Nick Corasaniti, writing at The New York Times:
Since it opened in 1974, the club, the Stone Pony, has been the beating heart of Asbury Park, a beacon for musicians and fans alike. But its survival, much like that of its host city, has been a constant battle, a story of resilience and revival, of sold-out shows and shuttered windows.
Here is the renowned club’s history, as told by the owners, musicians, staff and fans who have called its dark black interior and low-slung stage home.
While posting the previous article, I noticed that Frank Turner also talked with October. The beer stuff is cool, but this section stood out to me:
What I feel that the record is chiefly about is that we’ve collectively forgot how to conduct our disagreements in a civil fashion. The whole point of the game of politics is to try to find a way that we can conduct our disagreements in a civil fashion.
I think that’s one of the main reasons I haven’t been able to connect with Frank’s recent album. The disagreements are over putting kids in cages, women’s rights, trans-rights, unchecked police killing, massive corruption and handouts to the richest people and corporations, a grotesque sexual predator man-baby in the White House, and countless other atrocities that occur on a daily basis. I’m angry about it and I don’t find any value in “civil disagreements” with those that want to deny people their human rights.
With the release of the new Venom film, our comic book thread regulars have helped put together a group of comics to check out to get to know the character even more.
Jessica Hopper, writing at Elle:
In the past few years, the number of female artists on country radio has been steadily declining. According to trade publication Country Aircheck, in 2016 female artists made up 13 percent of radio play; by 2017, that figure was down to a meager 10.4 percent. The country radio programmer quota–cum–excuse that fuels this inequity is that “one woman an hour” is plenty. In response, labels have grown reluctant to sign female talent, knowing that radio won’t support them. Festival and tour promoters excuse the dearth of female country acts on lineups by pointing fingers at radio and labels, insisting that there are not enough bankable female artists to draw from—just superstar headliners like Miranda Lambert and Carrie Underwood.
Douglas Greenwood, writing for NME:
But there was one interaction that stayed with her to this day. “I remember having this wristband from the pit [at one of the shows], and Brendon Urie being on the edge of the stage and acknowledging me,” she reminisces, re-enacting her mini freak-out. “So I wore that wristband every day. I even covered it with plastic when I showered so it wouldn’t fall off!” An altercation with one of her bullies at school, though, led to the wristband breaking. “I was devastated,” she recalls. “I couldn’t understand how somebody could be so mean.”
As Halsey’s fame grew, she crossed paths with Brendon again. Now he’s a friend, and knows about the school drama that broke her heart back then. “I went back to my dressing room after [a show of mine he came to recently],” she tells me, “and there was a bouquet of flowers and two plastic Panic! At the Disco VIP wristbands, with a little note that said: ‘This is to replace the one you lost.’”
Lady Gaga and Tedros Adhanom, writing for The Guardian:
Suicide is the most extreme and visible symptom of the larger mental health emergency we are so far failing to adequately address. Stigma, fear and lack of understanding compound the suffering of those affected and prevent the bold action that is so desperately needed and so long overdue.
Jackson Sinnenberg, writing at Medium:
When we were doing the designs for merch I was like “I don’t care what I like. What do we think the people who come to our shows will like?” That’s what it should be! It’s not about me. I’m happy to be there, I’m not going to be phoning it in! I’m happy about giving it to them. I don’t look at it like it’s a bad thing. I’m happy there are people there to take it. Like if you asked Ian [MacKaye] the same way how he felt about Fugazi; “Whose band is Fugazi right now?” I bet Ian would say “Not mine, Not Guy’s. It’s their band.” It is! It’s their band! They’re maintaining the house, they’re trimming the garden because their memories do it. It’s become part of their lives now. So, it’s hands off for me.
You can check if you’re registered here. If you’re not. Register. Deadlines are coming up and the mid-term elections in November are extremely important.
Bryan Menegus, writing for Gizmodo:
Amazon, the country’s second-largest employer, has so far remained immune to any attempts by U.S. workers to form a union. With rumblings of employee organization at Whole Foods—which Amazon bought for $13.7 billion last year—a 45-minute union-busting training video produced by the company was sent to Team Leaders of the grocery chain last week, according to sources with knowledge of the store’s activities. Recordings of that video, obtained by Gizmodo, provide valuable insight into the company’s thinking and tactics.
Parmy Olson, writing at Forbes:
It’s also a story any idealistic entrepreneur can identify with: What happens when you build something incredible and then sell it to someone with far different plans for your baby? “At the end of the day, I sold my company,” Acton says. “I sold my users’ privacy to a larger benefit. I made a choice and a compromise. And I live with that every day.”
Jenn Pelly, writing at Pitchfork:
Since late 2017, both the band and the alleged victim have focused on coming to a private resolution via a trusted mediator. Until that resolution was reached, Hall said, “there was really no way for us to offer any clarification” to their fans. It was the alleged victim’s request that Pinegrove take a year off from touring and that Hall enter therapy. “We wanted to honor that,” Hall said. “She recognized that we’ve honored it, and has since approved our plan to release an album and play some shows later on this year.” (Their mediator confirmed this.)
Dan Stubbs, writing for NME:
A Cole Porter-like jazz song sounds like a standard and has the killer lyric “I fight crime online sometimes”; a new wave pop song is outwardly about love but is not so subtly an ode to heroin (“I’ve got a 20-stone monkey on my back”), there’s a fragile, beautiful ballad about guilt, one song employs the kind of plastic piano sound last heard on Glenn Medeiros’s ‘Nothing’s Gonna Change My Love For You’; a ‘90s-style alt-rock track, ‘I Always Wanna Die Sometimes’, is a stirringly moving song about depression; a spoken word piece, voiced by Siri, skewers our relationship with the internet in a modern parable. And even in this jumbled up state, it sounds like a masterpiece, a game-changer, a bar-raiser. An absolute stone cold legend masterpiece. It sounds like they’ve done what Matty said all that time ago: they’ve made ‘OK Computer’ for a new generation of kids – ’Snowflake Computer’, if you will.
The RIAA have released their mid-year revenue report for the music industry. Patricia Hernandez, writing at The Verge, has a good rundown:
Turns out, streaming makes more money than physical CDs, digital downloads, and licensing deals combined.
Streaming in this context includes paid subscriptions to services such as Spotify and Tidal, but also digital radio broadcasts and video streaming services such as VEVO. It’s a broad category that nonetheless has made $3.4 billion dollars in 2018 so far, a total that amounts to 75 percent of overall revenue for the record industry.
Dan Rys, writing at Billboard:
Beginning today (Sept. 20), Spotify will begin allowing a select group of independent artists the ability to upload their music directly onto the streaming platform through their Spotify For Artists account, the company announced. […] For those artists who control their copyrights and do not have label or distribution agreements in place, they can log into their Spotify For Artists account, upload their music, fill in relevant metadata information, preview how the upload will look on their page and set the song to go live at a pre-scheduled time
The Washington Post:
Nearly half of all cellphone calls next year will come from scammers, according to First Orion, a company that provides phone carriers and their customers caller ID and call blocking technology.
The Arkansas-based firm projects an explosion of incoming spam calls, marking a leap from 3.7 percent of total calls in 2017 to more than 29 percent this year, to a projected 45 percent by early 2019.
My tried and true method of just never answering the phone will finally pay off.