an energetic yet dark track, taking elements from Radiohead tracks ‘Bodysnatchers’ and ‘Myxomatosis’ in its powerful coalescence of haunting vocals and rapid percussion. Bryde invokes the ambience of Warpaint and emotion of Laura Marling in her impressive debut; namely in ‘Euphoria’, a piano-led ballad, and ‘To Be Loved’, a track saturated with power and ferocity”.

We are sporting so much brilliant talent in Britain right now – Bryde is among the very best out there right now. I could not give you any odds but, in bookie terms, she might be a 12/1 bet. Kate Nash is someone who has been kicking around music for a while and, again, another bright and brilliant London artist. Would the panel award the prize to a London artist after giving Sampha the gong last year?! I think Nash’s record, Yesterday Was Forever, departs from her previous record – 2013’s Girl Talk was not met with huge critical love – and her 2010’s My Best Friend Is You. We reviewed Kate Nash’s latest record for Too Many Blogs:

This record definitely evokes the spirit of a teenage diary. Singing in her distinctive London accent, energy drips off this LP, with the now-thirty-year-old delivering a punchy, tongue-in-cheek yet sincere message about the ups and downs of life. Nash addresses issues such as mental health in riot-grrl-esque opener ‘Life in Pink’, which despite the gravitas topic of ‘thinking about death all the time’ still manages to infuse a sense of optimism and unity”.

It would be a good idea to keep your eyes open for Nash and Byrde because both have produced records that have fared well and received great reviews – even though both artists are in different stages of their careers!

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IN THIS PHOTO: Kate Nash

For a more Folk/Acoustic choice; you might want to consider River Matthews and his fantastic album, Imogen. Gorgeous songs like Fool for You and Sunshine sit in the head and swim in the blood. It might not be as urgent and spectacular as efforts by Superorganism but I wouldn’t bet against him being in the mind of the Mercury panel’s mind. I would also like to bring in Tom Misch and The Orielles for possible contenders. I love Misch’s Geography and, so too, do the critics. He has been making waves and made big strides since he came onto the scene. NME gave their views regarding Geography:

On ‘Man Like You’ Misch shows he’s found a way to fit traditional instrumentation into a modern pop format, but elsewhere he seeks help in the form of some stellar collaborations. Multi-talented singer Poppy Ajudha guests on dance shuffle ‘Disco Yes’, while standout track ‘Water Baby’ sees him team up again with louche hip-hopper Loyle Carner (also from south London). ‘90s icons De La Soul are the heavyweight feature on ‘It Runs Through Me’ — a euphoric, riff-laden tribute to the power of music”.

The Orielles’ Silver Dollar Moment trips through their back catalogue and throws in some nice angles and unexpected moments. The Yorkshire band are hotshots who are proving to be one of the most reliable and delicious bands in Britain. I am confident they will get a nomination and be included among the bookies’ favourites. If you want two established British artists who could get a shout this year then maybe Franz Ferdinand and The Wombats will be included.

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IN THIS PHOTO: The Orielles

Always Ascending and Beautiful People Will Ruin Your Life (respectively) are not the best works from each band but both sold well and gained some positive reviews. They might be outside bets but, again, I would not be shocked to see these albums included when the nominations are made. I would like to see Django Django and Shame make the Mercury Music Prize list. The Guardian reviewed Django Django’s Marble Skies and highlighted its worth:

“…It’s impossibly lovely, one of those moments when Django Django seem more like alchemists than investigators. They may never make a perfect album – a certain unevenness seems inbuilt in their approach, where not every experiment turns out quite the way you might have hoped – but they’re capable of making music that sounds close to perfection“.

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A couple of other possibilities lie with Jorja Smith's debut, Lost & Found and SOPHIE's OIL OF EVERY PEARL'S UN-INSIDES. Smith, in particular, has amazed me with her confidence and incredible authority - an artist who is primed for longevity and great things. She is able to let a song get into the heart, move through the blood and stay in the head for an awfully long time...a hard trick to pull off in the modern music climate! Shame, a band who stunned with their debut, Songs of Praise, is another big record that NEEDS to be in the longlist. Many were baffled last year when IDLES failed to get an inclusion for the Mercury with Brutalism. IDLES might redress that error when they release their sophomore album at the end of next month but we definitely need to see a Punk-flavoured record included among the frontrunners. A few of last year’s nominated names – Kate Tempest and Loyle Carner – wrote about the realities of Britain from a London perspective. The Shame guys are from South London, so many might think another winner from that neck of the woods might be taking things a bit far!

I reviewed The Go! Team when they released SEMICIRCLE. Writing for Too Many Blogs; the music jumped from the speakers:

‘Hey!’ – again back near the top – is a snarling, stomping rebel that has horns and avalanche-beats striding and strutting like a bad-ass mother-fucker. It is one of the best tracks on the album and one that reminds me of their debut. I mention it because as the final few tracks come to mind, I notice how far the band have come and how confident it all feels. ‘She’s Got Guns’ steps into hip-hop and rap more overtly than before with hints of Neneh Cherry during her ‘Buffalo Stance’ days, and ‘Getting Back Up’ is a finale that seems to unite ‘Mayday’ with ‘Semicircle Song’ in a grand showdown”.

It is another outside shot but I could well see that album included among the twelve that will be announced very shortly. The other albums I would like to see included are Florence + the Machine’s High as Hope; LUMP by LUMP; Jon Hopkins’ Singularity and Lily Allen’s No Shame. I feel a Lily Allen/Shame name-similar, London head-off might be a good battle. Laura Marling has been denied a Mercury award so I would like to see her (and Mike Lindsay).

I feel LUMP is the best shot at a nod because of the uniform positivity the record garnered. Whilst the other records did receive big love; I feel it the time for Laura Marling to receive her dues – and her wonderful partnership with Lindsay. The Line of Best Fit nailed the eponymous album perfectly:

Lindsay’s experimental compositional style that has evolved through Tunng, Throws and producing other artists’ albums, brings out Marling’s assertive vocals. The last two songs in particular are full of breathy, mouth sounds. When Marling sings “Salt air is healing / Nakedness revealing / They go so well” on “Shake Your Shelter”, it is a beautiful summation of LUMP’s sound and message – an ambient, compelling and unique look into whether contemporary life really has to be so empty”.

I suspect Jon Hopkins is going to be this year’s equivalent of the ‘outsider’. You know the albums I mean, They might be Jazz-influenced or a bit out-there; not commercial enough or one of those records that demand proper attention. I feel, mind, if I were to compile a top-six I would have Hopkins’ record alongside Let's Eat Grandma; Field Music, Shame; LUMP and, maybe, Arctic Monkeys. That would be a varied and interesting camp where anything goes!

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IN THIS PHOTO: LUMP (Laura Marling and Mike Lindsay (and 'LUMP')

What do my predictions show, then?! Well, for one, there is still a heavy leaning of male artists but, to be fair, more female inclusion than previous years. There is a lot of Pop and Rock in the list and a complete absence of anything too far-out and experimental. There are no controversial shouts – like Ed Sheeran from last year – but there is mainstream Pop in the form of Lily Allen and Kate Nash. Both of those artists have plenty of attitude and grit in their music – something the panel looks out for when deciding on their choices. My personal face-off would be between Field Music’s Open Here and LUMP’s LUMP. Maybe neither album will be longlisted or, if they are, neither will win. One never knows what to expect when it comes to the Mercury Music Prize. I feel Nadine Shah's Holiday Destination, released in August of last year, warrants inclusion on the longlist; Gaz Coombes' World's Strongest Man and Gwenno's Le Kov are all, too, deserving of inclusion on the list of twelve - there is plenty of hot competition and brilliant British bounty! Many are shouting against a pitch for Arctic Monkeys; others are calling for newcomers like Tom Misch to get a nomination. Whilst many best-of-the-year-so-far lists are putting American albums/artists near the top of their pieces; the selection of albums I have included in this piece show there is ample British brilliance. Who will win the Mercury is anyone’s guess but one thing is for sure…

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WE have been spoiled for choice this year!

FEATURE: Minorities Retort: Tackling the White-Majority Bands and Adding Greater Diversity

FEATURE:

 


Minorities Retort     

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IN THIS PHOTO: The Tuts/ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Press Association 

Tackling the White-Majority Bands and Adding Greater Diversity

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IT is always hard…

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IN THIS PHOTO: Princess Nokia

concocting titles for features like this through fear of causing offence and saying the wrong thing. I feel, mind, that my reservations and hesitations are the tip of an iceberg that is not succumbing to global warnings. We keep seeing bands proffered before us with the same looks and results. There is a camp, mind, that suggests the band market is suffering in a digital age; that people are more drawn to solo artists and we can never return to an age where groups ruled the market and changed the world – I shall get to that a bit later. I am responding to an article that, in parts, I shall quote from: a piece from The Guardian that looked at the whitewashed band market and how homogenised the scene is. Look at solo artists/duos (etc.) and, whilst there are more white artists than minorities; there are plenty of strong and potent black and minority artists adding their say to the mix. From U.S. stars Beyoncé, Solange Knowles; Nicki Minaj and Drake through to Kendrick Lamar and Jay-Z. Even though there are these established stars – and a new crop that is coming on strong – you wonder whether artists like Princess Nokia and Childish Gambino (Donald Glover) pull in the same sort of recognition and dollar as white artists. In many ways, the mainstream charts have been open and never really discriminated.

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IN THIS PHOTO: Michael Jackson (photoed in the 1980s)

To me, a lot of our impressions and ethics stem back to a time when black artists struggled to get their music on T.V. Look at the early days of MTV and artists like Michael Jackson: someone whose best songs were denied access because his face ‘didn’t fit’ and wasn’t white enough – that sort of attitude, today, would be met with fierce criticism and outrage. In many ways, we have progressed since the 1980s but, in some, we are still a little ignorance and exclusionary. Look at the strongest and most compelling music from the past few years and so much of it is being produced by minority artists. I have mentioned the likes of Beyoncé and Kendrick Lamar but, when you look at the freshest and most compelling Soul, Hip-Hop; R&B, Pop and Jazz out there – some serious heavyweights and talent that are not getting the recognition they warrant. From award show fiascos – not enough black artists nominated and winning big prizes – through to the way we still associate ‘perfection’ and idealism with the young, white and beautiful. I refute the call (that) bands are a spent force and the regency of the solo artists is here to say. In many ways, we can never return to those glory days when titanic bands owned music and were the most influential. 1960s’ icons like The Rolling Stones and The Beatles are past their prime (or simply past); The Who, Sex Pistols and The Clash are older and resigned; the likes of Pulp, Blur and Oasis are through – think about modern music and it might be hard to name a lot of great bands we can rely on time and time again.

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IN THIS PHOTO: The Who (pictured in 1965)/PHOTO CREDIT: REX

You can hardly deny there is a lack of talent and potential everywhere in music. Look at the unsigned best and there are phenomenal bands in every possible area of intrigue. I get to interview and review so many: look at the mainstream and there are still bands we can get excited about. I will return to the issue of quality/quantity but, in all of this, you cannot deny this: there are very few black faces in bands. We can speculate why this is but, for me, it is down to history and image. All the bands I have mentioned are white and, again, it seems like there is a nervousness promoting black bands. In my journalism travels; I have encountered bands with mixed races and a balance in the ranks. Some have one or two black members whilst others are all-black – never the same genre; mobile, exciting and primed for success. I do wonder whether their route to the banquet table of music will be blocked because, historically, we have not seen many black bands. The article I was alluding to looked at the Decolonise festival – now entering its second year. I have been a little discriminatory (how easily it can happen) when looking at minorities missing from bands and assuming only black artists should be talked about.

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PHOTO CREDIT: Unsplash

There are, as I know all too well, so many fantastic Asian artists who are part of bands; brilliant mixed-race groups that do not get the respect they deserve. The article picks up a bit on what I was saying regards music’s past and the largely-white bands:

British guitar music wasn’t always so white. People of colour were vital in founding the UK’s punk and indie scenes. But while everyone knows the Sex Pistols and the Smiths, Poly Styrene from X-Ray Spex is hardly a household name, while the contribution of Zeke Manyika to Orange Juice is often overlooked. Decolonise was set up in part to confront this “whitewashing”, says organiser Jon Bellebono. “Bands with people of colour have always existed and lots of them have been successful.” Their legacy, Bellebono argues, is just not celebrated in the same way”.

I have mentioned how there are bands, past and present, where one or two members are black/Asian – the majority may be white. Britpop and its all-white, distinct image did not help matters; most of the best minority artists from previous decades have not been involved in bands; look around music now and, again, most of the fantastic black and Asian artists we are seeing on our screens are solo/duos. One of my favourite musical encounters as a journalist was with the ‘cover stars’ The Tuts.

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I have been desperate to feature them again because I think it has been about three years since last I put them on my pages. Nadia, Harriet and Bev are the glorious three-tone band who have been around a while now and continue to strive, grow and strike. One could forgive them for looking at the way the industry still promotes white bands above everything else and feel their time will never come. They continue to play and, I know, are inspiring and influencing other artists. Look at this biographical snatch from The Tuts and you get a sense of how far they have come and what they have achieved:

In 2014 Billy Bragg invited The Tuts to play his LeftField stage at Glastonbury. The effervescent appeal of Nadia’s irreverent stage persona and, as Billy himself called it, the ‘fabulous cacophony’ these three women conjure up every time they play makes for an unforgettable live experience. Pauline Black was in the crowd and soon after The Tuts joined The Selecter on their 2015 UK tour.

The Tuts’ music owes something to the Libertine’s brash, devil-may-care aesthetic but they are not fashionable, and hopefully never will be. This is not beautifully crafted gloss for the latest hipster market – the tunes are too good for that. Their timeless three and four chord rants sung out in authentic working class accents carry the X-Ray Spex and 70s New Wave mantle onwards. The Tuts are ‘indie’ indeed, but not in some generic introspective sense: here is a band that possess that irrepressible spirit unique to independent DIY bands. There is no escaping it, ready or not, The Tuts are coming…

They have been playing a lot since they released their album, Update Your Brain, back in 2016. I am excited to see what comes next from them but, as the article continues; they are aware of the realities and how the industry looks at bands with black and Asian members:

The Tuts have found themselves put on a festival’s “urban” stage alongside MCs and grime artists, while critics describe Big Joanie, an emerging black feminist punk band, as “soulful”. “We’re closer to Nirvana than a soul band,” says singer-guitarist Stephanie Phillips. “The whole idea that you see black women and they should be there warbling out some Beyoncé to you – it’s [about] not being able to critique what’s in front of you because of your own ingrained prejudice.” It was Phillips who thought up Decolonise, having felt a “vacuum” existed since her teenage years in Wolverhampton, “and remembering there was literally nothing, no kind of acceptance for people like me”.

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IN THIS PHOTO: Big Joanie/PHOTO CREDITElise Rose

Big Joanie, another band name-checked in the feature, are a feminist Punk band who among the most exciting around. Whilst the Decolonise festival has finished for this year; there are bands like Nova Twins and Girl Diet attracting focus and starting to get their name heard. Whether you perceive the band market as flagging or not, there is an inalienable truth: you cannot ignore bands of colour and minority artists. Orange Juice and Bloc Party – two bands who have black members in their ranks but are, themselves, in the minority -  are rare exceptions of bands who feature minority musicians…one wonders whether there will be big changes soon. Whilst a lot of the emerging bands with black and Asian members in their ranks play in the Punk/Alternative realm – The Tuts’ three-tone is an exception – you do not need to look back too far to see a time when there were a lot more black and Asian faces in bands. Look back at female Soul and R&B artists like Sister Sledge (are they more Disco?!) and Diana Ross and the Supremes – a lot of great Motown and Detroit talent ruled and remain in the history books. The 1990s brought us the Spice Girls and Destiny’s Child – one of very few all-black female bands from the past couple of decades – and All Saints...

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More-modern examples like Fifth Harmony and Little Mix have kept that alive – the fact the female Pop group as a concept is dwindling means, again, fewer minority artist are being represented in bands. It may sound like I am retreating and submitting to the facts of market forces and facts. That is not true at all. Things are getting harder for musicians in all areas. For women, it is a struggle to get their voices heard on an equal footing – regardless of their race and history. Look at the sexism and un-level playing field and, in many ways, the black/Asian female band has to fight harder than anything. If you consider bands are under solo artists in terms of importance; women are underneath men and black/Asian artists are under white – it is a daunting challenge for bands whose members are not all-white. The scene has changed so that Pop bands/girl bands are not a mainstream draw anymore; there are plenty of black faces in music but, largely they tend to be solo artists. I am not going to accept bands are done for and we are never going to see a wave of great artists create the same sort of impact as Oasis and The Rolling Stones. Pop still holds a huge sway and Punk/Alternative, genres with more minority bands, still have to work on the fringes and have not been granted a passage to the mainstream.

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PHOTO CREDIT: Unsplash

Look at this article - it addresses the Pop/Soul market and how black artists are failing to compete with white counterparts:

“…According to Greg Boraman, manager of the Freestyle label to which Omar is signed, the key reason for the artist being sidelined is a myopic conservatism. “It does seem that black soul music artists [as opposed to urban acts] are often engaged in an uphill struggle to compete with the current crop of white major-label soul-influenced, but firmly pop based artists. Whilst I don’t doubt the sincerity of those artists’ love of soul music, the industry, especially mainstream radio, seems institutionally uncomfortable with music that’s more soul than pop”.

Another article, when looking at Rock and Roll music, looks back at artists who addressed civil rights/slavery and asks why these messages, by white artists such as Bob Dylan, replaced the largely-black Blues and Folk scene:

How did rock-and-roll music—a genre rooted in black traditions, and many of whose earliest stars were black—come to be understood as the natural province of whites? And why did this happen during a decade generally understood to be marked by unprecedented levels of interracial aesthetic exchange, musical collaboration, and commercial crossover more broadly? Many of the most famous moments of 1960s music are marked by interracial fluidity: a young Bob Dylan’s transformation of a 19th-century anti-slavery anthem, “No More Auction Block for Me,” into the basis for “Blowin’ in the Wind,” a song that would become one of the most indelible musical works of the American civil rights era; or the revolution of Motown Records, in which a black American entrepreneur bet against the racism of white America and won, and in doing so created the most successful black-owned business in the country”.

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IN THIS PHOTO: Bob Dylan

I do not think bands themselves are responsible for the lack of minority representation in music. They (the bands) have to fight against a largely-white market and a current scene that is not only seeing more a largely white mainstream rise; bands as a commodity are less present and visible than ever. Many might pose this at my feet: Why do we need to see bands with black/Asian members if the music itself (by white artists) is good?! That is a point but it is not about a sense of quality over equality. Bands like The Tuts are producing fantastic work and, were they afforded more of a spotlight, would be able to affect change and help create a more balanced band scene. In the way we need to tip the scales regarding gender inequality; open the doors for L.G.B.T.Q.I.A. artists and ensure music is not so homogenised and closed-off – making sure every band we see on music websites, magazines and T.V. screens is not all-white (forgive the poor grammar there) is essential! I am a little tired of the divisions and the discriminatory policies that have been present for some time. As the past day or two has shown; this country is pretty good at protesting and voicing its unease! I wonder whether greater public concern needs to turn the way of music and the largely-white, male-run dogma that has not received a swift and violent boot to the nuts. I am not solely talking about female bands with minority members: I have reviewed and interviews fantastic bands where their male members consist of white and minority faces. In any case; we need to make changes and listen harder to minority artists/bands wanting to step up and get their music heard. Many might think the situation as it is now is okay (they would be wrong) and bands who have struggled to get attention will keep quiet. From Big Joanie and The Tuts to every other mixed-race/black band who have played second-fiddle for; it is very clear they are going to raise their voices…

UNTIL they are heard and understood.

FEATURE: Hunters and Joyful Resistance: The Finest August-Released Albums You Need to Own

FEATURE:

 


Hunters and Joyful Resistanc     

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PHOTO CREDIT: Unsplash 

The Finest August-Released Albums You Need to Own

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WE are still digesting all the great records…

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IN THIS PHOTO: Anna Calvi

July has to offer and not willing to rest any time soon. The next couple of weeks, in my view, are a little quiet in terms of the ‘big releases’. I am looking ahead to August and the pleasures that await. IDLES’ sophomore album, Joy as an Act of Resistance arrives at the end of the month and completes a period where we will see new releases from Anna Calvi, The Lemon Twigs; Alice in Chains, Slaves and Nicki Minaj. In honour of a varied and exciting August ahead; I have collated the albums you’ll want to get out there and buy – those that demand some serious passion, time…

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IN THIS PHOTO: Alice in Chains

AND attention.

ALL IMAGES (unless credited otherwise): Getty Images/Press Association

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Gulp All Good Wishes

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Release Date: 3rd August, 2018

Genre: Space-Pop

Pre-Order here

James Living in Extraordinary Times

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Release Date: 3rd August, 2018

Genre: Rock

Label: Liberator Music

Pre-Order here

 

Deaf Havana Rituals

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Release Date: 10th August, 2018

Genres: Rock; Indie; Alternative

Label: Warner Music Australasia

Pre-Order here

Nicki MinajQueen

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Release Date: 10th August, 2018

Genres: Hip-Hop; R&B

Labels: Young Money/Cash Money

Pre-Order here

Ariana GrandeSweetener

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Release Date: 17th August, 2018

Genre: Pop

Label: Republic Records

Pre-Order here

SlavesActs of Fear and Love

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Release Date: 17th August, 2018

Genres: Punk/Hardcore

Label: Virgin

Pre-Order here

Alice in Chains Rainier Fog

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 IMAGE CREDIT: BMG

Release Date: 24th August, 2018

Genres: Rock; Alternative

Label: BMG Rights Management (US) LLC

Pre-Order here

Candi Staton - Unstoppable

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Release Date: 24th August, 2018

Genre: Soul

Label: Beracah Records, Inc.

Pre-Order here

The Lemon Twigs Go to School

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Release Date: 24th August, 2018

Genres: Indie; Alternative

Label: 4AD

Pre-Order here

Anna Calvi - Hunter

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Release Date: 31st August, 2018

Genres: Art-Rock; Alternative

Label: Domino Recording Company

Pre-Order here

IDLES Joy as an Act of Resistance

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Release Date: 31st August, 2018

Genres: Post-Punk; Punk-Rock

Label: Partisan Records

Pre-Order here

 

FEATURE: The July Playlist: Vol. 2: If We Organise Our Schedules...We’ll Realise Love Is Magic

FEATURE:

 

The July Playlist

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 IN THIS PHOTO: John Grant 

Vol. 2: If We Organise Our Schedules...We’ll Realise Love Is Magic

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YOU get these weeks in music where things…

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IN THIS PHOTO: The Lemon Twigs/PHOTO CREDIT: Erica Snyder

are jam-packed and it is hard to keep up! This is one of them, I can tell you! Relax and enjoy as we welcome new tracks from Sigrid, John Grant and The Lemon Twigs. Tinashe, Childish Gambino and Kacey Musgraves have fresh releases – it is an exciting and fulsome week of music! Enjoy the sun, put these tunes on and indulge in all the different moves and moods; the big choruses, sultry moments and addictive takeaways.

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

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IN THIS PHOTO: Sigrid/PHOTO CREDIT: Johannes Lovund

SigridSchedules

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PHOTO CREDIT: @gregswalesart

Nicki Minaj (ft. Ariana Grande)Bed

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John Grant Love Is Magic

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Childish Gambino - Summertime Magic

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PHOTO CREDITMathew Parri Thomas Photography

The Lemon Twigs If You Give Enough

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Alessia CaraA Little More

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The Horrors - Ghost

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KodalineShed a Tear

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Eliza and the BearFirst Aid

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Lil’ KimNasty One

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All SaintsDon’t Look Over Your Shoulders

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TinasheLike I Used To

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Jacob BanksIn the Name of Love

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Dirty Projectors (ft. Amber Mark)I Feel Energy

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SuedeDon’t Be Afraid If Nobody Loves You

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Ariana GrandeGod Is a Woman

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Call Me Loop Love the Lie

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Kacey Musgraves - High Horse

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Gulp Claudia

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Patrick Watson Melody Noir

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Gently Tender2 Chords Good

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Estrons Lilac

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Rudimental & Major Lazer (ft. Anne-Marie & Mr. Eazi) - Let Me Live

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Anton PowersThinking About You

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Exam SeasonStrawberry Milk

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Honey HahsStop Him

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Wande Coal - So Mi So

 
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Mac MillerSelf Care

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First Aid KitRunning Up That Hill (Recorded Live at Spotify Studios Stockholm)

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Sophia Ayana Obsession

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Not3s Just Fine

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Lily Moore - I Will Never Be

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PHOTO CREDITDara Munnis

Tash Sultana Harvest Love

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The Hunna Babe, Can I Call?

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Amy Shark All Loved Up

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

FEATURE:

 


Sisters in Arms    

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IN THIS PHOTO: Rising Appalachia 

An All-Female, Summer-Ready Playlist (Vol. X)

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GOING into the weekend…

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IN THIS PHOTO: Froya

I felt it only right to put another all-female playlist into the world. It is a selection of songs from the past few months that, to me, convey all the contrasts and emotions of the summer days. Investigate and hold close another bouquet of songs from some fantastic female artists that is guaranteed to kick off the weekend with…

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IN THIS PHOTO: Sharkmuffin/PHOTO CREDIT: @mixtapemyheart

A real kick.

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

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FroyaBlack Macaroon

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PHOTO CREDIT: @ferguson.photo

Sonia SteinChange Shapes

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Raja KumariI Did It

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Sasha SloanNormal (stripped)

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Dawn LandesKeep on Moving

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Ama LouDDD

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Rising AppalachiaResilient

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Cleo SolWhy Don’t You

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Donna MissalKeep Lying

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Olivia NoelleFck Around & Fall in Luv

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PHOTO CREDITAdam Antalek

Mikaela DavisOther Lover

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Sa-RocForever

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Kiana Ledé - EX

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Mpho SebonaNo Evil

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Juanita SteinGet Back to the City

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King Princess Talia

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Jaira BurnsSugarcoat

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PHOTO CREDIT: @mixtapemyheart

Sharkmuffin Liz Taylor

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Jade NovahAll Blue

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Greta JaimeComputer Games

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Lily MooreI Will Never Be

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Keeana Kee Let’s Make Love

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PHOTO CREDITEbru Yildiz

Anna BurchYeah You Know

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Sinead HarnettBody

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Leah Nobel - Coffee Sunday NYT

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

FEATURE:

 


Sisters in Arms    

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IN THIS PHOTO: Poppy Ajudha

An All-Female, Summer-Ready Playlist (Vol. IX)

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THE ninth edition of this playlist…

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IN THIS PHOTO: July Jones

introduces some fantastic talent and reveals some wonderful songs. There is a mixture of lascivious, sweat-dripping and fierce alongside tender, flowing and warming. This playlist represents the two sides of summer: those intense days where the heat gets into the skin; the nights that are more bearable but have an incredible grace and allure. Included in this rundown are tracks from Poppy AjudhaTracey ThornLittle SparrowBeth Rowley and July Jones. It is a fantastic collection that highlights some of the finest female talent…

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IN THIS PHOTO: Beth Rowley/PHOTO CREDIT: @jonnyrowley

EMERGING right now!

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

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Lola KirkeSexy Song

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Stephcynie Friends

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Little Sparrow (ft. Robin Dewhurst)Baggy Trousers

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PHOTO CREDITOlga Ush Photography

Valentina Blú - higher&higher

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La Luz - Cicada

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EMM No Gods

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PHOTO CREDITRebecca Johnson Photography

Katie BuxtonGreen Light

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Georgia BoxI Don’t Want You Anymore

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Mahalia - I Wish I Missed My Ex

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Chelsea WolfeThe Culling

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Bella HardyThe Same Mistakes

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PHOTO CREDITBeth Chalmers Photography

Megan AirlieHoney

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Beth RowleyHowl at the Moon

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Tiger DarrowAmerican Dreamer

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Rachel Cousins Let Go

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Fever Ray - Musn’t Hurry (Aasthma Remix)

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Tash SultanaSalvation

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Tracey ThornDancefloor

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Brooke LanzinerRelapse

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July JonesI Fall Apart

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WallaceFrame By Frame

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Pip MillettLove the Things You Do

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Haneri Feel Alright

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Poppy AjudhaShe Is the Sum

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katie MACGold

FEATURE: Shaking Rumps, Rebellious Parties and Brass Monkeys: The Beastie Boys and Me

FEATURE:

 


Shaking Rumps, Rebellious Parties and Brass Monkeys    

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IN THIS PHOTO: The Beastie Boys/PHOTO CREDIT: Glen E. Friedman 

The Beastie Boys and Me

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EVERY one of us can recall…

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the sounds and albums that struck our ears at a very young age. We might not be able to locate that first moment; when music stuck in the mind and the world seemed like a much more interesting place! I can recall the sort of music I was listening to when I was in primary-school but, by the early-1990s, there was this strange, awesome force of nature: the Beastie Boys. I first discovered them when the band’s album, Check Your Head, was released in 1992. The album – the third from the clan – was met with critical praise and acceptance. There were some who felt the vastness of the cross-pollination was, at times, confusing – they admired the ingenuity and boldness. Stormers like Gratitude and Jimmy James were atom bomb-sized mindblows that sounded unlike anything else I had ever heard. My only exposure to Hip-Hop and Rap at that time was with the likes of Arrested Development and De La Soul – two U.S. outfits that were more ‘Flower Power’ and peaceful in their mantras. They combined wit and humanist outlook with something less controversial and more colourful. I would be greeted with the opposite end of the spectrum a bit later down the line: Public Enemy, N.W.A. and their ilk would open my eyes in a very different way! Check Your Head fascinated me because of its sheer number of tracks (twenty) and the fact it possessed economy – there were short numbers and no song really drags.  

After having something genuinely thrilling to talk about in the playground; I went back and ‘caught up’ on the Beastie Boys. Their 1986 debut, Licensed to Ill, contained their hits, Fight for Your Right and Brass Monkey – stone-cold classics that could be chanted, sung and hummed without too much disciplinary backlash! Paul’s Boutique – the 1989 masterpiece that, at first, divided critics – seemed to suggest what Check Your Head would be but, in a way, reached further than any Beastie Boys album. It remains untouchable and, when I heard it around age eleven, I could not believe all these samples and sounds fusing together to create something cinematic, biblical and head-melting. I still get the same feelings and effects at the age of thirty-five. The reason I am bringing up the Beastie Boys’ work now is that their memoir, Beastie Boys Book, is out on 30th October:

A description on the Beastie Boys’ website called Beastie Boys Book as “a panoramic experience” and “a book as unique as the band itself.” It will cover the entirety of the group’s career, “revealing and very funny accounts of their transition from teenage punks to budding rappers; their early collaboration with Russell Simmons and Rick Rubin; the almost impossible-to-fathom overnight success of their debut studio album Licensed to Ill; that album’s messy fallout; their break with Def Jam, move to Los Angeles, and rebirth as musicians and social activists, with the genre-defying masterpiece Paul’s Boutique.” No doubt the book will also touch on the Beastie Boys’ later years, including the tragic death of MCA in 2012”.

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I will be rushing out to get it for a couple of reasons: the fact the band is, sadly, without all of their founding members makes me wonder how they address the death of MCA (Adam Yauch). I wonder, too, whether new material will come in the future – is it possible to have a Beastie Boys record without Yauch?! Michael ‘Mike D’ Diamond and Adam ‘Ad-Roc’ Horovitz would be able to capture some of the spirit - but I wonder whether there would be a very discernible and noticeable gap?! (More on that later). Anyway…back to my experiences. Growing up in school meant inevitable discussion of Pop titans like Michael Jackson and Prince (bit of Soul and Funk in there) and, by the early-1990s, we had Grunge and Britpop coming in – the former died, I’d say, when Kurt Cobain (Nirvana) did in 1994; the latter sort of peaked a year later. There was that inevitable class-clash of Oasis (northern, working-class) and Blur (southern, lower-middle-class) and the styles each possessed – the more empathic, weed-infused togetherness of Oasis (that would be more coke-fuelled by 1997’s Be Here Now) and the cerebral, anthemic sounds that were always more Pop than Rock. Beastie Boys were the illicit and thrilling conversation that would bounce between buddies and newly-initiated – they were an American band and, at a time when British sounds were celebrated; it was almost taboo to mention a U.S. group with such passion!

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Ill Communication and Hello Nasty (1994 and 1998) were the two albums when my love was cemented and indelible. The former record was not as lauded as previous efforts but, with the mighty Sabotage among its twenty tracks; who could resist the empathic and exhilarating song?! Its video, too – at a time when MTV was a thing and videos could only be seen on T.V. – raised plenty of laughs and school-yard parody. Gone (almost) were the samples and heavy use of older material: the boys brought more live instruments to the party and, whilst more organic in feel; the record still had that kaleidoscopic and cut-and-paste feel. Music at that time, from my experience, was a lot different to what the Beasties were serving up. Grunge was introverted and, at times, bleak whilst the Britpop shakers – throw Suede and Pulp into the blender! – were talking about their modern lives and the adventures, joys and missteps of existence. Beastie Boys went outside the nucleus and introduced people like me (and my chums) a side of America – and, for that matter, the world – we had never seen. From the early days (Beasties) of fighting for their right to party; the band were talking about strange characters, throwing in impressions, jokes and samples. It was more street-tough than the British alternative and, at the same time, seemed like a cooler and more elicit taste.

Almost like looking through the slat at a neighbourhood speakeasy: me and my clique knew the password and, as such, were welcomed into this heady and delirious world. Beastie Boys stood in the middle of the fire of Public Enemy and N.W.A. – black groups who were concerned with police violence, social injustice and discriminatory leaders – and the ‘ice’ of De La Soul and Arrested Development – an ethos that promoted coolness, fun and greater harmony. I am not suggesting Beastie Boys are/were the ‘warm water’ – although, if one stuck their hand into the Beastie Boys trough they’d pee themselves (I’ll drop the metaphor!). Regardless: the mid/late-1990s was a time of transition, discovery and growing up, for me. I was moving through high-school and, with it, the first tastes of what it was to be an adult. Holding my hand and keeping me company was the music of the Beastie Boys. One of my fondest memories of their music was listening to Intergalactic (Hello Nasty) in a school mate's, Stefan, bedroom. The window was open, the sun was shining and a game of footie was imminent – the pheromones of an enduring five-a-side swept through the neighbourhood like the smell of doughnuts at a fat camp! That song was the tip of an iceberg that combined Latin wiggle (Song for Junior) and Longue-Pop (Song for the Man). Intergalactic was the city-stomping, machine-processed gem that combined a sample from the 1985 film, The Toxic Avenger (as adapted from Rimsky-Korsakov’s arrangement of Mussorgsky’s A Night on Bald Mountain) and a sound effect one can trace to Resonator from the 1986 film, From Beyond.

The fact a single song could combine such disparate and unusual sources shows how far ahead of their time they were. Their eclectic and scattershot (in terms of sounds) albums made me look more closely at music and compositions. It was not only about big choruses, familiar tableaus and the sounds of the top-forty: now, as adolescence academic took a big grab of the testicles; Beastie Boys were there ensure I got through things and strode on. I can trace my discovery and passion for music to the likes of Kate Bush (a true icon of mine) and The Beatles. Beastie Boys was my first real taste of American music: something far away from the scents and sights I was raised on and grew up around. If song titles like The Negotiation Limerick File (Hello Nasty) didn’t provoke further investigation then I/we knew you weren’t that cool. I had a lot of love for the chart-approved sounds but the Beastie Boys were the cool boys bringing beer to the bike sheds and cracking awesome jokes – it was a wonderful experience, indeed. The 1998-released record was the end of the ‘traditional’ Beastie Boys sound. I often associate To the 5 Boroughs as a new era and phase. Not only was it the first Beastie Boys album to be released in the twenty-first century (2004) but it came after a six-year gap (the longest between any Beasties album). Songs like Ch-Check It Out and An Open Letter to NYC harked back to the earlier, innocent sound of the band and led many to proclaim (To the 5 Boroughs) the most complete and stunning album since 1989’s Paul’s Boutique.

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IN THIS PHOTO: Adam 'MCA' Yauch

2007’s The Mix-Up and Hot Sauce Committee Part Two (what happened to the first part, you may wonder!) fared pretty well – the latter especially so; considering the cancer diagnosis delivered to MCA, it is amazing it got made at all. In fact, the reason there is no ‘part one’ is that of Adam Yauch’s cancer diagnosis. The band shelved the planned Hot Sauce Committee Part One and released Hot Sauce Committee Part Two instead – they were going to do a two-disc release but, following Yauch’s death in 2012, that was scrapped. I was five days shy of twenty-nine when MCA died and it felt like losing a long-term friend. It was a heartbreaking moment and I can only imagine how much shock and loss there was in the Beastie Boys camp. It was, to them, like losing a brother: the much-praised Hot Sauce Committee Part Two had a bittersweet quality. The boys were on top form and it seemed like they were producing the most exciting and natural work since their inception. Yauch’s death, aged forty-seven, was the last time I truly listened to the Beastie Boys. I felt things were over and it was a long time before I even heard one of their songs. The reason I have got back into them in a big way goes beyond the forthcoming memoir. I am, sure, fascinated to see what the surviving members have to say and get an idea of how Beastie Boys formed and how influential New York was in the 1980s.

Mike D and Ad-Rock have promised not to perform under the banner of Beastie Boys out of respect for MCA – one wonders if that means both artists will cease recording altogether. Although it is sad we will never get another Beastie Boys album; the fact they enjoyed four decades of fun, success and brotherhood is a huge achievement! Not many artists in this day and age can boast that longevity and sense of meaning – there is nobody quite like Beastie Boys. It is the fact Beastie Boys are unique and blew open the doors of Hip-Hop. From touring with Madonna (1985) and being inducted into the Rock and Roll Hall of Fame (only a month before Adam Yauch died); it was a wild and amazing time that changed the world. It is a shame there is nobody like Beastie Boys out there in the world: maybe they were this celestial one-off that laid such a benchmark that nobody could legitimately follow it! I am pumped to get their memoir in my hand and bring back some tremendous memories. I have recovered from the gloom that filled my heart following MCA’s death in 2012 and (am) finding endless pleasure in spinning Beastie Boys L.P.s to my heart’s content. Right now, Ill Communication and Check Your Head are top of the pile – Paul’s Boutique is never far away and always there if I need an instant blast of gratification. If you are unaware of the Beastie Boys – or have been a bit neglectful regarding their albums and what they mean – I urge you to get back into the swing and let their music do its work. A perfect afternoon would be listening to their albums and laughing, cheering and singing at the embarrassing riches that come forth. Whilst one of its founding brothers has departed the world; it is clear the spirit and genius of Beastie Boys will live on…

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PHOTO CREDIT: Lynn Goldsmith

FOR generations to come!

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The Beastie Boys’ memoir, Beastie Boys Book, is available from 30th October through Spiegel & Grau/Random House

ALL PHOTOS (unless credited otherwise): Getty Images/Associated Press

FEATURE: A Trump Suit in a House of Cards: Songs for the Forty-Fifth President of the United States of America

FEATURE:

 


A Trump Suit in a House of Cards    

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IN THIS IMAGE: U.S. President Donald J. Trump/IMAGE CREDIT: Bryant Arnold/Cartoon a Day

Songs for the Forty-Fifth President of the United States of America

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JUST when you thought the nation…

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IN THIS PHOTO: British Prime Minister Theresa May/PHOTO CREDIT: Getty Images/Press

couldn’t get more nervous and on-edge; we are preparing for the visit of President Donald Trump! He lands in the U.K. on Thursday and I am sure, with our Government cracking and shifting, he will bring his delicate, diplomatic and humanist touch to the situation! In regards to his upcoming visit; he has been telling reporters how he views the unravelling situation in this country:

Donald Trump expects to see a country in “turmoil” when he lands in the UK on Thursday for a two-day visit he said would make his subsequent summit with Vladimir Putin in Helsinki seem “easy”.

The president spoke to reporters on the south lawn of the White House on Tuesday morning, before boarding Marine One to begin his trip to Europe, which will begin with a Nato summit in Brussels.

He repeated familiar criticism of Nato and spoke warmly of Boris Johnson, the British foreign secretary and Brexit leader who resigned from the government of Theresa May on Monday. Trump said Johnson had been “very nice” and “very supportive”.

“It’s going to be an interesting time in the UK and certainly an interesting time with Nato,” Trump said, over the noise of the helicopter. “Nato has not treated us fairly but I think we’ll work something out. We pay far too much and they pay far too little. But we will work it out and all countries will be happy”.

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PHOTO CREDITReuters: Kevin Lamarque

If this were a visit by former President Barack Obama, then you can bet people would be lining the streets and cheering as he arrived. As people frantically stock-pile bottle of piss and get all their out-of-date food from the fridge; it seems Trump will be met with something a lot tangier and more rotten. He does not have too many fans over here (or anywhere in the world). Aside from Nigel Farage oiling his chest and making sure his tongue is at its most flexible (use your imagination…); there is going to be much protest and disgust lining the streets of the country. It seems, when he heads to London and faces the outrage of the people; things are going to be very tense and vocal:

More important than what Trump says is what Britain says back to him. And the most significant element in that collective answer will be the series of rallies and demonstrations planned for the four-day visit. It is of the highest importance that these marches are both populous and peaceful. Nobody can predict how many will turn out to protest in cities across the UK – the centrepiece being the national Together Against Trump march and rally in London on Friday afternoon. But put it this way: I would be surprised if they were sparsely attended”.

We will be very peaceful and restrained on that Friday but there will be plenty of hostility aimed at the embittered and disgraced President. To ‘honour’ his visit to us; I have compiled a selection of songs that sum up Donald Trump and his ‘charms’. Whilst Three Lions creeps back into the public consciousness and becomes our (unofficial) national anthem; there are a few other songs that could, for a brief time, well be…

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IMAGE CREDITFriendlyStock.com

ON the nation’s lips!

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

FEATURE:

 


Sisters in Arms  

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IN THIS PHOTO: Cosha 

An All-Female, Summer-Ready Playlist (Vol. VIII)

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THERE are some rather important and tasty…

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IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Jenn Five for DIY

festivals coming along before the end of the year - where big stars will play and new artists will be broken (in a good way!). I am excited to see who will play and which festival we should get our backsides to. This list of all-female talent will certainly provide some food for thought. From Cosha to a brand-new release from Maggie Rogers – it is a magical, moving and red-hot playlist that is guaranteed to…

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IN THIS PHOTO: I SEE RIVERS

GET the body moving.

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

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Rukhsana Merrise - Come My Way

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Anitta (ft. Gloria Groove)Show das ponderosas

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PHOTO CREDIT: Brenon James Hawley Photography

Witchsister Don’t Talk Over Me

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PHOTO CREDITKate Warren

Odetta Hartman - Misery

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Bianca BazinWhite Water

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Maggie RogersFallingwater

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Ania Diamond Butterflies

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Lo LoYours

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Becky HillSunrise in the East

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I SEE RIVERSGive Up

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Cosha - LUV

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Hayley McKayGhosted

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Ward ThomasLie Like Me

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Rachel CantuYou’re the Most

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Olivia NelsonSmother Me

Yazmin Lacey90 Degrees

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Harper (ft. Trillary Banks)Body on Me

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Allana Verde2 A.M.

Mija - Talk

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Rina SawayamaOrdinary Superstar

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Nilüfer Yanya - Baby Luv

Rachel FoxxDon’t Be Shy

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WafiaOnly Love

Paloma FaithWarrior

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Bella BartonLike Flames

FEATURE: We ARE Worthy: Who Might We Expect to Headline Glastonbury Festival 2019?

FEATURE:

 


We ARE Worthy  

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IN THIS PHOTO: Madonna/PHOTO CREDIT: Carl Timpone/BFA/Rex/Shutterstock

Who Might We Expect to Headline Glastonbury Festival 2019?

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SEEING as the nation’s biggest festival…

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IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Gustavo Caballero/Getty Images

has had a year off – giving the land a chance to recover and replenish – we have had an additional year to prepare the Glastonbury Festival rumour mill. There have been reports as to who might headline or appear on their somewhere on the bill.

Emily Eavis has just given two huge clues for Glastonbury 2019 and said the "first draft of the Pyramid Stage" is complete.

Speaking to the BBC, the festival organiser spilled the artist playing the Sunday legends slot will be a "non-British female" and that Paul McCartney is always on the top their list to headline the whole festival

Queen of Pop Madonna has previously been thrown into the mix, with bookies offering odds on her headlining the Somerset festival.

According to The Sun, The Like A Virgin icon is being lined-up to top the bill at the Pyramid Stage next year in a bid to provide the festival with more female headliners.

A Glastonbury insider said: “Preparations are already well under way after they’ve taken this year off, and Michael and his ­daughter Emily Eavis want to make it better than ever.

"They have always been massive fans of Madonna and know she would put on an unforgettable show.“It was really important that they had a diverse line-up for the 2019 festival after criticism of previous ones.

"And with this being a fallow year they want to secure a really big name to drive ticket sales.

“Thanks to all her huge hits, they are convinced that she would be a real crowd pleaser on the Pyramid Stage”.

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PHOTO CREDIT: Unsplash

It seems like, in that classic way there is always a bit of tease; we have an idea of who MIGHT appear at the event next year. I think a Paul McCartney headline slot is long overdue. With his album, Egypt Station, out very soon; it would be a perfect opportunity for the legendary Beatle to do a career-spanning set and seduce the Pyramid Stage. Radiohead appeared last year and mixed older material with the stuff from A Moon Shaped Pool – the recent L.P. from the group. Last year, we suffered a bit from predictability and fatigue. I realise there are younger artists coming through who might not be ready for a headline slot: booking Ed Sheeran and Foo Fighters lacked inventiveness and it was a rather tepid line-up. With calls for festivals to have a more gender-balanced line-up – especially when it comes to headliners – we cannot repeat the same mistakes as 2017. There were female artists further down the bill but it was a missed opportunity – names do leap to mind that could have headlined. I am pleased there are two guaranteed crowd-pullers among the names…one female, too! It is a definite improvement from the Eavis’ but I wonder whether two ‘older’ icons is a good idea for a headline – maybe popping in a couple of ‘newer’ artists would provide a bit of balance.

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IN THIS PHOTO: Emily and Michael Eavis/PHOTO CREDIT: Matt Cardy/Getty Images

I have always put Beyoncé’s name out there as I saw her Coachella set earlier in the year and was blown away by the choreography and energy she put out! I feel she could replicate that at Glastonbury Festival and, with a new album out (with Jay-Z as ‘The Carters’), one feels she would be a great fit. I suspect there will be a solo album out by this time next year, too. I could see her as the perfect Friday night headliners. Florence + the Machine might seem like an easy and obvious headliner but, considering the love High as Hope (the new album) is getting; is the time right for another Pyramid Stage inclusion?! I feel Beyoncé should be a lock-in and, if she were to join Paul McCartney (Saturday night?) that would be amazing. I feel Madonna, then, would work on the Sunday. Even though that still has two ‘older’ (no kind way of breaking it) icons headlining; it would see a younger, more energised performer in the middle. Many might see that prospective line-up and assume we need a male band or a female clan – they would have a point. The usual, ridiculous names have been suggested (Oasis and Led Zeppelin!) but Fleetwood Mac was mooted – again, they have had their day and you cannot have another decades-lasting act as a headliner.

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IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Kevin Mazur/Getty Images For Parkwood Entert

If you are going to band well then I would be reluctant to suggest obvious names: Coldplay, Muse and Foo Fighters seem like natural choices. They have all played enough and, to be fair, would not differ too much from their last outing. Queens of the Stone Age, again, would be a good fit but I wonder whether they, too, would be obvious?! I feel you need one female as an absolute minimum – whether it is Madonna or Beyoncé, I am not sure. One can debate a second female – I feel it would be a good move... – but, if you were going for possible bands; Wolf Alice (female-led) might be a good selection. If you want a harder, meatier sound – that doesn’t have to be a band – then Courtney Barnett and Janelle Monáe would get the crowds in and produce epic sets. I feel, though, there will be calls for Arctic Monkeys to fill a slot. Considering their latest album, Tranquility Base Hotel + Casino differs from their earlier work; that might be an interesting set. If you had Arctic Monkeys, Paul McCartney and Beyoncé/Madonna; how would that look? There is a lot of competition and choice but, so long as the Eavis’ avoid an all-male, all-band/mostly-band headlining trio then it will avert potential criticism and formulaic weariness. You never know which artists will release albums between now and then: we could have an instant headline-grabber who could fill a position.

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IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne

I am also looking at Jack White as a possible Arctic Monkeys replacement and, hell, IDLES are ready to take to the big stages. Having them alongside icons like Paul McCartney – that sounds awesome, right?! Not to put suggestions in the ears of the organisers but there is a need for more female headliners and some young, raw blood. I don’t think there will be too many hard choices when it comes to filling the rest of the festival out but you need to make sure there is a good mix of male/female (fifty-fifty at least!) and have a mix of Urban artists with Pop/Rock. I can throw names around – such as Barnett, Florence + the Machine with Cardi B, Sigrid; Kacey Musgraves and Goat Girl – and there are great male artists such as Anderson .Paak and Hookworms; Years & Years and Nine Inch Nails (who I didn’t even consider for headliners!). Let’s Eat Grandma are a great duo to include and you could have Kamasi Washington and Sophie appear. In any case; there are ample choices that would mix nationalities, genders and genders into an awesome festival! It is vital to ensure female artists are included higher up the bill and it is not entirely Pop/Rock. Maybe it is like teaching the organisers how to suck eggs but Glastonbury Festival is the biggest event in the music calendar and sets an example to all the other festivals.

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IMAGE CREDIT: Getty Images

If they had a brilliant balance and some original choices for headliners; that would set the trend for future years – fewer male headliners and artists who haven’t headlined getting to do it! This is all idle pitching and speculation. The teasing wink Emily Eavis gave regarding Macca and Madonna – you have to bet your savings at least ONE of them will headline! I would love to see Paul McCartney own Glastonbury and Madonna, who has not released material since 2015’s Rebel Heart, again, might have a new album out. She could do a 1980s-today set that brought plenty of attitude, dance and Pop magic to the hungry crowd! I, like most, would not object to Madonna and McCartney headlining Glastonbury Festival 2019. You would have a record-level of attendees and, if you threw a big name like Beyoncé in – if the budget allowed for it – then that would be insane. I feel, though, that ‘other’ headline slot could be an interesting choice. Do you go male/band like IDLES or go with another solo artist? One of the criticisms from last year’s festival was the inclusion of an acoustic artist like Ed Sheeran. Changes are good but, if you wanted to do the same next year; someone like Laura Marling might be a savvier choice! I feel next year needs to mix Pop majesty with some grittier, gutsy sounds that brings together the people and satisfies the masses. There is always going to be descent and grumbling but that is to be expected.

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PHOTO CREDIT: Getty Images

No matter who sets the crowds alight on Worthy Farm next year; it will be a big test for a festival which has had a fallow year. People have been pining for Glastonbury’s warm embrace and will have their pennies saved up – they’ll be a mad rush for tickets and it will be, weather-permitting, a rager. I know the festival is in safe hands and, the fact some juicy names are being hinted-at suggests the Eavis’ are not messing around. Gender-balance is a vital concern and I hope a more equal-minded balance is struck next year. I haven’t even mentioned names like Björk – another artist who could produce a bewitching set! I think Glastonbury 2019 is going to be the most-hyped and important event in the past decade. Not only because there is that tantalising prospect of having a couple of legends playing but because we all need some unity during these tough times. The more divided the country gets; the more we all need music to come in and provide direction: because of that, Glastonbury will bring the party and make us proud. It is a long way off but, every month, we are going to see new names put into the press – those who could headline and make an appearance. My worry is around all-male headliners and too few lessons learned. If that can be remedied, and parity created; I, for one, will be clambering for a ticket! At the very least; let’s all cross our fingers extra-hard and hope a certain Sir Paul…

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PHOTO CREDIT: Getty Images

GIVES his trademark double thumbs-up!

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

FEATURE:

 


Sisters in Arms  

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IN THIS PHOTO: Sudan Archives 

An All-Female, Summer-Ready Playlist (Vol. VII)

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EVERY week brings fantastic female artists…

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IN THIS PHOTO: Tiger Lion

to the public attention. In my mind, they are more explosive, seductive and nuanced than their male peers – maybe it is a generalisation but their music lingers longer in the mind. I have collated some 2018-released tracks from fantastic artists including Sudan Archives, Self Esteem and Bella Spinks. Make sure you check out the arresting selection and, as the sun continues to shine and the heat sears; you will find plenty that will keep you distracted and hooked…

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IN THIS PHOTO: Anna of the North/PHOTO CREDIT: Jonathan Vivaas Kise

LONG after the sun goes down.

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

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Ravyn Lenae The Night Song

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Caitlyn ScarlettOrnaments

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PHOTO CREDITPhil Sharp - Photographer

Olivia ChaneyHouse on a Hill

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PHOTO CREDIT:  Kristyna Archer

Sudan Archives Nont for Sale

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Tiger LionTyger Tyger

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Tiphanie DoucetCome to Me

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Anna of the NorthBaby (Acoustic)

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Ella Mai - Boo'd Up

 
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Self EsteemWrestling

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CupcakKe - Hot Pockets

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San MeiWonder

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Bella Spinks - CALM

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Rebecca Phillips Burnt Peach

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KirbanuFreedom Mantra (Om Mani Padme Hum)

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Margaux AvrilSomething You Can Do

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BRUCH Crown.

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Lola Coca (ft. Instant Love)A World Without Love

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Katie GarfieldWarfare

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IMANFor You

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Sasha BrownFix of You

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Emma Ruth RundleFever Dreams

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Abby AndersonMake Him Wait

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Frida SundemoOver You (Pure Version)

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Eckoes S.B.F.

FEATURE: Sofar-Surfing: A Unique Brand That Has Changed How We Experience Live Music

FEATURE:

 


Sofar-Surfing  

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 A Unique Brand That Has Changed How We Experience Live Music

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IF you are new to the concept and joy…

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of Sofar Sounds then you are really missing out! I have become more aware of them as I plan an ambitious music T.V. show. It (the show) will mix mainstream artists, features and music news with unsigned, newer acts that do not get a lot of press coverage/T.V. spots. It is in the planning and pitching stage at the moment but, as I go forward; Sofar Sounds is on my mind. One of the reasons I bring the live gig organisation (if that is the right term?!) is because they feature three artists – each performing four songs – at a random, unique venue. That venue might be anything from an antique shop to a living room to a strip joint (I might have made the last one up!). In essence; it is intimacy and originality that drives the Sofar Sound ethos. If you go to the official website and you can check out where your favourite artists are playing. Creating huge markets around the world, especially the U.K. and U.S.; you can keep abreast of where Sofar Sounds is pitching its tent and apply for tickets. The competition for spaces is intense but there is every likelihood you can find yourself swinging to a Dalston living room to see a well-known band perform to you and a small selection of excited attendees.

One of the reasons why the Sofar Sound name has expanded and gained mass popularity is because of its simplicity and effectiveness. It does not rely on huge record labels interfering and complex booking systems. One goes to the website and can apply for a ticket; wait to see if they have been selected and then, as you are getting ready, all the details will be emailed/sent to you. When you are at the gig; it is a nice and safe environment that has soul and character – rather than crowded pubs or vast arenas. You never quite know where you’ll end up and the actual location itself can be as memorable as the performances themselves. Sofar Sounds now has its name in 412 cities around the world. How, then, did Sofar Sounds begin its life?! The website tells you all you need to know:

At Sofar, we like to ask: who's ever been to a bad gig?

For some, the crowd was too loud or maybe the beer was warm. For others, the sound system wasn't doing the artist justice. Or maybe someone was in the line of view, snapping selfies all night. Whatever the experience, it just wasn't what you hoped or expected. The magic of a live event experience has been lost.

Sofar Sounds was founded to bring back that magic.

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 IN THIS PHOTOThe Vamps will play an intimate show for Sofar Sounds London on 10th July 

In 2009, Rafe Offer invited some friends over to a London flat for a low-key, intimate gig. Eight people gathered in the living room to listen to live music performed by friend and musician Dave Alexander. They shared a drink, and sat on the floor, attentively listening to the music. The room was so quiet, you could hear the clock ticking in the background.

Quickly, what started as a hobby in London spread into a global community for artists and audiences to come together in unique and welcoming spaces - with an added element of surprise - to share, discover, create and, hopefully make a friend or find their new favorite band along the way.

Today, Sofar Sounds is a community of thousands of artists, hosts, fans, travelers and more, putting on hundreds of secret, intimate events per month, across 412 cities around the world.

You're invited. Come on in”.

We have all been to those gigs where we’ve been crammed and stuck to people and there was hardly any room to breathe. Maybe it is a big arena show or a pub performance where beer flies and the sound is intense. It can be an exhilarating experience seeing these gigs but a draining and predictable routine. After the buzz has gone and the week has ended; you do not often look back and notice the venue and the people you were there with.

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Sofar Sounds prides itself on providing a very connective, interpersonal and safe gig where you can sit (a lot of the gigs are seated) and enjoy music in a pleasant and brilliant location. From repurposed retail spaces to side streets and outdoor gigs; no two performances are alike and there are no headline acts – it is an equal and democratic performance without those endless sound problems, delays and rowdy punters. I have been thinking about Sofar Sounds because of the threats we face regarding live music. So many venues are closing and a lot of it comes down to rent prices and a lack of socialisation. We are less social and unwilling to end our hectic and stressful days with a gig – we’d rather stay in and catch some T.V. Drink and food prices can be pricey, especially in the city, and it is hard finding artists you like near you. Sofar Sounds, therefore, seems like the perfect response. Rather than see your favourite local venue close or have to travel miles to go to a decent gig; you can go pretty much anywhere and see a gig. It might be a shop a few metres down the road or a coffee shop just down the road. You can bring your own drinks and do not have to worry about high costs and being hustled. Look at Sofar London to see what is happening in the capital right now.

If you think it might be a pretty going to a Sofar Sounds gig; the website tells you what an average ticket costs and what it entails:

It depends on the city. We currently have two different pay structures:

Fixed-price tickets:

Tickets are $15-20 in the United States; £10-18 in the UK; 200kr in Norway and €10 in Spain. All ticket costs are per person. Please check your city’s page for specific price details.

Pass the hat:

In the majority of our cities where shows only happen once or twice per month, audiences do not pay beforehand, but are encouraged to make a cash contribution at the show”.

Sofar Sounds is mission-driven, for-profit business where the desire is not to make millions: they want to connect people through gigs and create a wonderful experience. For those wishing to host their own Sofar Sounds; you can apply and have your location selected:

It’s easy! Apply on our website. We’ll just need to know what city and neighborhood you live in, and how many people you think your space can hold. If your application is successful, you’ll hear back from someone from your local team within a few weeks”.

The possibilities are endless when you think about settings and locations. In many cases, Sofar Sounds might not be known where you – the live scene might be dwindling and many might have access to gigs. It can reinvent towns and provide a fantastic experience to those who might never have seen a gig.

It is easy enough for an artist to get their music selected and be considered for a performance:

If you’re an artist interested in playing a Sofar, you can submit your music. Your application will go directly to the listening team in the city you’ve requested to play. If it feels like a good fit, that team will get in touch to book your first Sofar show.

Due to the high volume of applications we receive, this process may take at least a few weeks. If you don’t hear from us, your application has been unsuccessful. You can submit again when you have new material for consideration”.

The likes of Wolf Alice and Leon Bridges have played a Sofar Sounds set and the rise of the empire continues unabated. One of the dangers might be Sofar Sounds consorting with big advertisers and businesses like YouTube and Spotify and embarking upon big-money deals. I hope the name and personality of Sofar Sounds remains focused and there isn’t the temptation to become too big and look at advertisers. Of course, they make money through ticket sales but there is not an enormous profit to be made for something like this. Whilst I am reticent to encourage Sofar Sounds to sign contracts and conspire with technology giants; it seems like there are opportunities for diversification and cross-pollination. I have been inspired to mix mainstream acts and intimate newcomers in a music show – Sofar Sounds sort of does that already.

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IN THIS PHOTOSofar Sounds Madrid Director Almu

I think a televised – outside of YouTube – show could bring all the international performances together…maybe a Sofar channel? Mainstream stars have been known to play but I wonder whether there could be a link with those bigger acts. I am sure most of the artists you see performing on a show like, say, Later…with Jools Holland would love to play a Sofar Sounds set. There are a few possibilities that can be explored. A recent article talked with one of the founders, Rafe Offer, about the best experiences and how things started out:

Our first show was really casual. My friends and I gathered about eight people into a living room in London. One of them, Dave Alexander (a musician at the time), played us some songs on his guitar. We had some drinks, sat on the floor and just listened. I remember it was so quiet, you could hear the grandfather clock ticking in the background’.

The creator goes on to explain how celebrities mix with unsigned artists and how you never know what you might expect to see:

We’ve had a lot of different celebrities cross our paths over the years, but early on Robert Pattinson was a surprise – even for us – performer. That night one of our acts, Marcus Foster, brought his friend with him. He said to me, “This is my buddy Rob. Do you think he can play a few songs later?” Of course no one recognized him outside of context. We have a full line-up when the night starts and our artists go through extensive review, so we said no at first.

‘The night goes on, and Rob was sitting in the back, quite introverted…or a bit nervous about playing, maybe? At the end of the show, Marcus asked me again if Rob could play and I said, “Sure thing, one song.” Rob gets up to the front of the living room, fiddles with his guitar and asks us to stop filming. We didn’t understand. Why was this random guy asking us not to film? He was nervous, and it took him about a minute to hit his stride in the song. But after that, he settled down and hit us with this lovely gravelly voice and really got into it’.

Sofar Sounds is a supplement to the regular gig scene and is not trying to step on anyone’s toes. The fact it is a unique experience means it is not ripping anyone off or trying to steal their idea. So many people I know struggle to muster energy to go to a gig of any sort and worry they do not have enough money to afford a night out. The reason Sofar Sounds keeps getting better and gaining new support is its pure simplicity and unspoiled recipe. More and more locations are being conquered and endless memories made. Attending one of their special gigs provides great memories and a chance to sit in quiet and watch a gig with fellow music-lovers. If you are stuck for a gig and want to experience a special and un-stressful night then keep Sofar Sounds in mind – coming to a living room…

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NEAR you.

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Follow Sofar Sounds

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FEATURE: All Is Full of Love: A Pride Playlist

FEATURE:

 


All Is Full of Love  

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PHOTO CREDIT: Unsplash

A Pride Playlist

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TODAY has been a great day…

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PHOTO CREDIT: Rebecca Williams

for this nation! We have just defeated Sweden in the World Cup quarter-finals and are preparing for a game against, I suspect, Croatia. It has been a crazy day for us: few would have suspected England to go that far and do such great work! There is excited chatter about how far we can head and whether we can lift the World Cup – the first time since 1966. In addition to England’s on-pitch heroics, we have been celebrating Pride: a 30,000-strong parade has taken place in the capital and there has been a festival of colour and heat that has united the people. It has been a busy and uplifting day that has seen celebration and unity. A lot of the time, we are divided and cracks appear through the people.

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PHOTO CREDIT: Getty Images

The world is as terrifying and unsure as it has ever been – a lot of us face fear and stress on a daily basis. It feels like a day when all of that has been put aside and we are coming together to celebrate love, pride and the human spirit. Many of the L.G.B.T.Q.I.A. community have faced persecution, alienation and judgement. Their lives have been hard. The struggle will continue but there have been changes and development through the years. More people are aware of the sexual spectrum and conscious of its complexities and variations. In any case; things are getting better and there is much more acceptance in society. London has been lit up and brightened by a wonderful parade and the people showing their support. To celebrate that; I have compiled a Pride playlist that unites anthems and L.G.B.T.Q.I.A.-themed songs that…

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PHOTO CREDIT: Unsplash

ADD spark and life to an amazing day!

FEATURE: Privacy and Protection: Music Copyright Laws and the Need for Change

FEATURE:

 


Privacy and Protection

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ALL PHOTOS (unless credited otherwise): Unsplash 

Music Copyright Laws and the Need for Change

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THE topic of copyright and fair pay…

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is not something we hear discussed much in music. In the course of our daily browsing and music listening; we will skip around Spotify, YouTube and SoundCloud. We all have our favourite sites and, without thinking about it, click on a song/album and enjoy it at our leisure. If we have a Spotify subscription, then we do not know how much of the money we pay goes to each artist. Sites like YouTube run adverts but, unless you are buying what is being sold; no money goes the way of artists. In fact, it seems like the money raised through YouTube goes to Google – who own the video-sharing site. I wonder how much money is being generated for artists and whether anyone sees a decent amount of cash. For new artists, who rely on sites like YouTube and Spotify; their lives are even more unsure and nervous. Sir Paul McCartney has been in the news and calling for changes in the copyright law:

Sir Paul McCartney has written a heartfelt open letter to the European Parliament, calling for all music artists to be fairly paid for their work.

The former Beatle is urging MEPs to back proposed changes to EU copyright law - Article 13 - which would force user upload content platforms to pay songwriters and performers fairly for the use of their work.

The 76-year-old musician says that without this change, the future of the music industry could be at risk.

In the note, Sir Paul writes: "Music and culture matter. They are a heart and soul. But they don't just happen; they demand the hard work of so many people.

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 IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Getty Images

"Importantly, music also creates jobs and economic growth and digital innovation across Europe.

"Unfortunately the value gap jeopardises the music ecosystem. We need an internet that is fair and sustainable for all."

He goes on: "But today some user upload content platforms refuse to compensate artists and all music creators fairly for their work while they exploit it for their own profit.

"The value gap is that gulf between the value these platforms derive from music and the value they pay creators".

We often go onto websites and endlessly view videos/songs without any money parting company. It has now come to pass that the overhaul ambition has been rejected. The move would have brought the EU copyright laws in line with the digital age. Many musicians came out and asked for better guidelines that protected musicians from having their work used by giants without consent. The European Parliament rejected the motion: opposed to Articles 11 and 13 that have been causing much chatter and debate. Article 11 intends to protect newspapers and outlets from titans like Google and Facebook – meaning they cannot use material without payment.

Article 13 placed greater responsibility on websites to enforce copyright laws and filter/assess content that came onto the site. A copyright system would have been a remedy but would have cost over $60-million – the cost YouTube has to bare on their site. For those who need to know what music copyright is and why so much debate has surfaced; here is a simple guide:

What is music copyright?

Music copyright is the legal protection given to the creators of music. Copyright enables composers, recording artists, musicians and other creatives to be recognised and paid for their work.

If a piece of music is protected by copyright this means that you must not broadcast it without clearing it, reporting it and paying for it.

How do the musicians get paid?

The money musicians and composers get paid when their work is used is usually referred to as royalties. There are two organisations who manage these payments. They are PRS for Music and PPL. PRS for Music look after song writers, composers and publishers. PPL look after the people who record the music – the labels and artists.

"If you don't obtain clearance for your use of copyrighted music, you could face legal action."

Anyone who plays music in public, whether they are music venues, pubs, restaurants, shops or broadcasters, have to pay for two licences - one to PRS for Music and one to PPL. These two organizations collect payments and this money is used to pay those writers or musicians whose copyrighted music has been used.

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 One song or piece of music can have several people who own part of the copyright. These can include composers, writers, performers, publishers and labels. For example, if you wanted to use Wannabe by The Spice Girls, there are seven composers credited, represented by three music publishers who all have the right to be paid for the use of the song.

PRS for Music and PPL are non profit organisations”.

One wonders how deep the issue goes and how much money songwriters are losing. The wealth and profit gap McCartney was referring to is not reserved to websites like YouTube. Although they have their own copyright system; another issue comes when we look at subscriptions and listening to music for free. I think there are two things we need to sort out. I have seen videos and users illegally use other people’s music and fuse it with their own. I have seen others broadcast pieces of music without permission or paying a particular artist. It is clear we need to compensate artists more fairly and those whose work appears on the big websites. Whilst there is a problem with the extent of copyright and how well it works in practice; there are a few measure sites like Google can impose that would be beneficial to artists/creators. I feel we all need to be more aware of the realities of the music industry and how much work is being shared and published without payment.

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I have spoken about Spotify and how we can pay subscriptions to listen to music. Many people do not and it means, before the music has even reached the site; many people are listening for free – less money going to the creators. The situation is even more severe with YouTube. It is a free site and there are so many videos being shared and published without the artist’s permissions. I am seeing a lot of brand-new songs published by individual users or companies so they can gain views and money; new artists are putting their music on there and not earning any money at all. I feel, before we do anything, we need to impose a subscription fee for every YouTube user so that more money is put the way of musicians/creators. Google is a huge and ever-growing company that is not spending enough money protecting artists and improving the way music is uploaded and shared. I know there is a difference between copyright and compensation: both issues need tackling and we need to be more aware of these huge sites and the realities for musicians. Ensuring every video that gets uploaded to sites like YouTube is subject to copyright checks is crucial. We do not know whether a user is sharing music without permission or passing it on as their own.

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Whilst it is vital to get protection and laws in place; setting aside some financial reward for those who put their work up there, knowing it will be seen for free, is just as important. The change in laws has been rejected and I wonder whether (those who rejected it) are concerned with freedom and censorship. It would not be too strict ensuring any videos/music uploaded has permission and users are not trying to profit unfairly. An artist spends a lot of time working on what they do and it is hard seeing that final product end up in the hands of advertisers or unduly fall into the hands of advertisers. I do wonder how much music and content is being put out there and where it ends up. There need to be channels and changes that at least increase privacy. It would be a little dictatorial scrutinising every upload/user and making them sign contracts. Users would flock away and it would not be good for sites. It is not only YouTube that faces challenges and scrutiny. Look anywhere on the Internet and you will see videos from popular stars and newcomers being shared and used by others. It is clear there needs to be a good rethink so we can draw the line between protection/financial compensation and overly-strict enforcement. The amount of money giants like Google earn is eye-watering and one would think they could invest enough regards copyright and protecting artists. I feel imposing a Spotify-like fee for users would free more money up so better measures can be put into place. Whilst recent changes have been rejected and some big names have had their voices snubbed; it is clear the giants of the Internet need to think about privacy/artists and make…

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REAL and big changes.

FEATURE: 36 Against 52: The Ongoing Issue of Racism in London’s Bars and Clubs

FEATURE:

 


36 Against 52

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IN THIS PHOTO: Park Lane's Drama nightclub/PHOTO CREDIT: Joe Plimmer for The Guardian  

The Ongoing Issue of Racism in London’s Bars and Clubs

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I have been hearing great things…

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PHOTO CREDIT: Unsplash

about the new Whitney Houston biography, Whitney. The film is packed with revelations honesty from the much-missed star. Looking at an article that has just been published highlights one concern Houston voiced: not being seen as ‘black enough’ in the industry:

Sometimes it gets down to ‘You’re not black enough for them. You’re not R&B enough. You’re very pop. The white audience has taken you away from them.’” This was Whitney Houston, reflecting on the first significant setback of her career, when she was booed at the 1989 Soul Train Awards. By that stage, she had already won 11 American Music Awards, two Grammys, achieved the biggest-selling debut album by a female artist in history and a record-breaking seven consecutive US No 1 singles. But, despite all this success, some black radio stations refused to play her records, and opponents, including the Rev Al Sharpton, labelled her “Whitey” Houston. For some, she was simply Not Black Enough”.

Maybe things have come on a long way – to an extent where black artists do not feel their life is in danger and they can survive in music: I do not feel we have come that far where there is equality and proper respect of minority artists. The article goes on to look at the differences in the industry today:

Today’s black artists operate with the freedom Houston dreamed of, but they are never immune from scrutiny. Witness Beyoncé, whose stance in the early 2000s was seen as carefully apolitical by critics, but who suddenly rediscovered her blackness in the Black Lives Matter era and came out celebrating hot sauce and “Jackson 5 nostrils” in 2016’s Formation. Beyoncé had sung her own, Houston-influenced Star-Spangled Banner to the Super Bowl audience in 2004; when she returned for the 2016 half-time show, she practically gave them a Black Power military drill”.

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PHOTO CREDIT: Unsplash

I do not think we have come so far where black artists have real freedom and get the same attention as their white peers. If we are struggling to see racial equality and balance in the music industry; that seems to be reflected in society as a whole. I have heard from a lot of black and minority club-goers about the policy on the door. It happens in many big cities but London still seems to foster a rather worrying racial profiling. I keep hearing of Hip-Hop and R&B clubs (and Grime) alienating its true, black clientele and gentrifying it. The loyal punters have to move to areas outside of London because they do not fit the ethos and ‘class’ of the joints. Spaces that were once awash with life and authentic energy have been replaced by a largely-white populous who see the music/spaces as fashionable – not vibing to the music and aware of its foundations. This marginalisation is not limited to Urban clubs in South London: areas like Mayfair, as this article shows are imposing racist and despicable policies:

It is black women, critics say, who are the net losers in the current Mayfair club game. Fashion blogger Fisayo Longe recently described her experience at Libertine, writing that she was denied entry and was told it was: “Maybe because you’re black,” and “… probably because you’re not good looking enough”. The nightclub has denied this, saying the records from their ID scanner prove they have a varied demographic. “We can categorically state that we do not have a door policy that is based on the colour of people’s skin.”

…The near absence of any ethnic group from a social space in London is unusual enough for a city with a 40% non-white population. But it is all the more surprising in nightclubs that – as Drama and many other high-end Mayfair establishments do – play almost entirely black music. Those who claim black people are being deliberately excluded are becoming harder to ignore.

In 2015, the nightclub DSTRKT refused entry to a group of black women who say they were told they were “too dark” and “overweight”. The nightclub denied this and says the club was full. The same year, Cirque le Soir rejected a group of New Orleans Saints NFL players, despite the fact that they had reservations. The players reported being told it was because they were “six big guys” (none was over 6ft) and “too urban”. The nightclub denied this, saying the men were refused entry because they were in an all-male group”.

It is not as though those being turned away and discriminated against are bringing trouble with them and causing any distress. The black population who want to attend these clubs are either not seen as good enough or likely to cause some sort of unrest. Owners and staff at certain clubs claim it is not racism at work: it is about spending patterns and imagery. They see black patrons as having less disposable income and unable to afford the drinks on offer.

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PHOTO CREDIT: Unsplash

Maybe the white women (and men) finely dressed and, with their cash flowing, are better for the club than black attendees who, they see, as less well-off and ideal. Can one realistically feel black club and pub-goers are being denied entry because they are a little lighter in the wallet department?!  It seems there are literal divisions between white and black patrons: cordons placed so the wealthier white in attendance can revel whilst black club-goers, if they are let in, are kept separate. This club-segregation is not a new trend: many people recall getting shoddy treatment and attitude over a decade ago. Those with lighter complexions – mixed-race patrons – are not as unfairly judged and turned away as the black population. There is a large and visible black population in London. Some areas have fewer black inhabitants but, largely, you see a mix of black, white and Asian people. Maybe there is tension in some areas – and forms of racism in every corner of London – but the black population give so much to the capital. If we feel there is more balance and fairness in the music industry regarding race – I debate that assumption – then one cannot claim there a reflection in the club and bar scene. Looking at the Mayfair club, Drama, and there are cases of discrimination and racism:

A woman has claimed her daughter went to a London nightclub where black women were charged a higher entrance fee than white women.

Nadine Marsh-Edwards tweeted about her daughter's experience at the Drama, Park Lane nightclub in Mayfair, London.

She wrote: "My daughter went to a club in the West End last night. Black girls got charged £20 entrance fee - white girls £10... London life right now."

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PHOTO CREDIT: Unsplash

Her post was shared multiple times and picked up by Labour councillor for Mayfair, Soho & Fitzrovia Pancho Lewis who said he will "make sure the council looks into it".

You might argue I am singling out a particular club and exposing their policies. To be fair, the West End as a whole is under scrutiny because of its practices and ignorance. Black woman, especially, are seen, by some, as ‘too urban’ and not quite fashionable enough to fit in with the image of the club they attend. Others have reported being turned away at the door for having the wrong image or not enough money in their purse. Last year, I read the following article that put another club, DSTRKT, and some unsettling reports:

On the night of the 26th of September, four women arrived at DSTRKT nightclub in London's West End. They had been invited by one of the promoters and had been assured space on the guestlist. West End clubs are dressy, and the group were ready for a night out—pre-drink selfies had been taken in tight polo-necks with clutch bags. However, when they got there, two of the women, Reshia McFarlane-Tapping, 27, and Tasha Campbell, 28, were asked to stand across the road so a manager could see them. According to the women, the manager told them they were "too dark" and "overweight" to be allowed into the club. None of the women went in...

...In the following days, another member of the group, Lin Mei, posted screenshots of conversations she'd had with one of the club's promoters after they'd been refused entry. The promoter told her the club "only wanna let to mixed raced girls in they said [sic]." When questioned further, he said, "I really care about the white crowd," and "the black crowd is the concern".

I know a lot of people who live in South and East London and it seems, with gentrification and new developments; the tone and calibration of clubs/bars means there is a definite ‘black quota’: a set number that is seen as ‘just right’ as not to offend white eyes and bring the good name of that space into disrepute. This is nothing new but, as the areas become more white and wealthy; social media is alive with angry and emotional testimony of black people turned away and told they are not what the club is looking for. Given a spate of knife-related deaths in the capital; there seems to be additional attitude and exclusion at many clubs - assuming black patrons are going to stir trouble and the young men will bring violence to the doors. It seems, alongside racism, is a rather sexist policy: more black women face issues and discrimination than men. There are D.J.s and bar owners who have a great relationship with West Indian, Caribbean and African men/women who bring them great music and are welcomed in. Whilst there is a great relationship and no issues in many London spaces; it seems, more and more, we are hearing about racial ignorance. Social media has made the issue more visible and brought stories to the people. One can argue a lot of cases of racial discrimination, before social media, went unchronicled and viewed.

There are a number of reasons why black patrons, women especially, are being turned away. Alongside the image profiling of many clubs around London; size and figure come into the debate. Many see this ‘ideal’ woman with a slender figure and a fashionable appearance. With many black women boasting fuller figures and more confidence (than their white peers); clubs see this as unideal and not what they are looking for. Money, sex and colour seem to be important than togetherness, music and sociability. I have seen an article from 2015 written by Frances Acquaah that documented her experiences:

“…And it’s not just a central London problem. A few months ago I was turned away from a club in south London, a venue notoriously known among black, Asian and minority ethnic ravers as racist. Though they were not as candid about the reason we were not gaining entry, they were happy to let the white women that followed behind me through their doors, as I stared in astonishment across the road.

Many wrongly assume that because there are some minority ethnic people inside partying, a club cannot be racist. It is a reasonable theory on the surface, and I suppose it is easier to believe than to admit that a city which boasts so much diversity – in London alone we speak more than 300 different languages – could be rife with issues that mirror life before the civil rights movement.

Let me assure you that tokenism is a thing. Unfortunately for me, the club had filled their black quota that night. Club managers have no problem letting black people in, but only if the ratio is right. Had I spent less time trying to take the perfect selfie, maybe it would have been someone else standing outside”.

West London is under the spotlight but a lot of clubs in all parts of the capital are being investigated. There are fewer areas where the loyal and long-serving black population are being given the same rights and access they enjoyed years ago. Working-class estates are being replaced and the high-street is a vastly different place – it feels less authentic, vibrant and mixed than ever. I walk around London and do see a cheerful and friendly black population. There are fewer black faces in the centre of London and, when going out at night, many of the clubs that used to have quite a balanced makeup are, now, largely white. Many of London’s black population are being priced-out and moving to the edges of the city; those who want to go on a night out risk facing stern bouncers and (are being asked) for I.D. – have we really come a long way and is the city fairer and more eclectic than the past?! So many clubs/bars that catered to the black population – from Afro-Caribbean bars to Grime clubs – are being rebranded and I wonder how clubs/bars justify their policies. Call it sexism, sizeism or a snobbishness regarding earning power and income. The fact that it is the black population being denied leads me to believe it all boils down to…

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IMAGE CREDIT: Lea Clarin

UNAPOLOGETIC and unforgivable racism.

FEATURE: The July Playlist: Vol. 1: If She Says It Doesn’t Matter…

FEATURE:

 

The July Playlist

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 IN THIS IMAGE: Christine and the Queens 

Vol. 1: If She Says It Doesn’t Matter…

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THE heat shows no sign of abating…

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IN THIS PHOTO: RAYE

so we might as well stay in and listen to some music! I have been hunkering down and doing my best to stay cool. If you are need of similar refreshment; have a look at a selection of songs from artists such as Christine and the Queens, Anna Meredith; Tom Grennan and RAYEYears & Years and Self Esteem are in there to add their own candour and colour.

It is another intense, packed and varied playlist that should keep you entertained and keep you occupied during the hot days. A fantastic and alluring concoction of new tunes that is sure to stay in the head for a long time to come!

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

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Christine and the QueensDoesn’t Matter

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PHOTO CREDIT: Kate Bones

Anna MeredithAnna / Four Seasons: Stoop - Spring

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Fiona Apple - I Walk a little faster (underwater)

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Dirty Projectors - That's a Lifestyle

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YUNGBLUD - Medication

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Self Esteem Wrestling

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IN THIS PHOTO: Caroline Polachek/PHOTO CREDIT: Tom Newton

felicita (ft. Caroline Polachek) - marzipan

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Boniface Dear Megan

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Menace Beach (ft. Brix Smith) Black Rainbow Sound

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Gulp I Dream of Your Song

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PHOTO CREDIT: Neelam Khan Vela

Her’sHarvey

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PHOTO CREDIT: Danny Brooks

Francobollo - We're Dead

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Iggy AzaleaTokyo Snow Trip

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RAYEFriends

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Bugzy MaloneDrama

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Tom GrennanLighting Matches

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Forest Blakk Tread Lightly

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Years & Years Preacher

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Francis and the LightsTry Tho We Might To

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Justin TimberlakeSoulMate

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Mac Miller Small Worlds

 
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PHOTO CREDIT: Kelly Levacher

Tebi RexPeggy’s Bus

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Kiran LeonardParalysed Force

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Orchards Age of You

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PHOTO CREDIT: Justin Bettman

Jason Mraz Might As Well Dance

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Sunset Sons Love Lights

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CAGGIEHere We Go Again

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Jax Jones, Mabel (ft. Rich the Kid) - Ring Ring 

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Ward ThomasLie Like Me

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Maeve Martyr

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Benny Benassi & Sofi Tukker - Everybody Needs a Kiss

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Zernell FontaineThe Wave

FEATURE: Platinum Bond: Seventy Years of the NHS: For Musicians; For Everyone…

FEATURE:

 


Platinum Bond: Seventy Years of the NHS

For Musicians; For Everyone…

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WE keep hearing about the NHS

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PHOTO CREDIT: Unsplash

and how perilously underfunded it is. This is true, indeed, but I wonder if there are solutions and whether, alarmingly, the National Health Service will survive in its current state: a free enterprise that has helped millions and has done immeasurable good for Britain! Budgets are getting tighter and workers are being stretched to their limits. It is the seventieth anniversary of the NHS and, whilst we celebrate; one cannot help look at the financial burdens and how little the Government are doing right now. Plans have been mooted to freeze duty on alcohol and fuel to allow some extra money to go the way of the NHS. Looking at this article and it seems like an important debate will bubble tonight:

That will be the question tonight, when on the eve of the 70th anniversary of the NHS, Sky News hosts a live debate about the system's future from Guy's Hospital in central London.

Sean Worth, a former health adviser to David Cameron when he was prime minister, and Sonia Sodha, a policy adviser to Ed Miliband when he was Labour leader, will present two different arguments for how the NHS should be funded.

We give you an outline of the case each of them will make during tonight's debate.

Sean Worth will argue:

"The NHS is under unbearable pressure, with staffing shortages, financial deficits and over 2,000 operations cancelled every week.

"The service is doing a great job, but is constantly pressured to do more for an ever-growing and ageing population.

"We can keep pouring more money in, but it will never be enough.

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PHOTO CREDIT: Getty Images

"The big change we need is to allow more outside experts in to deliver more NHS services, including from the private sector.

"There is so much extra capacity, innovation and amazing technology there, but only 7% of NHS services are delivered through outside organisations.

"The trade unions' rage against the private sector delivering NHS services is preposterous - especially as many of their senior NHS members are moonlighting for private firms on the side”.

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PHOTO CREDIT: Unsplash

Other reports suggest the Prime Minister, Theresa May, is ready to inject financial support into the marrow of the NHS:

Theresa May has decided to give the beleaguered NHS a “significant increase” in its budget to coincide with the service’s 70th birthday in July, the health secretary Jeremy Hunt has revealed.

The prime minister intends to ramp up spending in order to show that the Conservatives can be trusted to run the NHS and because it needs extra cash to tackle chronic understaffing, cope with the ageing population and improve care, Hunt said.

May will fulfil her pledge of a “long-term plan” for NHS funding by ditching the austerity-era 1% annual rises it has received since 2010, the health and social care secretary told the Guardian in an exclusive interview.

“She is unbelievably committed. You should not underestimate how committed she is to the NHS. So she is absolutely 100% behind getting this right,” Hunt said”.

Whilst these words might balm and soothe the furrowed brows of those deemed with guiding the NHS forward; it will provide small consolation to those NHS workers who have committed so much of their lives to the jobs they love. I wonder why it has taken so long for the Government to find money to put the way of the NHS. I am sure education and other areas have been funded. The thing is this: nothing is important as the health service and the NHS’ survival. If you cannot live, operate and go about your day then you cannot teach or be educated. The NHS supersedes everything and is at the top, one would hope, funding totem pole! This article argues why the money promised by the Government might not be enough. We hear about aims to support those with mental-health issues: the reality is not enough is being done and there is a long way to go. I wonder how the NHS will change when Brexit finally happens; will certain people have to pay and will others be excluded?! Labour leader Jeremy Corbyn has been urged to think his position on the NHS when outlining the party’s Brexit plans. Labour are, as he says, the party of the NHS: the interests of those who rely upon our healthcare system is top of his focus.

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PHOTO CREDIT: Unsplash

If we get a hard-Brexit then the fate of the NHS could be different were we to have a soft-Brexit. It seems, even though the P.M. has pledged £135bn by 2023-2024, a £20bn increase on this year’s budget, and equivalent to an average annual increase of 3.4% - maybe that is only going to keep the NHS afloat as opposed expanding and improving it. There is a lot of stress and uncertainty when it comes to the amount given to the NHS; whether social care and healthcare will be on a level footing – so people are not pushed from one to another – and how Brexit will affect plans going forward. When Welsh Labour minister Aneurin Bevan created the NHS on this day in 1948; he would have no idea what it would do and how many people it would help. From those who have worked/work in hospitals to those who have had their lives saved – the importance of the NHS cannot be understated.

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IMAGE CREDIT: Gruff Rhys

Musicians are celebrating the seventieth anniversary in their own way. Gruff Rhys (Super Furry Animals) has released a song, No Profit in Pain, to mark the anniversary; pay tribute to the NHS and show why we need to keep it alive and accessible-for-all. He was writing in The Guardian and explaining why he, and many people he knows, have come to rely on the NHS’ great work.

The NHS is something that we can too easily take for granted. I’ve twice toured with musicians in America when they’ve had broken limbs and not been able to afford treatment. Each time, they had to continue touring in pain in cramped vans, using homemade splints and slings. It’s a precarious way to live if you don’t have insurance.

The NHS has been there for me throughout my life and has saved many of my family members’ lives. It means more than anything I could ever hope to convey in a melodramatic synth-pop power ballad. For the song (recorded with Kliph Scurlock on drums and Llion Robertson producing), I focused on the battle to keep the NHS as a free service in public ownership. There’s loads of swearing in it”.

I have been lucky (touch wood) enough not to have to rely too heavily on the NHS but, looking around, and one cannot quantify the number of musicians who have been saved and helped by the NHS. I know so many people with mental-health problems and psychological issues who have been for counselling and been hospitalised. Receiving that care and attention has not only kept them alive but has led them to create music and turn their lives around. Many other musicians suffer strains and muscular distress; some injury themselves whilst performing and others incur pain during their careers. Whether it is something as minor as a cut face or a broken leg; the fact they can go to hospital, be seen and fixed is vital. It means they can continue to play/earn and do not have to break the bank. We all know there is a mental-health epidemic that means more musicians are self-harming and depressed; many suffer psychological illnesses and it is worrying to see.

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PHOTO CREDIT: Unsplash

Waiting lists are increasing – to see a counsellor or psychiatrist – and those available do a sterling job. It is the psychological side of the musician’s life that makes me feel the NHS needs more money to do what it does. The number of people seeing mental-health professionals is at all all-time high. Throw into the mix all the physical risks of being a musician – back and neck problems to injuries and falls – and the value of the NHS cannot be measured. I guess Gruff Rhys will not be the only musician paying tribute to the NHS today. There are gigs around the country and today provides a chance for people to think about the NHS’ longevity and changes and pay thanks. It is not only musicians/creatives who have benefited from the NHS: families, friends and those we rely on have also had their lives saved/prolonged. If the NHS did not exist, or was to privatised, then there is a concern some would not be able to afford it or there would be alterations that would negatively impact the way it is run and operates. We have a committed body of professionals who put in extraordinary hours and energy to enrich and preserve the lives of millions in the country. Musicians rely upon the NHS as much as anyone else out there.

We are all very lucky to live in the U.K. – in respect of our healthcare – when you look at the U.S. Whilst Gruff Rhys has revealed why the free health service is valuable to him; fortunes are not as bright and stable in the U.S. – as this article from 2010 shows:

Josh Homme has a pertinent piece of advice for any musician hoping for help from the American medical system. "If you want to live," says the leader of Queens of the Stone Age, "you better be rich."

Two years ago, Homme's Queens bandmate Natasha Shneider died from cancer, aged just 52. She was put on chemotherapy pills – two a day at $500 a time. Schneider had health insurance that split the cost, but that still left her paying $500 a day for essential treatment. Now Brian O'Connor, the bassist in one of Homme's other bands, Eagles of Death Metal, has been diagnosed with stage-four colon and lung cancer as well as tumours on his bones.

"This was a 6'3" guy," Homme says. "He went from 230lb to 180lb in six months. None of us could understand it. It's just heartbreaking. I'm 37 now and I've been beating myself up my whole life, but I'm insured, I know the status of my own health. Brian is only 44 and his insurance is sorted now, but even when you're insured you still get slow-rolled. The bureaucracy of insurance has become its own problem. Brian's cancer is incredibly aggressive. He needed surgery immediately, so we paid for four days in hospital with a brilliant anaesthetist and one of the best surgeons in America. That was $25,000…”.

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IN THIS PHOTO: Queens of the Stone Age's Josh Homme/PHOTO CREDIT: Getty Images

Many are looking forward to another seventy years (and more) of the NHS and what it can become. There is one part of the mind that worries whether enough money will be allocated to ensure services can continue and the NHS can be sustained, expanded and strengthened. Those who work tirelessly are doing their best but we are all aware how much they sacrifice – it is unfair we should ask so much of mere mortals. Every person alive has exposure and experience of the NHS and the good work that is being carried out every day. Musicians, as I said, would not be able to create and continue were it not for the NHS. It has been a long and hard road for the nation’s most-loved service and a shining example for the rest of the world. I hope my fears around funding and long-term survival are unfounded and premature. It would be upsetting to see the foundations crumble or people suffer because there is not enough resourcing or staff. Rather than dwell on the bad; let’s all, as we have been today, celebrate and mark a wonderful anniversary. Seventy years strong and the NHS continues to patch up and help those who need them. From musicians struggling with mental-health issues and the inevitable gig injuries; musicians are as grateful and full of respect for a platinum-gold service…

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PHOTO CREDIT: Getty Images

WE all rely on and cherish.  

FEATURE: Bring It Back: The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

FEATURE:

 


Bring It Back

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IN THIS PHOTO: Róisín Murphy/ALL PHOTOS/IMAGES: Getty Images

The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

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I have been reading the Twitter feed of Róisín Murphy…

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and am troubled by what I read! The Irish singer-songwriter has been emotional and is fighting against those who cannot see past her work with Moloko. Some, when reviewing her recent work, recognise Murphy is as potent as ever - they give her proper kudos and see she is an ever-changing artist. I admit: I am one of those people who followed Murphy and (Mark) Brydon during the 1990s/2000s. I loved the albums, I Am Not a Doctor (1998), and Things to Make and Do (2000). That decade (millennium)-spanning brilliance from the duo spawned singles such as Sing It Back and The Time Is Now. I even loved an album that got less critical love than those two: the brilliant, underrated Statues. The brilliant, lead-off single is one of my very favourites: Familiar Feeling is Moloko at their sassiest and most addictive. In musical-journalism-chess-terms; this might be a discovered attack or en passant play: in any case; I am reacting to an article that highlighted Moloko’s best-known hit, Bring It Back. The article is, as Murphy states, brilliant and very passionate. The first standout quote/segment from the article distils the song’s energy and what it was all about:

Wilfully idiosyncratic, gloriously arty and fiercely protective of what Moloko stood for, Sing It Back represents a strange anomaly in their career; both their defining moment for many, but also not entirely their baby. Its gestation involves tantrums, label arguments, hanging out with Mel C and furniture reupholstering”.

Another extract – the piece is a conversation with Murphy as she explores the song’s oirigns and impact – looks at Sing It Back and what it meant to her:

It still feels like a victory, honestly. Actually, it still feels like a lesson more than a victory, in that you should trust your instincts. The best thing about Sing It Back and Time Is Now, is that it took us to festivals all over the world, to play in front of thousands and thousands and people. That was the best thing that came out of it. I also got to perform it on Top of the Pops just as I'd imagined it after I put the CD on in Sheffield months before. Who else was on the show? Sporty Spice was there with the Canadian fella... Bryan Adams! Or was that with The Time Is Now? I forget. I do know a lot of these young popstars were watching me and going 'hm, it is possible to be cool and popular at the same time”.

I was sixteen when Sing It Back was released (15th March, 1999) and recall the playground chatter and the way we took the song, and Moloko, to heart. It was an incredible time and one that opened my eyes to a different form of music!

I was growing up around chart music and the rise-fall of Britpop: Moloko’s candid, colourful and inventive music did something staggering and changed mine and a lot of people’s lives. Whilst the article from i-D pays tribute to a decade-scoring gem; there seems to be the insinuation that Róisín Murphy is the sum of that one song. Maybe there is an irony in The Time Is Now: we are not looking at the work she has produced post-Moloko and where she is in her career to this day. One of my best moments from music journalism was reviewing Murphy’s Take Her Up to Monto. I was writing for The Metropolist (now defunct - not my fault!) and gave it a hearty four-star thumbs-up. My words suggested, however, something akin to a golden five-star review. I tagged Murphy on Twitter and she, with a wink, asked how the rating system worked over there – why was she not getting top marks?! I worried I’d peed her off and should have given it five stars as the album was worthy of it – the actual fact is sites/papers are reluctant to dish out too many five-star reviews as a whole. In any case; I was amazed by the album and how it differed from her Moloko work. Lip Service, Ten Miles High and Romantic Comedy are two of the finest songs Murphy has penned (she co-wrote the album with Eddie Stevens). Critics gave the 2016-released album a load of love and recognised what a sensational effort it was.

Track back to 2015’s Hairless Toys, with Stevens’ co-writing, and you have another brilliant creation. There are eight tracks but (the songs) take longer to unwind and are more explorative. From the sharper and more instant songs of Moloko to a woman now building new foundations and creating a new musical empire. The Guardian assessed Hairless Toys thus:

“…From the glasslike Gone Fishing to its Italo-disco and house mutations and unusual country diversions, it draws from the past but adds a crisp, modern polish; and unlike other revivalists, there’s a depth to Murphy’s vocals, as if she has experienced the freaks and fantasy of Studio 54 firsthand. Hairless Toys is pure, evocative elegance, her performance as flamboyant and fragile as the subculture she celebrates”.

Hairless Toys arrived eight years after the amazing Overpowered. That album employed more songwriters and was more Disco-influenced. The label, EMI, provided a bigger budget and, as such, Overpowered feels like a more expansive, explosive and full work – compared to what was around the mainstream at the time. Murphy is, and always has been, a maximalist who puts every corner of her heart, soul and blood into every ounce she produces. Even on Ruby Blue, her 2005 solo debut; critics were on board and knew Róisín Murphy was entering a new creative phase. This AllMusic review sums up the transition – and why people should not live in the past:

 “As brilliant as Moloko could be -- on both their most eccentric and most conventionally pop moments -- their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut”.

I am reading what Murphy is putting out there and the struggle to get people to listen hard; get a bigger budget and have her endless hard work rewarded. She posted a video that showed, as she said, the challenge to get people engaging with genuine art and intelligent content is draining. She, like many artists, have to move on from the perception of the past and how people see them. The fact many hear the name ‘Róisín Murphy’ and instantly spring to Sing It Back/The Time Is Now shows we are either stubbornly nostalgic or less attentive in today’s market. Back in the 1990s; perhaps there were budgetary constraints and issues – one feels there were more people listening in and the scene, in many ways, has weakened. Murphy has been producing top-quality music for twenty-five years and still has to campaign to get her videos properly funded and people talking about them. With her latest video, Plaything, out there; I wonder how many of the journalists who backed and celebrated her career during the Moloko regency are throwing love and deserved plaudit her way?! The video’s story and imagery are thought-provoking and engaging; the song is classic Murphy: fulsome, nuanced movements and striking vocals; part-youthful and part-mature…the perfect song for a music scene crying out for proper depth and substance!

I hate to throw the word ‘ageism’ about but have we, in a way, become too obsessed by what we perceive as the young and trendy? Look around the music scene and every icon has to tackle that barrier. It is not only Róisín Murphy who has to face being labelled with her former moniker – so many other artists are defined by one song/album. Paul McCartney is always seen as a Beatle. That is not a bad thing but he has produced incredible solo music and did brilliant work with Wings. Look at other female artists like Tracey Thorn (formerly of Everything But the Girl) and Shirley Manson (who gave her support to Murphy following her disbelief and anger). These musicians used to be in one phase of their career, when they were part of that ‘young and cool’ demographic. I wonder, now, whether they are seen as vital and needed as they were years ago. Maybe, then, the question shouldn’t be around a single song/album: maybe artists who have been around for years/decades are being dispensed with and seen as ‘past their prime’. Record labels are less willing to part with cash; magazines and journalists are fickle and move on to the new breed – is there loyalty and trust in artists who have helped shape music and break barriers?!

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I have interviewed so many artists who have been influenced by Róisín Murphy and have got where they are because of her music. The irony is, the source of that inspiration gains less affection and respect than those who are fresh and untested. Look at artists from the 1980s and 1990s – or before then – and see where they are now. To survive and have a fanbase after so many years is a feat in itself given the capricious and busy nature of modern music. So many new Popstars last only a few years, and yet, they are loaded and can do anything with music videos; every critic around features them and radio stations are scrambling over themselves to support them. Although it is not only women who face this ignorance and ageism; I was reading an article about Madonna (published in April) where she provided her experiences – and why, in her fifties, she is not allowed to be confident and sexually bold:

The icon told The Cut in an interview about her MDNA Skin line that she "got so much flak for using sexuality as part of my creativity" and was labelled a "sexual provocateur" in the beginning of her career.

She now thinks that the challenges she endured 20 years ago are now "ludicrous."

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 IN THIS PHOTO: Madonna

"Why should only men be allowed to be adventurous, sexual, curious, and get to have all the fun until the day they leave this earth?" she asks.

"What I am going through now is ageism, with people putting me down or giving me a hard time because I date younger men or do things that are considered to be only the domain of younger women," explains Madonna.

The 59-year-old musician plans to keep fighting against ageism.

"Ten to 20 years from now, it's going to be normal," Madonna says of how she lives her life. "People are going to shut up."

The singer says that "by standing up to men" it's only a matter of time until certain behaviours won't be dubbed "ageist".

I am indebted to those exceptional musicians who changed my life and fostered an insatiable appetite for sound and colour. I have not abandoned them or feel they are less worthy than when they started out. Every artist, who has been around for years, that fights needlessly hard for acclaim gets my sympathy. In the case of Murphy, Madonna; McCartney (whose new album, Egypt Station, is out on 7th September) and their like; why must they have to work so hard to get people invested and stay among the chasing pack?! I wonder whether social media and modern journalism have changed music for the worse?! There is so much being thrown at us these days; perhaps we are consuming music too fast and not looking for anything healthy, healing and beneficial – too busy swallowing the tasty, easy and sweet.

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It is a complicated argument but I feel the stalwarts of music should not be diminished or (be seen as) less relevant because they are not as trendy and ‘commercial’ as they once were. The reason the long-lasting artists remain is that they evolve and make endlessly arresting and impressive music – you’d think they’d have a blank cheque from labels and not have to get so frustrated. I am seeing so many musicians, established and new, who have to be their own bosses and campaign managers. They are doing endless admin and working themselves half to death to even get themselves heard. There is still the obsession for the young Popstars and what is seen as ‘cool’. I grant there are plenty of established artists who get acclaim and pomp – not as much as they should and, when you think about it; do they get as much gleeful and proud press as when they first started?! Music should be less about commercial and profit and more a meritocracy: supporting those who have lasted longer and are producing the best work. I hope the likes of Róisín Murphy are given more credibility and respect. They have earned it and I worry labels and the press are unwilling to move on from the past and back an artist once they move on and grow older. I will leave you with another exert from the i-D article: it shows Murphy talking about the Bring It Back remix and fighting the label:

“…So then I rang the label. This was all me pushing for this, by the way. Just this young bird from Sheffield that people don't necessarily listen to. Anyway, I was like 'we've got the remix, it's going to be a hit'. The record company were like 'no, we've got to do the Todd Terry version because we paid a fortune for it'. I was like 'just because it was free, doesn't mean you should ignore it'. They just wouldn't listen and I had arguments with them where I was literally lying on the ground crying going 'please!'. I was almost pulling the carpet up. They weren't having it and it was a fight that I lost. They put [the Todd Terry remix] out and it entered in the lower reaches of the top 40. So that was a disappointment, because back then you got your best shot in the charts in the first week...”.

To those labels, publishing companies and assorted others who overlook wise decisions and artists who have worked their socks off for years; realise that, if you want them to keep inspiring musicians and adding their (precious) work to the scene then…

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IN THIS IMAGE: The cover of Róisín Murphy's 2007 album, Overpowered

GIVE them the passage and resources they richly deserve!