Spring of 2020 was consumed by uncertainty over the pandemic, particularly in the live music industry. Many festivals postponed their dates before the country came to the collective realization that big gatherings would be out of the question for at least a year. Now, as the vaccination rollout has begun, festival organizers are hopeful that large-scale events will be safe in the near future. Governors Ball has set their sights on the fall of 2021, announcing that they plan to go ahead with this year’s festival.
Governors Ball typically takes place in June every year, but in 2021, organizers have decided to push back the date to September. On Wednesday, the festival announced that they have officially booked the weekend of September 24th through 26th in New York City for this year’s event. Governors Ball has yet to release a lineup, but said it will not be the same as what would have been last year’s bill.
Along with sharing the new dates, festival organizers announced they will be keeping the health and safety of staff and festivalgoers their number one priority. “Given that vaccines are rolling out and many experts predict a return to live music events in the Fall, we are hopeful,” they wrote. “We’re booking an amazing lineup and making sure all suggested safety protocols are followed. Rest assured that safety is our first priority and we are working closely with all city and state authorities on everything.”
The ghost of The Karate Kid‘s superior sensei, Mr. Miyagi, loomed large in the newest Cobra Kai season, which is igniting all sorts of feelings for the beloved character and the man who portrayed him, Pat Morita. The legend himself is now getting the deep-dive treatment in a new documentary, More Than Miyagi, and the above trailer is … a lot. From his early childhood battle with debilitating spinal tuberculosis to his struggles with substance abuse, this movie promises to keep the emotions running high with interviews and anecdotes not only from Ralph Macchio, William Zabka, and Martin Kove but also Happy Days co-star Henry Winkler and others who supply memories from Morita’s stand-up comedy days, including another legend you may have heard of, Tommy Chong.
In other words, prepare to laugh, but also: get the tissues ready. Morita’s journey will soon be available for both younger and older generations to take in with this doc, which runs a cool 89 minutes. From the synopsis:
The Oscar-nominated actor best known for his role of “Mr. Miyagi,” left behind a painfully revealing autobiographical record of his much-too-brief time here on Earth, tracing his journey from being bed-bound as a boy to the bright lights and discrimination in Hollywood. Deep inside that sweet, generous, multi-talented performer seethed an army of demons, that even alcohol and drugs couldn’t mask.
Directed by The Karate Kid enthusiast Kevin Derek, More Than Miyagi will be available on iTunes, Amazon, Google Play, and the like on February 5.
A common refrain we’re hearing from politicians and pundits who insist on denying current reality is that leadership right now needs to focus on “lowering the temperature.”
You know, in case a violent mob decides to storm the Capitol or something.
From lawmakers the past couple of days:
“Trying to impeach a President with less than 10 days left in office is the worst way to lower the temperature in our country. If Democrats say they want unity, this isn’t the way to show it.”– Congressman Ted Bud (R-NC)
“I’ve reached out to President-elect Biden today & plan to speak to him about how we must work together to lower the temperature & unite the country to solve America’s challenges.”– House Minority Leader Kevin McCarthy (R-CA)
“I am opposed to yet another impeachment of President Trump by Nancy Pelosi that will further inflame tensions in America. We need to lower the temperature and unify Americans behind issues we can all agree on.”– Congressman James Comer (R-KY)
And watch Fox News’ Brian Kilmeade use the same language:
Brian Kilmeade makes the right’s main argument against impeachment: “This country is ready to explode. You saw what… https://t.co/KEH9XN9m54
I’m not sure where these talking points come from, but there’s clearly a deliberate message that we all just need to calm down and not do anything that might result in incensing a violent mob.
You know, like the one that already stormed the Capitol.
It feels a bit like these folks don’t really comprehend what is happening in their own country and haven’t digested the gravity of what just happened. So that we’re all clear on where we are, let’s take stock real quick:
Insurrectionists stormed the U.S. Capitol last week while both houses of Congress were in session. They broke windows, doors, and furniture and left urine and feces in hallways and offices. They killed a police officer with a fire extinguisher, beat another with flag poles, and put more than a dozen Capitol officers in the hospital. They appeared ready to take lawmakers hostage with flex cuffs and chanted about hanging the vice president. They even constructed a gallows on Capitol grounds—and they did it all in the name of keeping Trump in power.
Trump has spent the two months since the presidential election claiming that the election was rigged, stolen, fraudulent, and/or unconstitutional. He has lobbed and relobbed baseless allegations that have repeatedly been debunked. He has encouraged his supporters to “stop the steal” and “save America” from the “Radical Leftist Democrats.” It’s been lie after lie, and when you mix those lies up with the quacko conspiracy theories pushed by QAnon—which the president has never denounced, only saying that its deranged adherents “love America”—you end up with a mob of people who think and that it’s their patriotic duty to attack the seat of democracy and embarrass the nation on the world stage as they act out their tyrannical government overthrow fever dreams.
The absurdity of the insurrection somewhat masked the seriousness of what we witnessed. But anyone with the slightest understanding of civics should know that a violent storming of the U.S. Capitol is not a sign that things are getting too hot. It’s a sign that we’re already on fire.
Imagine standing in front of a burning building and saying, “We just need to figure out how to lower the temperature.” Um, no. We need to put the fire out. Now. Quickly. By whatever means we have available to us.
The time for “lowering the temperature” was months ago. And the way to lower the temperature was to tell the American people the truth about the election results and to move forward with a peaceful, orderly transition. The reason the temperature got so high in the first place is because opportunistic politicians and right-wing media allowed fringe conspiracy kookiness into the mainstream when they realized how easily and eagerly their voters and viewers embraced it, and because we have a president who fans the flames of prejudice.
Calls for lowering the temperature and uniting the country fall flat when a significant portion of the country believes one candidate literally stole the presidency from the other, and when continued lies, misinformation, and impassioned rhetoric have already ignited the flame of insurrection. At this point, it’s too late to lower the temperature. We have to actually put out the fire now. What does that look like? How about telling the truth and uniting around the fact that the violent storming of the Capitol only happened because a dishonest president of the United States can’t admit defeat. That’s a good start.
What could be more unifying than a unanimous, bipartisan statement of the objective facts? Biden is the rightful winner of the election according to everyone who actually has the authority to determine that’s the case. On top of that, the U.S. does not unite with or negotiate with terrorists. The U.S. does not tolerate coup attempts. The U.S. does not abide by sedition and insurrection. This is why people who serve in our government and military take an oath to support and defend the Constitution of the United States against all enemies, foreign and domestic. Congress was literally in the middle of a constitutional duty when domestic enemies sent them into hiding. The storming of the Capitol was literally an attack on the Constitution.
Just because those who did it see themselves as patriots and not seditionists doesn’t make it true. Just because they believe they are “saving America” doesn’t mean that they actually are. Just because they say they support the Constitution doesn’t mean they know what that means. Just because they carry the flag doesn’t mean they’re actually defending what it stands for.
What we witnessed was a violent mob co-opting the symbols of our nation, mixing them with the language and symbols of white supremacy and those of their dear leader, and attempting to overthrow an entire branch of the federal government. If that’s not the most disgusting attack on democracy that we’ve seen in modern history, I don’t know what is. And they are still threatening more violence to keep Trump in power.
When a house is on fire, you don’t need to lower the temperature. You need to put out the fire, and you need to do it now.
Sufjan Stevens may have released the compelling, synth-heavy album The Ascension back in September, but with his contribution to a new collaborative single, Stevens is going back to his folksy roots. The singer joined CARM, the new band composed of CJ Camerieri, Justin Vernon, and a few of their friends, for the quiet single “Song Of Trouble.”
“Song Of Trouble” arrives just ahead of CARM’s self-titled debut LP and will appear as the album opener. Singing the lyrics he penned for the track, Stevens tenderly details the troublesome thoughts that plague him at night over the song’s iridescent keys.
Speaking about the single in a statement, Camerieri praised Stevens’ contributions: “Sufjan’s use of orchestral instruments helped set the stage for everything I’ve done in my career.”
Artist Nick Weber, who painted the single art upon hearing the song for the first time, said, “When I first listened to ‘Song of Trouble,’ I thought of Psalm 23:4 ‘though I walk through the valley of the shadow of death…’ words I’ve heard in my mind while painting my Night Series,” Weber said. “Night is a time of quietude, where visual elements–trees, cars, etc. are reduced to simple geometric shapes, shadows and light; a time of no distractions, all the world asleep, no one around to protect us from our demons. A realization can be urgent like a siren, even though we might only whisper it softly–that is how CJ’s trumpet accompanies Sufjan’s words; at once both bold and quiet, and somehow coming from within the listener.”
Listen to Stevens and CARM’s “Song Of Trouble” above.
In the beginning, there was “Video Games,” a pastiche of internet loneliness, longing, and fulfillment that all but turned Lana Del Rey into a star on the spot. As good as it was, even her first-ever song came loaded with controversy; after it went viral, Lana was sued for using footage she found on YouTube but never had the rights to. And that wasn’t even the only controversy surrounding her debut track, the song also kicked off what would be a years-long label as an “anti-feminist” star in a climate when gender politics was suddenly everywhere in pop music.
Now, more than six albums in, it’s become crystal clear nobody is running the show but Lana. And the metamorphosis from Lizzy Grant into one of the most vocal, controversial, beleaguered, and beloved songwriters in the pop world has been a bumpy one. Most recently, Lana has made headlines for comments about the artwork for her forthcoming record, Chemtrails Over The Country Club, but let’s face it — she’s always been embroiled in disputes and disagreements with how the media has portrayed her. Here’s a look at some of the incidents she’s dealt with over the course of the last decade, leading up to this week’s political squabbles and magazine clapbacks.
January 2012: Her hit single “Video Games” faces criticism for being “anti-feminist”
“People talk about me being an anti-feminist because of that song,” Lana told the BBC at the time, in the same piece where she discussed getting sued over illegally using footage in the video. “They think it’s coming from a place of submissiveness. But in reality it was more about coming together and doing your own things happily in the same living space.”
Maybe a stronger argument would’ve been pointing out that she used the emotions in that song to kick off her career, taking back power in a different way.
January 2012: Her SNL performance is widely mocked and dismissed
“I actually felt good about it,” Lana told Rolling Stone the week after the show. “I thought I looked beautiful and sang fine. It felt OK. The cast and crew said they loved it. I know some people didn’t like it, but that’s just the way I perform, and my fans know that. There’s backlash about everything I do. It’s nothing new. When I walk outside, people have something to say about it. It wouldn’t have mattered if I was absolutely excellent. People don’t have anything nice to say about this project. I’m sure that’s why you’re writing about it.” Re-watching the performance now, it doesn’t feel particularly out of step with Lana’s current live performances. She just wasn’t ever going to be a polished, choreographed pop star that was so en vogue at the time.
March 2012: The artwork for her follow up single “Blue Jeans” features a man’s hand on her neck
Accused of glamorizing abuse by using this image — a charge that definitely stuck with the singer along the way — the cover for her second single was ambiguous enough to evoke a chokehold, someone checking a body for a pulse, or even a caress. But the backlash felt boring to some, and it’s hard to categorize this image as violent. Still, she was flirting with the line from the beginning.
October 2012: Del Rey faces allegations of appropriation for wearing a Native American headdress in her “Ride” video
Over the last few decades, standards for cultural appropriation have changed a lot, even if people should’ve known better all along. It’s hard to imagine any pop star without Native American background wearing a full-on traditional headdress in today’s climate. Lana did defend herself at the time though, calling it an “ode to the spirit of dance and freedom” that she experienced when working on Indian reservations. Hmmm, that’s a no from me.
December 2013: Her “Tropico” short film faces similar appropriation charges for using Latino and “chola” culture
“Sorry, Lana, but culture can’t be tried on like a sweater at a J.Crew sample sale,” one critic wrote at the time. That’s pretty much all that needs to be said. This film was cringe-worthy then, and it’s even more so eight years later.
June 2014: Title track of her new album Ultraviolence includes the lyric “he hit me and it felt like a kiss”
Obviously referencing the 1962 The Crystals song “He Hit Me (And It Felt Like A Kiss) — written by Gerry Goffin and Carole King, by the way — several critics wondered if these lyrics glorified domestic abuse.
June 2014: Lana tells The Fader magazine she doesn’t think feminism is “an interesting concept”
Dropped the same day as the title track off Ultraviolence, Lana told The Fader she that wasn’t interested in feminism as a concept. “For me, the issue of feminism is just not an interesting concept,” she said. “I’m more interested in… SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism… I’m just not really that interested. For me, a true feminist is someone who is a woman who does exactly what she wants. If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.” This rather infamously became a flashpoint for Lana, that she had to repeatedly address, including in an interview with James Franco for V Magazine a year later.
September 2018: Lana calls out Kanye West for supporting President Trump
Instagram
After the legendary Kanye West decided to throw his support behind Donald Trump, his fans were devastated. One of them? Lana Del Rey. She sang at Kanye’s wedding to Kim Kardashian, but that didn’t stop her from condemning his political choice in an Instagram comment as “a loss for the culture.”
October 2018: Azealia Banks and Lana get into a flame war on Twitter over the Kanye comments
@shopcheapyxo u know the addy. Pull up anytime. Say it to my face. But if I were you- I wouldn’t.
Tweeting from a burner account, created because her primary account was suspended over similarly heated exchanges, rapper Azealia Banks pointed out the power dynamics of a white woman like Lana publicly criticizing a Black man like Kanye. While Banks’ comments might have had some truth to them, Lana’s tough, immediate response, and the collective disappointment in Kanye, gave her the upper hand. Banks’ tweets have been deleted but Lana’s aggressive replies remain:
December 2019: Lana angrily tweets at NPR critic Ann Powers for her essay on Norman Fucking Rockwell
Here’s a little sidenote on your piece – I don’t even relate to one observation you made about the music. There’s nothing uncooked about me. To write about me is nothing like it is to be with me. Never had a persona. Never needed one. Never will.
So don’t call yourself a fan like you did in the article and don’t count your editor one either – I may never never have made bold political or cultural statements before- because my gift is the warmth I live my life with and the self reflection I share generously.
In 2019, after her album Norman Fucking Rockwell was almost unanimously declared the best one of the year, Lana got into a dustup with critic Ann Powers over an essay that analyzed both the album and Lana’s whole career. It came off strange because of power dynamics — Lana’s fans went after Powers in the way that internet mobs do — and because Ann is a beloved, respected critic who took the time to engage with Lana’s work, a sign of respect on any level. After all the bad, lazy press Del Rey’s work has gotten in the past, this essay was actually grappling with her contradictions — something she prides herself on — in an intelligent way. Also, NFR was universally acclaimed! It was a strange one.
Here’s a little sidenote on your piece – I don’t even relate to one observation you made about the music. There’s nothing uncooked about me. To write about me is nothing like it is to be with me. Never had a persona. Never needed one. Never will.
May 2020: In a now-infamous “question for the culture,” Lana asks if her “glamorizing abuse” is acceptable now due to the success of sexualized songs by other female artists, primarily women of color
It was a couple months into a global pandemic, just before an uprising to address the baked-in racism against Black people in American culture, and overall just a strange comparison. All of the women Lana compares herself to, like Beyonce, Nicki Minaj, Cardi B, and Doja Cat, sing about their own empowerment and kicking undeserving men to the curb — the opposite of Del Rey’s perspective. Perhaps her point was that female behavior in relationships can exist on a spectrum, but when one end of the spectrum is resonating so deeply, why would that lend support to the other end? She says in a follow-up that was her point, but the damage had already been done, and lots of people consider this faux pas to be one of her worst.
June 2020: Lana posted a video of herself at protest over the death of George Floyd, inadvertently exposing looters in her clip
In now-deleted posts, Lana tried to signal support for the protest by showing she was there too, but ultimately was called out by Kehlani and Tinashe on Twitter for her video since it clearly showed looters. The women who criticized her were worried that those captured in Lana’s clip would be exposed for their behavior.
October 2020: At a signing for her new poetry book, Violet Bent Over Backwards Lana wore a mesh mask that fans worried doesn’t adequately protect against COVID-19
January 2021 artwork for Chemtrails Over The Country Club
In early 2021, one of the only pop records on the docket so far is Lana’s next one, Chemtrails Over The Country Club. But her post about the artwork came off as tone-deaf to many, who read her invoking of the “I have Black friends” trope as tired and self-serving. Coming on the heels of a racist mob attacking the Capitol, it was also another example of poor timing.
January 2021: Lana slams Complex for focusing on her comment that Trump didn’t mean to incite the mob that attacked the capitol
OK complex not that our 10 year relationship matters I guess Thanks for the cool soundbite taken out of context, I said that the bigger problem is Sociopathy-so whether he meant to incite a riot is less important than the larger issue in America at hand -the problem of sociopathy
It’s fucked up. You know I’m real. You know I voted for Biden. I’m super steady in everything I’ve ever said. You probably listened to my entire interview. So whoever wrote this is a genuine piece of shit. I am the one helping bringing the problem with narcissism to light. Gfys
I also want to say that I don’t appreciate complex magazine inferring that I thought it was right to storm the capital. After my long term relationship with them and exclusive interviews over the last 11 years I think it’s pathetic if Rolling Stone chimes in-same goes for them
In a series of tweets, Del Rey took issue with Complex for what she felt was a willful misreading her a nearly hour-long interview with the BBC that focused mostly on politics. Surely, this won’t be the last time she gets embroiled in political drama this year, but maybe things will cool down until her album release in March.
However, if there is a theme here, it’s a frequent lack of self-reflection and ability to understand where it’s coming from. Perhaps Lana can take some time to consider the perspective of other people — who are fans that engage with her work, and hope she’s the best person she can be — before the next controversy unfolds.
It turns out Ty Dolla Sign is a Nirvana superfan. Not only did the LA-bred singer once recreate the 2001 Spin magazine cover featuring Kurt Cobain for the magazine, but he also has a portrait of the rock icon tattooed on his leg.
So it should come as no surprise that for the 30th anniversary of Nirvana’s inarguable signature song, “Smells Like Teen Spirit,” Ty would perform a rousing cover of the song to pay homage to it. During what looks like a rehearsal session with his band, the musicians launch into the instantly recognizable riffs, as Ty plays a ripping guitar solo, dreads swinging and fingers flying over his instrument’s strings.
Dolla Sign had a busy 2020 that saw him holding his position as the go-to feature man for hip-hop and R&B’s biggest acts, including Post Malone, with whom he collaborated on “Spicy,” SZA, who made her return to the spotlight after an extended absence, and more. Ty released his own album in the fall, riffing on his well-founded reputation with Featuring Ty Dolla Sign. The warm reception of the album included performances for Jimmy Kimmel and NPR Tiny Desk Concerts.
Watch Ty Dolla Sign cover “Smells Like Teen Spirit” above.
Ty Dolla Sign is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
On her new album No Place, Danielle Durack delivers ten tracks documenting significant heartbreak, relayed through vivid descriptions and intimate journal entries. The record takes inspiration from a versatile range of influences and sonic pallets, embodying everything from classic songwriters like Joni Mitchell and The Beatles to modern indie icons like Hop Along and Boygenius.
Ahead of the record’s release later this week, we’re happy to give an exclusive look at the new video for “There Goes My Heart,” another track from No Place, which was directed by Kristene Morgan. “When I wrote this song, I was at a point where every day felt like a mountain to climb,” Durack said in an email. “Little things like getting out of bed, making food, social interactions, and other very ordinary things were laborious activities. I wanted to visually encapsulate that feeling of a broken heart and what it looks like in an everyday context, and I’m so stoked I got to collaborate with Kristine on it.”
Morgan added: “What I love about this song and the video we created is that the journey can be through the mundane and the resolution can be a little messy. It was so rewarding to work with Danielle on this video because it allowed for really truthful moments to take the center stage.”
To celebrate the new song, Durack sat down to talk Aaron Carter, listening to “Life Is A Highway” in the van, and Mean Girls in the latest Indie Mixtape 20 Q&A.
What are four words you would use to describe your music?
Jesus, who hurt you?
It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?
Honestly what a dream to be remembered at all. As long as my music doesn’t become a meme, I’m thrilled.
What’s your favorite city in the world to perform?
Probably Seattle! Lots of devout music fans and I’ve got a lot of friends up there who are always super supportive/receptive. It always feels a little bit like coming home.
Who’s the person who has most inspired your work, and why?
My childhood babysitter, Austin, was the first person I sang my songs to. She was the only person in my childhood who really fed my dreams so I have her to thank for where I’m at today. I think I would have given up pretty early if it wasn’t for her.
Where did you eat the best meal of your life?
It was a breakfast spot in San Diego called The Mission. I had some kind of green chili eggs situation, it was life-changing. I ascended.
What album do you know every word to?
Honestly, there’s not a lot of brain left that isn’t entirely taken up by lyrics. The latest probably being Haim’s Women in Music Pt. III. Sara Bareilles’ Little Voice was a staple from high school. Aaron Carter’s Aaron’s Party (Come Get It) was burnt into my young developing mind. The list is very long.
What was the best concert you’ve ever attended?
That’s so hard! I saw S. Carey play at Crescent Ballroom back in 2014 and that was one of the coolest experiences. He had 3 drummers on the stage and somehow everything sounded so tight and precise. I was mesmerized the entire time. That was absolutely the best show I’ve seen in terms of musicianship, but I also had a really great time seeing Say Anything at The Marquee. They brought a beer bong out on stage. Very different experiences. Hard to choose.
What is the best outfit for performing and why?
I’m definitely more of, like, an Ed Sheeran than a Lady Gaga. I’ve learned that nice pants and a T-shirt are the way to go for me. Sometimes I’ll go crazy and wear a dress/heels but it always backfires. I’m already pretty uncomfortable on stage baring my soul and whatnot so the less I have to be self-conscious of while I’m up there, the better.
Who’s your favorite person to follow on Twitter and/or Instagram?
@sydneysprague and her meme account @_bouncylincolnseldestdaughter_ ! I also adore astrology meme accounts.
What’s your most frequently played song in the van on tour?
“Life Is A Highway.” Always feels right. Hits every time.
What’s the last thing you Googled?
“Masterclass” because I saw St. Vincent did one on songwriting and wanted to check it out!
What album makes for the perfect gift?
This is a bit of a cop-out, but my favorite records I’ve ever received as gifts were bands I had never heard of. It’s a really special way to be put on to something new. To name a few, I’ve received a St. Vincent record, a Wild Pink record, and this year I got 1 Of by Ben Seretan. All 10/10.
Where’s the weirdest place you’ve ever crashed while on tour?
On my first tour I slept on a sailboat in Southern California.
What’s the story behind your first or favorite tattoo?
I got my first tattoo when I was 19 — it reads “Stay Foolish” placed kinda wonky on my left bicep. It was originally on a NASA poster, but I heard the phrase for the first time when reading a commencement speech by Steve Jobs. It basically holds the sentiment that you have to be a little crazy to dream big, and that’s okay. It’s a reminder to myself for the rest of my life not to get jaded or grow out of that mindset.
What artists keep you from flipping the channel on the radio?
Not going to lie, I indulge in a looot of pop music. The list of artists who make me turn off the radio is far shorter than the list that keeps me listening. That being said, there is a special place in my heart for Bieber.
What’s the nicest thing anyone has ever done for you?
I guess I’m lucky to say this is a really hard question. Maybe my mom? When she willingly destroyed her body and sacrificed her financial and general freedom to raise my silly ass?
What’s one piece of advice you’d go back in time to give to your 18-year-old self?
Your attitude doesn’t serve you and you’re missing out on a lot of life as a result. Try to be more open.
What’s the last show you went to?
Andy Shauf at Crescent Ballroom
What movie can you not resist watching when it’s on TV?
Mean Girls.
What would you cook if Obama were coming to your house for dinner?
I am basically incompetent in the kitchen I would probably make box mac n cheese and hope he finds it charming/nostalgic.
With the first wave of live music cancelations in the spring of 2020, it was clear: The music industry was about to undergo a massive shift. With every announcement, it was like another domino fell in the chain reaction that led to the shut down of live entertainment and the recording industry as we all knew it. The ramifications of the past year likely won’t be fully known for years to come, but we’ve seen some of them already: Billions of dollars have been lost, hundreds of venues have been or will be permanently shuttered (although help is on the way), and thousands of artists were forced to figure out how to survive in a world where their primary source of income had suddenly been cut off.
That crisis naturally extended to the most popular genre, which seemed both uniquely vulnerable to its effects, as well as solely suited to weathering the brunt of it. Some of this was due to hip-hop’s natural versatility since it’s the genre that’s undergone some of the biggest changes over the course of its 50-year history. It’s also been at the forefront of innovation within the music industry; remember ringtones? Hip-hop had already adapted so well to the digital age that recalibrating its focus online was like second nature for artists — artists who can credit the advent of social media and streaming with their success in trimming the sails to get through the storm.
While nobody made quite as much money as they would have had festivals still gone on, and the future outlook for the genre remains hazy, here are some of the ways rappers survived the first year of a global pandemic — and what might happen next as the world struggles to curtail the spread of a deadly disease in the midst of social upheaval.
Streaming
One area where hip-hop outperformed the rest of the industry — to a borderline surprising degree, in fact — was streaming. This one innovation was a game-changer for the entire industry, which could very well have completely collapsed twenty years ago. However, thanks to services like Apple Music, Spotify, and Tidal, as well as YouTube, where more and more people are listening to music these days, fans were still able to listen to their faves’ newest releases without risking infection at a record store, which also helped cut out (some) middlemen in the revenue stream.
Indie rappers weren’t completely out of luck, however. Services like Audiomack and Bandcamp took pains to ensure that the direct-to-consumer market for music remained that way, with Bandcamp hosting multiple artist appreciation events and allowing them to sell merch and music to fans without taking its customary cut. Meanwhile, even for those who couldn’t monetize streaming to offset their losses, streaming did open up nearly every other avenue for their continued ability to make money in the pandemic.
Deluxe Albums
With touring out of the question, the question had to change. Normally, concerts extend the life of an album while also generating most of the revenue behind the album. Confronted with the conundrum of how best to kickstart album cycles, hip-hop artists were given the answer by Lil Uzi Vert, who put a fresh twist on an old tactic. Deluxe albums are nothing new, but until last year, they were spaced out from the original release enough to take advantage of lulls in the artists’ work cycle. For instance, Shelly (FKA DRAM) re-released his Big Baby DRAM album a year later, while Nicki Minaj and Bryson Tiller opted for splashy anniversary editions of their debuts last year.
However, when Uzi followed up his long-awaited Eternal Atake with an entire album that functioned as both the deluxe version of EA and the follow-up to his fan-favorite LUV Vs. The World mixtape, it wasn’t long before seemingly every rapper was following suit. These deluxe versions were super-sized, often eclipsing the original releases in running length and ballooning tracklists to nearly 40 songs — as in the case of Eminem’s Music To Be Murdered By – Side B. These deluxe versions also arrived within months, sometimes weeks, and in some cases, days of the original iterations of artists’ albums, juicing their streaming stats and launching them back up the Billboard 200 chart. As a play on the oft-lamented album-length strategy that played itself out in 2018, it allowed artists to have their cake and eat it too: Fans who preferred a trim tracklist could stick to the originals, but they also didn’t have to wait for a full promotional cycle for a follow-up.
TikTok
And while newer artists couldn’t quite rely on this tactic as they tried to build their captive fan bases amid the noise of lockdown, competing with Netflix, Hulu, Disney Plus, and that dreaded distance learning, they did get a new tool that could be an artist’s best friend — provided they spoke the language of the largely teen audience of TikTok. Once considered a novelty and only part of the reason Lil Nas X’s take on country music took over pop culture in 2019, TikTok was instrumental to the success of both established artists and newcomers alike, thanks to fan-sparked “challenges” that saw folks with a lot of time on their hands play social distancing street teams for their favorite singles.
Doja Cat and Megan Thee Stallion both owe their early-year No. 1 hit records to TikTok, at least in part, thanks to the “Say So” and “Savage” dance challenges. Detroit newcomer Curtis Roach cooked up the unofficial theme song of the quarantine with “Bored In The House,” while Tobi Lou’s 2018 song “Buff Baby” helped spark interest in the burgeoning Chicago star whose upcoming album Parrish Blue landed on Uproxx’s Most Anticipated Albums of 2021 list due to the chatter generated by his TikTok breakout. Artists like Philly’s Popp Hunna have updated the titles of their songs to take advantage of their popularity on the app and it appears the prevalence of challenges will continue into the new year; already, Dallas rapper Erica Banks’ single “Buss It” is trending thanks to a quick-change, knee-testing twerk challenge.
Sync, Livestreams, OnlyFans, and Podcasts
That buzz could translate, as it has for so many other artists in the past year, into lucrative sync licensing placements, like the ones Blimes and Gab told me are helping to keep them afloat or like the ESPN look that helped Rexx Life Raj cop a Tesla in a pandemic and write a song about it. Furthermore, with performances shifting to pre-taped, self-shot appearances, the possibilities have opened up for artists who would otherwise be unable to travel to appear on NPR Tiny Desk or late-night talk shows. Sister duo Chloe X Halle carved out a reputation for their elaborate and scintillating performances, all conjured in the comfort of their backyard. They’re now household names thanks to a steady stream of trending topic-inciting recitals, and they’re far from the only ones. There are also still those artists willing to flout safety regulations in states that have yet to adopt common-sense measures to contain the virus.
Other artists have branched out their content creation game to hosting podcasts and Apple Music radio shows, weekly live streams, and more. I’d be remiss not to mention the reigning queen of social content, Saweetie, who concocted a bevy of YouTube shows and content, from her documentary series The Icy Life to her borderline excessively curated Halloween costumes. Artists who hosted podcasts used their massive and deep contact lists to ensure that they got the highest-profile guests and their relationships kept the conversations lively and insightful. And of course, there’s streaming and OnlyFans, which keeps the checks coming in, even without the X-rated content the site is known for.
The question going into 2021 is: How sustainable is all this? Fans eventually get hip to algorithm-gaming tricks and unless they’re a superfan of an artist, tend to overlook or get bored with alternative content, especially with the glut of choices for in-home entertainment at the moment. More and more artists are participating in virtual concerts and festivals — ASAP Mob is reviving its Yams Day festival as a livestream this week, and others are sure to follow suit. Maybe this will become the new normal, with hundreds of streaming concerts cropping up and a new weekly challenge on TikTok becoming the closest thing we have to a communal experience. Maybe artists and their fans will have to get used to their only contact being in a chat room instead of a mosh pit.
Or maybe people will start wearing their damn masks and we can begin to get back to some semblance of normal. Dr. Anthony Fauci, the director of the National Institute of Allergy and Infectious Diseases and the head advisor of the United States’ coronavirus response, suggests that if we meet a certain threshold of people receiving vaccinations and continue to practice common-sense safety precautions, some venues could begin hosting concerts again this fall. So, get your shots, cross your fingers (after washing your hands, of course), and keep social distancing — we just might make it after all.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
On Tuesday night, word dropped that the NBA had to make its latest game postponement due to COVID-19 protocols. The game between the Washington Wizards and the Utah Jazz scheduled to occur on Wednesday got postponed due to positive tests that popped up on the Wizards’ roster, although it is unclear who tested positive or how widespread this is among the team.
We now know that the ramifications from that game are spilling over into others, as another game on Wednesday night has gotten moved. Adrian Wojnarowski of ESPN reported that the NBA opted to move the Phoenix Suns’ tilt against the Atlanta Hawks due to contact tracing related to the game Phoenix played against Washington on Monday.
Atlanta vs. Phoenix tonight has been postponed, sources tell ESPN.
Contact tracing with Phoenix players is a factor because Suns played the Wizards on Monday, per sources. Wizards have positive tests on roster. https://t.co/C8DUWVOQxs
The league confirmed this shortly after Wojnarowski’s report, saying the following in a release: “Because of ongoing contact tracing within the Suns, the team does not have the league-required eight available players to proceed with tonight’s game against the Hawks.” It is unclear when this game will be rescheduled or if the Suns will be able to play next — the team has home tilts against the Golden State Warriors and Indiana Pacers on Friday and Saturday, respectively, before embarking on a road trip to Memphis and Houston next week.
Up to this point, Amazon has been dropping details about its mega-budget Lord of the Rings series as slowly as a tree walking across Middle-earth. We know it will film in New Zealand, not star the Bandersnatch guy, take place thousands of years before the events of The Fellowship of the Ring, and… that’s about it. But as reported by TheOneRing.Net, the streaming service has finally released some concrete details about the show.
Here’s the official plot description:
Amazon Studios’ forthcoming series brings to screens for the very first time the heroic legends of the fabled Second Age of Middle-earth’s history. This epic drama is set thousands of years before the events of J.R.R. Tolkien’s The Hobbit and The Lord of the Rings, and will take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien’s pen threatened to cover all the world in darkness. Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth. From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone.
The Second Age lasted for 3,441 years (Peter Jackson’s trilogy takes place during the Third Age) and notable events include the founding of Gondor, where much of the movies take place, and Sauron (the “greatest villain” teased above) forging the One Ring. The Misty Mountains should be familiar to those who have seen films, but Númenor has yet to be depicted on screen. A day may come when Amazon reveals when we’ll get to see the “breathtaking island kingdom,” but it is not this day.
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