The “Born to Run” icon, 71, had been riding his motorcycle on the peninsula on Nov. 14 when he “was spotted by fans who asked him to pull over and take some pictures,” according to a source close to Springsteen.
“Bruce stopped, took the pictures, then a fan offered him a shot of liquor, which he took, while sitting on his bike, which was stationary,” the source said.
“Park Police saw what happened and they immediately pulled Springsteen over as he drove away.”
Springsteen was charged with DWI, reckless driving and consuming alcohol in a closed area, a spokesperson for the National Park Service said.
The Asbury Park Press reported Springsteen’s blood-alcohol content was 0.02 — just a quarter of New Jersey’s legal limit — when he was arrested.
The “Powerpuff Girls” live-action series was first announced as being in development back in August. Based on the Cartoon Network series created by Craig McCracken, the new series sees the pint-sized superheroes as disillusioned twentysomethings who resent having lost their childhood to crime fighting. Will they agree to reunite now that the world needs them more than ever?
The project hails from writers and executive producers Heather Regnier and Diablo Cody, with Cody executive producing via Vita Vera Films. Greg Berlanti, Sarah Schechter, and David Madden will executive produce via Berlanti Productions. Erika Kennair will produce. Warner Bros. Television will produce.
For all the beauty she’s uncovered, Williams holds herself accountable, especially in her darkest, most harrowing moments—emotionally and physically. “Good Grief” plays upon far more than her psychological state, digging into the very real, often frightening, physiological effects of grief that we often ignore. There’s no such thing as good grief / Haven’t eaten in three weeks, she sings. Skin and bones when you’re not near me / I’m all skeleton and melody.
In its countless forms, grief can wreak havoc on the body, from an inability to get out of bed to forgetting to eat, and Williams’ awareness of her own cycles has been illuminating. “It’s hard for me to have perspective on my own grief when I’m going through it. I’m so thankful I’ve been home and that I have a family that’s honest,” she says. “My mom calls me out on things with love. It’s the same with my small circle of friends. We’re honest with each other. We tell each other when we notice somebody’s slipping.
“I wouldn’t go as far to say I have an eating disorder. When I’m really sad, I’m not hungry. It’s amazing what depression or various forms of grief can do to a person. You do forget how physical it is. When I’m talking about mental wellness, you have to look for physical signs, too,” she continues. “Your body is usually such a wise instrument. It’s so technical, and it can tell you things and reveal things to you. When I’m disconnected from my physical body, that’s when I’m not connected mentally either.”
This will apparently be the last interview she does for this album cycle, for now.Read More “Hayley Williams Interview With American Songwriter”
Said one figure in country radio who did not want to comment for attribution: “Morgan Wallen appears in virtually every half-hour of music across 4000 stations across America right now. How’d you like to get that message at midnight, that you have to take him out of the music blocks you already set up for Wednesday? If anybody has other songs they’ve been wanting to hear in the morning, they may get to hear them tomorrow.”
DSPs also appeared to be taking action. As of late Tuesday night, Wallen, who has been called the biggest out-of-the-box streaming success in country music history, did not appear anywhere among the dozens of photos or track listings or playlists on the home page of Apple Music Country, where observers said he had been featured earlier in the day. And his songs were no longer anywhere to be seen in Spotify’s list of 50 top Hot Country songs.
Spotify has been granted a patent with technology that aims to use recordings of users’ speech and background noise to determine what kind of music to curate and recommend to them, Music Business Worldwide reports. The company filed for the patent in 2018; it was approved on January 12, 2021.
The patent outlines potential uses of technology that involves the extraction of “intonation, stress, rhythm, and the likes of units of speech” from the user’s voice. The tech could also use speech recognition to identify metadata points such as emotional state, gender, age, accent, and even environment—i.e., whether someone is alone, or with other people—based on audio recording.
I’m good, thanks.
In 2019, we began rolling out the Bandcamp Vinyl Pressing Service to a small group of pilot artists. The service eliminates risk, since your fans’ orders—not you—finance the pressing. It eliminates hassle, since we coordinate production, ship the records to fans, fulfill digital, and handle customer support. It offers complete control, with the design and pricing up to you, and Bandcamp taking no ownership of the record. It maximizes your odds of success since we automatically notify your followers when you launch a campaign and they can easily use their saved credit card and shipping info. And most importantly, it works: Over the course of 50 successful pilot projects, we fine-tuned both the product and our production and fulfillment operations, and shipped 13,000 records to happy fans in 65 countries.
We’re now ready to offer vinyl pressing to the wider Bandcamp community and have just enabled and sent invites to 10,000 of you.
Ticketmaster has agreed to pay $10 million for breaking into a competitors’ network. The company and its parent Live Nation admitted to hiring a former employee from rival ticket seller CrowdSurge, then using his knowledge — including old usernames and passwords — to learn CrowdSurge’s inner workings and “cut [the company] off at the knees.”
“Ticketmaster employees repeatedly — and illegally — accessed a competitor’s computers without authorization using stolen passwords to unlawfully collect business intelligence,” said acting US attorney Seth DuCharme. “Further, Ticketmaster’s employees brazenly held a division-wide ‘summit’ at which the stolen passwords were used to access the victim company’s computers.”
The gas station incident is at the heart of the lawsuit that says Mr. LaBeouf, 34, abused FKA twigs physically, emotionally and mentally many times in a relationship that lasted just short of a year. Her aim in coming forward, she said in an interview, was to explain how even a critically acclaimed artist with money, a home and a strong network of supporters could be caught in such a cycle.
“I’d like to be able to raise awareness on the tactics that abusers use to control you and take away your agency,” FKA twigs, 32, born Tahliah Debrett Barnett, said.
I feel like this album is childhood for me. It’s the music that I grew up with. And I didn’t want to do another record that was really ’80s-inspired synth-pop music. I was done with that. I was over it. And I wanted to move on. And this is what I know best. This is what I’ve only ever known. And now this is the core of me. This is what founded my love for music and from the earliest days. So it’s the easiest kind of music for me to write. And of course, Avril is a massive inspiration. There’s no denying that she was my childhood hero.
David Pierce, writing for Protocol:
One easy knock on music-streaming services is that they’re all the same. Their libraries may differ slightly at the margins, but they all have about the same 60 million or so songs in their catalog. And Mariah Carey’s “All I Want for Christmas is You” sounds pretty much the same anywhere you play it.
Except on YouTube. There you can watch the original version, but also the Carpool Karaoke version, a duet Carey did with Justin Bieber, the scene from “Love Actually” that features the song, and countless live performances, covers and remixes. Want to learn a dance to the song in time for this year’s holidays? Want to learn to play the song on the guitar or piano? Want to hear a smash-cut version of President Trump singing the song? Want to know how that song got to be so irritatingly ubiquitous? That’s all on the first page of the YouTube search results. YouTube has a corpus of unique music content that none of its rivals can touch.
It was the strangest fucking summer. Because I was most on the front lines, it left me kind of shell-shocked. It really started more as a street fight. It was like, “Wait a minute, one of our songs is playing on a bunch of radio stations in the Midwest?” It was a song we hadn’t released yet. So we started tracing it back, and it was like, “Napster, what the fuck?” The environment we were brought up in was if somebody fucked with you, we’d just go after them. And then all of a sudden the lights came on, the whole world was watching.
It left certainly a pretty crazy taste in my mouth, especially because everybody was my friend: “You’re doing such a great job. We support you. What can I do to help you? Call me.” And then, as soon as I was out there and I looked behind, there was not a single person behind me. Obviously, I had the support of the band, but it was really weird.
The Forty Five has a great new oral history all about Decaydance Records. The part about Snakes on a Plane, specifically, brought back quite a few memories:
Midtown had broken up so Gabe was trying to figure out what he was going to do next. He had a song called ‘Bring it’ he was working on that had a cool vibe. Sisky from Academy called and said, ‘There’s a movie called Snakes on a Plane that might be the worst movie of all time. We should try to get our song ‘Black Mamba’ in it’. A friend of mine was the music supervisor on the movie, so I called him and asked if we could get the song in. He said there weren’t going to be songs in the movie, only score, but I convinced him to let us do a soundtrack. We went to Gabe and told him he needed to add some parts to ‘Bring it’ to be about snakes on a plane. He wasn’t super happy with me at the time but he was a team player.
Music instrument retailer Guitar Center, which has been beset by mounting debt for years, says it expects to file for Chapter 11 bankruptcy protection after reaching a debt-reduction deal with its key stakeholders.
Zeynep Tufekci, writing at The Atlantic, first with the good news:
The end may be near for the pestilence that has haunted the world this year. Good news is arriving on almost every front: treatments, vaccines, and our understanding of this coronavirus.
Pfizer and BioNTech have announced a stunning success rate in their early Phase 3 vaccine trials—if it holds up, it will be a game changer. Treatments have gotten better too. A monoclonal antibody drug—similar to what President Donald Trump and former Governor Chris Christie received—just earned emergency-use authorization from the FDA. Dexamethasone—a cheap, generic corticosteroid—cut the death rate by a third for severe COVID-19 cases in a clinical trial.
Doctors and nurses have much more expertise in managing cases, even in using nonmedical interventions like proning, which can improve patients’ breathing capacity simply by positioning them facedown. Health-care workers are also practicing fortified infection-control protocols, including universal masking in medical settings.
Our testing capacity has greatly expanded, and people are getting their results much more quickly. We may soon get cheaper, saliva-based rapid tests that people can administer on their own, itself a potential game changer.
And then with the kicker:
The best way to prepare would have been to enter this phase with as few cases as possible. In exponential processes like epidemics, the baseline matters a great deal. Once the numbers are this large, it’s very easy for them to get much larger, very quickly — and they will. When we start with half a million confirmed cases a week, as we had in mid-October, it’s like a runaway train. Only a few weeks later, we are already at about 1 million cases a week, with no sign of slowing down.
Americans are reporting higher numbers of contacts compared with the spring, probably because of quarantine fatigue and confusing guidance. It’s hard to keep up a restricted life. But what we’re facing now isn’t forever.
It’s time to buckle up and lock ourselves down again, and to do so with fresh vigilance. Remember: We are barely nine or 10 months into this pandemic, and we have not experienced a full-blown fall or winter season. Everything that we may have done somewhat cautiously — and gotten away with — in summer may carry a higher risk now, because the conditions are different and the case baseline is much higher.
For small music venues, the situation is dire. Starved for revenue since March, and with no lifeline from Congress, independent clubs across the country are shuttering by the dozen — devastating fans and artists alike and delivering a brutal blow to the ecosystem that develops tomorrow’s Grammy winners and underground heroes.
One music executive, however, thinks he can save them, through a plan to invest in small clubs and build an indie touring network.