#capital radio music awards

[littlequeenies]

March 22, 1978 - Denny and Jo Jo Laine, Paul McCartney, Elton John and Linda McCartney at the Capital Radio Music Awards in Grosvenor House, London.

Elton John won Best Singer and Best Concert of 1977, and Laine's & the McCartneys' band Wings won the award for Best Single for their song 'Mull of Kintyre'.

(Photo by Keystone/Hulton Archive/Getty Images)

[kylieforeverandever]

Kylie Minogue attending the Capital FM Radio Music Awards 2002 At The Royal Lancaster Hotel In London.

[mostlysignssomeportents]

Neither the devil you know nor the devil you don’t

TONIGHT (June 21) I'm doing an ONLINE READING for the LOCUS AWARDS at 16hPT. On SATURDAY (June 22) I'll be in OAKLAND, CA for a panel (13hPT) and a keynote (18hPT) at the LOCUS AWARDS.

Spotify's relationship to artists can be kind of confusing. On the one hand, they pay a laughably low per-stream rate, as in homeopathic residues of a penny. On the other hand, the Big Three labels get a fortune from Spotify. And on the other other hand, it makes sense that rate for a stream heard by one person should be less than the rate for a song broadcast to thousands or millions of listeners.

But the whole thing makes sense once you understand the corporate history of Spotify. There's a whole chapter about this in Rebecca Giblin's and my 2022 book, Chokepoint Capitalism; we even made the audio for it a "Spotify exclusive" (it's the only part of the audiobook you can hear on Spotify, natch):

https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing

Unlike online music predecessors like Napster, Spotify sought licenses from the labels for the music it made available. This gave those labels a lot of power over Spotify, but not all the labels, just three of them. Universal, Warner and Sony, the Big Three, control more than 70% of all music recordings, and more than 60% of all music compositions. These three companies are remarkably inbred. Their execs routine hop from one to the other, and they regularly cross-license samples and other rights to each other.

The Big Three told Spotify that the price of licensing their catalogs would be high. First of all, Spotify had to give significant ownership stakes to all three labels. This put the labels in an unresolvable conflict of interest: as owners of Spotify, it was in their interests for licensing payments for music to be as low as possible. But as labels representing creative workers – musicians – it was in their interests for these payments to be as high as possible.

As it turns out, it wasn't hard to resolve that conflict after all. You see, the money the Big Three got in the form of dividends, stock sales, etc was theirs to spend as they saw fit. They could share some, all, or none of it with musicians. Big the Big Three's contracts with musicians gave those workers a guaranteed share of Spotify's licensing payments.

Accordingly, the Big Three demanded those rock-bottom per-stream rates that Spotify is notorious for. Yeah, it's true that a streaming per-listener payment should be lower than a radio per-play payment (which reaches thousands or millions of listeners), but even accounting for that, the math doesn't add up. Multiply the per-listener stream rate by the number of listeners for, say, a typical satellite radio cast, and Spotify is clearly getting a massive discount relative to other services that didn't make the Big Three into co-owners when they were kicking off.

But there's still something awry: the Big Three take in gigantic fortunes from Spotify in licensing payments. How can the per-stream rate be so low but the licensing payments be so large? And why are artists seeing so little?

Again, it's not hard to understand once you see the structure of Spotify's deal with the Big Three. The Big Three are each guaranteed a monthly minimum payment, irrespective of the number of Spotify streams from their catalog that month. So Sony might be guaranteed, say, $30m a month from Spotify, but the ultra-low per-stream rate Sony insisted on means that all the Sony streams in a typical month add up to $10m. That means that Sony still gets $30m from Spotify, but only $10m is "attributable" to a specific recording artist who can make a claim on it. The rest of the money is Sony's to play with: they can spread it around all their artists, some of their artists, or none of their artists. They can spend it on "artist development" (which might mean sending top execs on luxury junkets to big music festivals). It's theirs. The lower the per-stream rate is, the more of that minimum monthly payment is unattributable, meaning that Sony can line its pockets with it.

But these monthly minimums are just part of the goodies that the Big Three negotiated for themselves when they were designing Spotify. They also get free promo, advertising, and inclusion on Spotify's top playlists. Best (worst!) of all, the Big Three have "most favored nation" status, which means that every other label – the indies that rep the 30% of music not controlled by the Big Three – have to eat shit and take the ultra-low per-stream rate. Only those indies don't get billions in stock, they don't get monthly minimum guarantees, and they have to pay for promo, advertising, and inclusion on hot playlists.

When you understand the business mechanics of Spotify, all the contradictions resolve themselves. It is simultaneously true that Spotify pays a very low per-stream rate, that it pays the Big Three labels gigantic sums every month, and that artists are grotesquely underpaid by this system.

There are many lessons to take from this little scam, but for me, the top takeaway here is that artists are the class enemies of both Big Tech and Big Content. The Napster Wars demanded that artists ally themselves with either the tech sector or the entertainment center, nominating one or the other to be their champion.

But for a creative worker, it doesn't matter who makes a meal out of you, tech or content – all that matters is that you're being devoured.

This brings me to the debate over training AI and copyright. A lot of creative workers are justifiably angry and afraid that the AI companies want to destroy creative jobs. The CTO of Openai literally just said that onstage: "Some creative jobs maybe will go away, but maybe they shouldn’t have been there in the first place":

https://bgr.com/tech/openai-cto-thinks-ai-will-kill-some-jobs-that-shouldnt-have-existed-in-the-first-place/

Many of these workers are accordingly cheering on the entertainment industry's lawsuits over AI training. In these lawsuits, companies like the New York Times and Getty Images claim that the steps associated with training an AI model infringe copyright. This isn't a great copyright theory based on current copyright precedents, and if the suits succeed, they'll narrow fair use in ways that will impact all kinds of socially beneficial activities, like scraping the web to make the Internet Archive's Wayback Machine:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

But you can't make an omelet without breaking eggs, right? For some creative workers, legal uncertainty for computational linguists, search engines, and archiving projects are a small price to pay if it means keeping AI from destroying their livelihoods.

Here's the problem: establishing that AI training requires a copyright license will not stop AI from being used to erode the wages and working conditions of creative workers. The companies suing over AI training are also notorious exploiters of creative workers, union-busters and wage-stealers. They don't want to get rid of generative AI, they just want to get paid for the content used to create it. Their use-case for gen AI is the same as Openai's CTO's use-case: get rid of creative jobs and pay less for creative labor.

This isn't hypothetical. Remember last summer's actor strike? The sticking point was that the studios wanted to pay actors a single fee to scan their bodies and faces, and then use those scans instead of hiring those actors, forever, without ever paying them again. Does it matter to an actor whether the AI that replaces you at Warner, Sony, Universal, Disney or Paramount (yes, three of the Big Five studios are also the Big Three labels!) was made by Openai without paying the studios for the training material, or whether Openai paid a license fee that the studios kept?

This is true across the board. The Big Five publishers categorically refuse to include contractual language -romising not to train an LLM with the books they acquire from writers. The game studios require all their voice actors to start every recording session with an on-tape assignment of the training rights to the session:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

And now, with total predictability, Universal – the largest music company in the world – has announced that it will start training voice-clones with the music in its catalog:

https://www.rollingstone.com/music/music-news/umg-startsai-voice-clone-partnership-with-soundlabs-1235041808/

This comes hot on the heels of a massive blow-up between Universal and Tiktok, in which Universal professed its outrage that Tiktok was going to train voice-clones with the music Universal licensed to it. In other words: Universal's copyright claims over AI training cash out to this: "If anyone is going to profit from immiserating musicians, it's going to be us, not Tiktok."

I understand why Universal would like this idea. I just don't understand why any musician would root for Universal to defeat Tiktok, or Getty Images to trounce Stable Diffusion. Do you really think that Getty Images likes paying photographers and wants to give them a single penny more than they absolutely have to?

As we learned from George Orwell's avant-garde animated agricultural documentary Animal Farm, the problem isn't who holds the whip, the problem is the whip itself:

The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.

Entertainment execs and tech execs alike are obsessed with AI because they view the future of "content" as fundamentally passive. Here's Ryan Broderick putting it better than I ever could:

At a certain audience size, you just assume those people are locked in and will consume anything you throw at them. Then it just becomes a game of lowering your production costs and increasing your prices to increase your margins. This is why executives love AI and why the average American can’t afford to eat at McDonald’s anymore.

https://www.garbageday.email/p/ceo-passive-content-obsession

Here's a rule of thumb for tech policy prescriptions. Any time you find yourself, as a worker, rooting for the same policy as your boss, you should check and make sure you're on the right side of history. The fact that creative bosses are so obsessed with making copyright cover more kinds of works, restrict more activities, lasting longer and generating higher damages should make creative workers look askance at these proposals.

After 40 years of expanded copyright, we have a creative industry that's larger and more profitable than ever, and yet the share of income going to creative workers has been in steady decline over that entire period. Every year, the share of creative income that creative workers can lay claim to declines, both proportionally and in real terms.

As with the mystery of Spotify's payments, this isn't a mystery at all. You just need to understand that when creators are stuck bargaining with a tiny, powerful cartel of movie, TV, music, publishing, streaming, games or app companies, it doesn't matter how much copyright they have to bargain with. Giving a creative worker more copyright is like giving a bullied schoolkid more lunch-money. There's no amount of money that will satisfy the bullies and leave enough left over for the kid to buy lunch. They just take everything.

Telling creative workers that they can solve their declining wages with more copyright is a denial that creative workers are workers at all. It treats us as entrepreneurial small businesses, LLCs with MFAs negotiating B2B with other companies. That's how we lose.

On the other hand, if we address the problems of AI and labor as workers, and insist on labor rights – like the Writers Guild did when it struck last summer – then we ally ourselves with every other worker whose wages and working conditions are being attacked with AI:

https://pluralistic.net/2023/10/01/how-the-writers-guild-sunk-ais-ship/

Our path to better working conditions lies through organizing and striking, not through helping our bosses sue other giant mulitnational corporations for the right to bleed us out.

The US Copyright Office has repeatedly stated that AI-generated works don't qualify for copyrights, meaning everything AI generated can be freely copied and distributed and the companies that make them can't stop them. This is fantastic news, because the only thing our bosses hate more than paying us is not being able to stop other people from copying the things we make for them. We should be shouting this from the rooftops, not demanding more copyright for AI.

Here's a thing: FTC chair Lina Khan recently told an audience that she was thinking of using her Section 5 powers (to regulate "unfair and deceptive" conduct) to go after AI training:

https://www.youtube.com/watch?v=3mh8Z5pcJpg

Khan has already used these Section 5 powers to secure labor rights, for example, by banning noncompetes:

https://pluralistic.net/2024/04/25/capri-v-tapestry/#aiming-at-dollars-not-men

Creative workers should be banding together with other labor advocates to propose ways for the FTC to prevent all AI-based labor exploitation, like the "reverse-centaur" arrangement in which a human serves as an AI's body, working at breakneck pace until they are psychologically and physically ruined:

https://pluralistic.net/2022/04/17/revenge-of-the-chickenized-reverse-centaurs/

As workers standing with other workers, we can demand the things that help us, even (especially) when that means less for our bosses. On the other hand, if we confine ourselves to backing our bosses' plays, we only stand to gain whatever crumbs they choose to drop at their feet for us.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/21/off-the-menu/#universally-loathed

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[foxes-that-run]

what taylor tours has harry attended?

Eras - H unseen. with HAIM in London 18 August

HS Love on Tour - T unseen. Deux Moi reports she went to Wembley

Reputation - H unseen. Harry was in Tokyo when the last Reputation date was also there. Plays emotional set of surprise songs are wildest dreams (1 of 3 times she played it on the Rep tour) and So it goes (one of 8 times it has ever played live), dancing with our hands tied and I know places. Harry writes little freak in Tokyo and leaked ophelia (I feel ya) that refers to staring at her in Tokyo, watching her move, missing her and fantasising.

HS Live on Tour - T unseen. They were both in Chicago and played shows on 28 June (Taylor) and 30 June (Harry). In Taylors show she told the odd story about being with someone 2 NYE ago and jumping into icy waters which Taylor Nation edited out then later Joe did exposition for that to be about him. Harry's suit for that show was copied in the Me! music video. At Harry's next show (St Paul) is the one with a very well known Medicine performance and he said "running with you" instead of "running with wolves" in MMITH, then he broke up with Camille.

1989 - H unseen. Ironically, I think this is the one I think he probably he didn't go to. If he did, I think it was around June 6 as they were both in London and Harry posted in colour to IG. see 2015 timeline

Take Me Home - T unseen. They were both in Pennsylvania for a week 6 July, Taylor had the next week off and was not seen. on the 8th July Harry threw up on stage.

Red - H seen in a video Taylor posted to Instagram of her haircut. Above was also the Red tour. He was also missing when she was in Japan.

Up All Night - T seen in videos backstage at MSG. T MIA when they played the first shows in London.

Xfactor tour - T unseen they both played the London O2 the same week.

Speak Now - H unseen. They played the London O2 the same week. Harry MIA when Taylor played his X-factor Audition song, with Fearless mashup which she repeated. H MIA when she has Sweet Disposition Arm lyrics that he later had tattooed on the 1 year anniversary of that show.

Watching other performances

They have seen each other perform:

2023 Grammys, Taylor danced when Harry performed

2021 Grammys, recorded performances of them both was played in the room (not recorded in the same room as each other)

2014 AMAs, Harry sang night Changes, Taylor sang Blank Space, they looked at each other and clapped for the other, Taylor pointed and included where Harry was in her performance.

2014 - IHeartRadio Festival - both perform and are emotional, both MIA when they other on.

2013 Brit Awards - One Direction performed Teenage Kicks with Taylor in the front row. Taylor performed IKYWT and pointed to Harry, looked at Harry also in front row. Confirmed song about him in interviews after.

2012 X-Factor Final UK - Taylor flew to watch, pictured.

2012 Capital Jingle Bell Ball - Taylor in view in the sound booth when One Direction perform and pictured together after.

2012 z100 Jingle Bell Ball - both perform, both visible watching the other, kiss before Taylors set.

2012 Xfactor US - Harry watches Taylor perform and seen carrying her to a trailer after

2012 VMAs - both perform and watch the other, have lunch with group in rehearsals, One Direction introduce her on MTV

2012 BBC Teen Radio Awards - both perform and watch the other, first time pictured together.

2012 MTV Kids Choice Awards - both perform, Taylor dances to WMYB and rumoured dating.

[harrisonarchive]

Splinter and George Harrison, on the cover of Melody Maker, August 31, 1974.

George Harrison: “[Splinter] were in a band years ago called Halfbreed that Mal Evans, who’s been with The Beatles for years, brought into, he brought the tape and tried to get them on Apple. I remember listening and saying, It’s not bad, but I don’t think it’s that good. And he was saying, Just listen to the singer, really. So we didn’t do anything with them. But Mal got — when John made a record, Lennon — made a record of Oz, to help in Oz’s defense, he made a song called God Save Oz, and the Oz people couldn’t sing so good, so he got Bill Elliott to sing. And they split up from that band. And then a year or so, about a year ago, I got involved in making a film called Little Malcolm And His Struggle Against The Eunuchs. And in this film there was a part where we needed somebody in a nightclub scene, just in the background singing a tune. And so Mal Evans brought along those two guys and they did this song, a song for the film which really fitted well. And I thought, because the film is not the sort of film that’s easy to sort of sell, you know. And this song was such a hit I thought, they could make a hit, and then maybe the film people would be more interested in the movie. So I went to do a single with them but then I heard the rest of the songs and they were so good, I got involved making the album. And the song from Little Malcolm still isn’t out yet because we did too many songs.” Q: “Is the film actually going to be released now?” GH: “Yeah. The film is just fantastic, it’s really… it doesn’t have distribution at the moment but we put it in the Berlin Film Festival and it won a silver award. John Hurt, the actor who plays the part of Little Malcom, won the award. And I just found out yesterday that we won the gold award at the Atlanta Film Festival. So I mean from that point of view it’s really very good.” - Capital Radio, 1974 “[George is] a perfectionist. If he’s not happy with it, he’ll get in and do it again. […] He’s very patient. That’s one of the things that impressed me most. He goes out of his way to understand your moods, to understand you as a person. He gets right underneath you and pulls the best out of you. If he gets out the wrong side of the bed, he won’t come in. If he can’t get it together he won’t try at all.” -Bob Purvis, Melody Maker, August 31, 1974 “We didn’t deserve to have someone as nice and kind as George helping us. We were just a couple of naive kids from Newcastle who didn’t realize how lucky we were. I just wish I could have let him know that I was grateful, and sorry for not seeing what he was trying to do for us. He was an absolutely sincere man.” - Bob Purvis, While My Guitar Gently Weeps: The Music of George Harrison (2006)

[crumblinggothicarchitecture]

Taylor Swift‘s music is just a white person’s idea of a barbecue. No seasoning. Bland. Flavourless. And I say that as a white person.

Yes- I would agree- and disagree too. I don't want to get into the "white people can't cook thing" because I have some opinions on that narrative that very much contradict simply attributing it to laziness or bad taste. (That's an anti-captialism rant for another day :)).

However, let me push your thought just a bit further. The reason it is all so bland is because its music made for the widest audience possible. It's made for grocery store playlists and department stores. Its music made with capitalism in mind- not artistry. When we hear true art, coming from an indie artist or someone who went viral on YouTube because they put their heart into a cover song or some long dead composer who wrote a song lamenting the hardship and death of war, we beg them not to "sell out."

Selling out only requires that they cease writing music from the heart- instead focusing on what will make the masses tune-in and buy their records. What will get the most radio play? She shows us how much she values the charts and the awards all the time- I dare say it's all she wants.

This- I argue is what makes Taylor Swift's music so boring and contrived. She takes as many phrases from pop-culture, like "down bad" or "90's trend" or "This is why we can't have nice things" and makes it into the song- because she wants to cultural capital to transfer from the internet slang into her music being as popular with as many different groups of people as possible.

She writes boring- empty relationship songs about "blue eyes" or "green eyes" or "it's two a.m. and I'm acting insane/ because that's the way I loved you." It's purposefully vague- in combination with her insistence that it's about her relationships too. She is both luring an audience in, as they hope to get more of her, and luring them in as they want to see themselves reflected in the music. It's a really interesting rhetorical situation- I am still parsing out exactly how I want to talk about this subject more fully (in a longer post) so stay tuned if you care lol.

It's bland because she puts no soul into it- only the dollar signs in her eyes ever grace the music with their presence.

[colorisbyshe]

Taylor Swift by far is not the worst celebrity in terms of like... being bad. Her music isn't the worst--it is the definition of radio friendly. Her behaviour, in terms of celebrity bullshit, isn't the worst either (though we really shouldn't understate the ecological harm from her private jet which gets handwaved but is... truly horrific). She isn't particularly unfashionable, she definitely isn't provocative or boundary pushing.

But all of this middle-of-the-roadness is just... the embodiment of capitalism, especially White Girl Boss capitalism, and... more than that, it represents the sanitation that brings to art. The calculation. The risk aversion. And the laundering of any real feeling--that I'm not even sure she's fully capable of--into something somehow less than the sum of its parts.

It's so egregious it feels brain-numbing. It feels like a mockery of the craft. It feels like every board room decision that has excluded marginalized voices in art and every experimental song from the soundwaves embodied in one person. Everything is PR, nothing is organic. Even when she does awful things (like dating a massive racist or using her moment in Time Magazine to bring up years old beef with the fucking Kardashians instead of speaking on the GENOCIDE happening right now), it's a choice to distract from a worse thing or get another burst of attention. She can't even be awful in a way that feels authentic. There isn't a controversy that isn't also a chance to pivot her public image into something New and Fun.

She feels like a vessel for every breaking down of music as an art form happening in our capitalistic world. She's the tiktok algorithm, the pushed paid promotion on every social media feed, the pay-to-win Grammy awards all in one little bundle. She's hollow and business opportunities are what's filled inside her to keep her from floating away into the blandest possible season of the real housewives of ___ anyone has ever seen.

To me, she's a step above AI art in terms of like... human passion.

To me, she feels like the second she experiences a real human emotion, she writes down five different ways she can profit off of that or spin it into a new victim complex (which she profits from).

To me, the rare tolerable-to-good song she has is just... entirely tainted by the brand around it. Her career isn't a musical exploration. It's a brand. Her music is a plain white t shirt with a logo printed dead center, nothing else to offer.

It can't have anything else on it, no statements, no daring, because then the logo, the brand might get obscured.

[spacetimewithstuartgary]

New SpaceTime out Friday

SpaceTime 20240920 Series 27 Episode 114

Did dwarf planet Ceres originate in the asteroid belt?

A new study has raised fresh questions about the origin of the dwarf planet Ceres – the largest body in the main asteroid belt between Mars and Jupiter.

A galactic mystery about Dark matter and stars finally solved

Astronomers have overturned the longstanding idea that stars and dark matter are interacting in inexplicable ways.

China's secretive spaceplane returns to Earth

China's highly secretive reusable experimental spacecraft has successfully returned to Earth following a 268-day orbital mission.

The Science Report

Using cruciferous vegetables to lower high blood pressure.

Study shows larger bumblebees fly faster, but that middle-aged bees fly longer and further.

Study shows dogs can remember the names of objects two years after learning them.

Skeptics guide to Wycliffe Well - the UFO capital of Australia!

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through Apple Podcasts (itunes), Stitcher, Google Podcast, Pocketcasts, SoundCloud, Bitez.com, YouTube, your favourite podcast download provider, and from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth.  The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[ohgaylor]

LOVER ERA 🌈 WARDROBE MASTERPOST

Taylor in Entertainment Weekly, during the Lover era

Easter eggs can be left on clothing and jewelry. This is one of my favorite ways to do it because you wear something that foreshadows something else. And people don’t usually find out this one immediately but they know you’re probably sending a message. They’ll figure it out in time.

Note: This masterpost will export both the vibrant rainbows present during the era, and the far more serious tones that eventually crept in, with more dark blacks toward the latter half of the era.

March 14, 2019 — iHeart Radio Music Awards

playsuit (link)

butterfly shoes (link)

April 24, 2019 — Leaving apartment

pastel shirt (link) (see also Billboard rehearsals and YNTCD bts)

April 25, 2019 — Spotify video

rainbow t-shirt (link)

April 25, 2019 — Me! announcement on GMA

rainbow dress and rings (link) (link)

April 26, 2019 — Me! music video

rainbow rings (link)

pink tulle gown (link)

April 26, 2019 — social media post with Benji

rainbow shirt (link)

April 30, 2019 — Instagram story

rainbow “awesome” merch shirt (link)

April 30, 2019 — Billboard rehearsals

same rainbow tie-dye shirt (link)

May 1, 2019 — Billboard Music Awards

rainbow rings (link)

May 2, 2019 — Spotify video with Me!

rainbow tie-die shirt (link)

May 7, 2019 — Capital 1 Radio interview

bisexual colored plaid shirt (link)

May 8, 2019 — Paris

rainbow shirt (link) (see May 14th)

May 9, 2019 — Entertainment Weekly cover

rainbow flag heart pin (link)

blue and pink outfit (link)

May 14, 2019 — Instagram Story announcing Ellen interview

Free People rainbow shirt (link) (link)

May 23, 2019 — Spotify Playlist by Me!

Bella Freud, rainbow heart sequin shirt (link)

June 1, 2019 — Wango Tango

rainbow outfit (link)

Stella McCartney shoes (link)

June 2019 - in studio

rainbow shirt and shoes (link) (link)

June 17, 2019 — You Need To Calm Down music video

rainbow earrings and rings (link) (link)

more rainbow rings (link) (link)

shoes (link) (link)

bi-colored hair (link)

bts same rainbow tie-dye shirt (link)

Aug 11, 2019 — Teen Choice Awards

rings (link)

rainbow after party dress (link)

Aug 22, 2019 — Lover music video

butterfly dress (link)

rainbow heart jacket (link)

Aug 23, 2019 — Sirius XM

Stella McCartney black jeweled jumper (link)

Aug 26, 2019 — MTV Awards Afterparty

black sequin outfit (link)

Aug 31, 2019 — Apple Music Ad, celebrating UK #1 album

rainbow sequin dress (link)

black star shirt (link)

Oct 7, 2019 — SNL Promo

rainbow outfit (link)

Sept 9, 2019 — City of Lover Concert in Paris

black outfit (link)

Nov 6, 2019 — Fan Event in Tokyo, Japan

black jumpsuit (link)

sequin jumpsuit (link)

Nov 10, 2019 — Fan Event in Tokyo, Japan

Dark velvet blazer (link)

Nov 11, 2019 — backstage in China

grey dress (link)

Nov 12, 2019 — Fan Event in China

rainbow dress and shoes (link) (link)

Nov 24, 2019 — AMAs

Dark green dress (link)

Dec 8, 2019 — Jingle Bell Ball Interview

black outfit (link)

Dec 12, 2019 — Billboard Women in Music

black jumpsuit with chains (link)

Dec 13, 2019 — Jingle Ball

Dark gold dress (link)

Dec 17, 2019 — The Today Show

black Oscar de la Renta dress (link)

Jan 5, 2020 Golden Globes After Party

black dress (link)

[laresearchette]

Friday, March 08, 2024 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: THE RELUCTANT TRAVELER WITH EUGENE LEVY (Apple TV+) THE GOOD MOTHER (Paramount+ Canada) FIRST TIME FEMALE DIRECTOR (The Roku Channel) BOARDERS (Tubi)

WHAT IS NOT PREMIERING IN CANADA TONIGHT? GOLD RUSH: WHITE WATER (Premiering on March 12 on Discovery Canada at 9:00pm) THE TRAITORS (UK) (Premiering on March 15 on Crave at 11:00pm)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA AMERICAN FICTION ANATOMY OF A FALL DIFFERENT STROKES (EXCLUSIVE CONTENT) FLAWS

CBC GEM CBC MUSIC LIVE AT MASSEY HALL COCO CHANEL: UNBUTTONED GANGNAM PROJET THE GREAT BRITISH BAKING SHOW (Season 14) JUICE THE NEXT STEP (Season 7) 20TH CENTURY WOMEN WORKIN’ MOMS YOUNGER (Seasons 6 and 7, plus a one-hour special)

CRAVE TV BATMAN V SUPERMAN: DAWN OF JUSTICE THE DEPARTED DIARY OF A MAD BLACK WOMAN HOLMES FAMILY RESCUE HOW TO BLOW UP A PIPELINE A LEAGUE OF THEIR OWN PARADISE HIGHWAY PUSH SICK GIRL SISTERHOOD OF THE TRAVELING PANTS WONKA

NETFLIX CANADA BLOWN AWAY (Season 4) (CA) DAMSEL

HOCKEY CENTRAL TRADE DEADLINE (SN) 10:00am

MLB SPRING TRAINING (SN1) 1:00pm: Yankees vs. Jays

TENNIS (TSN2) 2:00pm; Indian Wells - Early Round Coverage Day #3 (TSN2/TSN4) 6:00pm: Indian Wells - Early Round Coverage Day #3

CURLING (TSN3) 2:00pm: Montana's Brier: Page 1/2 Qualifier (TSN/TSN3) 8:00pm: Montana's Brier: Page 3/4 Qualifier

PWHL HOCKEY (SN) 7:00pm: Montreal vs. Toronto

NHL HOCKEY (SNEast/SNOntario) 7:00pm: Sabres vs. Blue Jackets (SN) 10:00pm: Stars vs. Ducks (TSN3) 10:00pm: Jets vs. Kraken

NBA BASKETBALL (SN1) 7:30pm: Timberwolves vs. Cavaliers (SN Now) 8:00pm: Heat vs. Thunder (SN1) 10:30pm: Bucks vs. Lakers

MARKETPLACE (CBC) 8:00pm

MILLION DOLLAR ISLAND (Discovery Canada) 8:00pm: Finals Week begins, and starvation continues taking a toll on the Log camp as the hunger games reach a dramatic climax.

THE REAL HOUSEWIVES OF CHESHIRE (Slice) 8:00pm: Big ‘V’ Energy

BOLLYWED (documentary) 8:00pm: When Kuki invites the public to the second store Grand Opening on live radio, it gives the family less than 48 hours to be ready… for way more guests than they were anticipating.

ABOUT THAT (CBC) 8:30pm

THE FIFTH ESTATE (CBC) 9:00pm: Rotten Promises: A pitch to turn the Maritimes into an apple-growing capital, with influential supporters, was an easy sell to investors and would-be foreign workers; those who bought in say it was a scam.

OWN SPOTLIGHT: OPRAH & ANGELA BASSETT (OWN Canada) 9:00pm: Oprah hosts an intimate conversation with actress Angela Bassett in celebration of her recent honorary Academy Award; Angela shares her journey to success, her commitment to excellence and the dreams she has for her family.

HOW TO BLOW UP A PIPELINE (Crave) 9:00pm: With the climate crisis at a point of no return, a group of environmental activists come up with a daring plan to make their voices heard and disrupt an oil pipeline.

THE SUMMIT AUSTRALIA (Discovery Canada) 9:30pm (FINALE): After 14 days, 200 kilometres of brutal terrain and death defying obstacles along the way, The Summit is finally in sight.

CRIME BEAT (Global) 10:00pm: Surrey Six: The Gang Hit

[scotianostra]

On November 1st 1969 Morag Siller the actress, voice artist, and radio personality was born in Edinburgh.

Aged three Morag, along with her twin brother Colin, were adopted and brought up in the capital’s Greenbank district. She came to terms with being adopted with forthright honesty, “I was lucky to have been adopted by such a loving family” she once said. “I wouldn’t change things for the world.” She attended James Gillespie’s High School where she first wanted to be a pianist, but came to the conclusion she would not be able to make a career out of it, Morag also thought about joining the police force, but caught the acting bug and began to take a keen interest in drama often appearing in the school’s plays.After leaving school she attended the Edinburgh Acting School, at 18 she moved to London where she trained at the Sylvia Young School and at Rada.

While still a student she landed a role as a jitterbug dancer in David Puttnam’s film Memphis Belle, directed by fellow Scot Michael Caton-Jones.

Siller appeared in many roles on television – being cast in semi-regular roles such as Flora Kilwillie in Monarch of the Glen, Leona in Casualty (she had a permanent crush on Derek Thompson’s charge nurse Charlie) and a Dingle in Emmerdale. She won an award for the role in Casualty and also appeared in Doctors, EastEnders, Fiona’s Story (with Jeremy Northam and Gina McKee) and Hetty Winthorp Investigates.

She appeared in several musicals – West Side Story, Les Miserables and Mamma Mia! both in the West End and on tour around the UK. Siller appeared in the world tour of Mamma Mia! and performed the show in China.

At the first day of rehearsals for Les Miserables the cast were brought together to meet the orchestra and Siller recognised a familiar face. “I know you” she said to the horn player. “We were at school together.” She married Tim Nicholson at Prestonfield House in Edinburgh in 2005. In 2013 she played a central role in some gripping scenes in Coronation Street.

She married Tim Nicholson, a classical musician at Prestonfield House in Edinburgh in 2005. She was devoted to Scotland (“I’m never as happy as when I’m in Scotland” she told a reporter) and often returned to visit friends and family - she and her husband holidayed every year in Orkney. a friend also commented (that) “Morag was besotted by Scotland: Edinburgh and Scotland defined her personality.”

Morag and Tim had been about to adopt a child in 2011 when she was diagnosed with breast cancer.

She wnet on to became a patron of two cancer charities, for which she organised fundraisers, and had hoped to resume the adoption process. But the cancer returned and she was told it was incurable. Morag sadly passed away on April 15th 2016.

[thesinglesjukebox]

SHABOOZEY - "A BAR SONG (TIPSY)"

Teen drinking is very bad.

[5.91]

Jacob Sujin Kuppermann: In 2014 this would be a Tumblr shitpost. A decade on, it's a full-on pop hit? I shouldn't be so charmed by something this lazy, but "A Bar Song" works because it's just effortful enough – it has actual hooks outside of simply singing J-Kwon rootsily, which is a lot more thought than most people would put into their novelty "Tipsy" riffs. Even if you didn't know anything about the golden era of St. Louis rap, this still works as a sturdy contemporary country sing-a-long – not to my taste necessarily, but compelling in its shtick. [6]

Scott Mildenhall: Meme plinking is very average. This would make a decent Britain's Got Talent audition, and perhaps that is a good framework for kickstarting a career full of more interesting work. There are signs of that in this content creation, but they're nullified by an inverted zaniness that offers neither humour or humanity. [5]

Alex Clifton: Here we have another viral TikTok country chorus, but Shaboozey scores better with me than Dasha did because "A Bar Song (Tipsy)" has more than just a chorus. There's even a bridge! Yes, it's stomp-clap-holler music which had its heyday about 10 years ago, but sometimes you just need a good stomping. I don't know if this is actually good, but it's a fun time, and that counts for something. [6]

Wayne Weizhen Zhang: How did Shaboozey imbue “Tipsy” with so much sentimentality and heart? It’s not just the interpolation that makes this feel instantly familiar—Shaboozey’s vulnerability and working-class sensibility feel like the perfect palliative soundtrack to 2024 late-stage capitalism.  [8]

Taylor Alatorre: A strong and perhaps insurmountable contender for 2024’s “I Can’t Believe This Hadn’t Been Done Already” award. [7]

Katherine St. Asaph: One, here comes the two to the three to the four/dude makes getting tipsy sound like such a bore. [2]

TA Inskeep: Is this really that different from a legion of "we're all at the bar drinkin'" contemporary country hits? I guess it is in Shaboozey's cadences, but let's be honest, the "Tipsy" interpolation is wasted here. If this becomes a country radio hit, it'll be a delightful surprise, but that doesn't make it a particularly interesting record. [3]

Will Adams: I was barely a tween when J-Kwon's "Tipsy" hit the charts, but even then I recognized how well it captured the claustrophobic fun of a house party. Shaboozey's take is tempered vibes and ultimately a downer, like that voice on your shoulder reminding you of the hangover you're going to have the next day. [4]

Isabel Cole: Finally, a song about partying by someone who sounds like he has been to at least one actual party in his life! Even better: a song about drinking by a guy I’m absolutely willing to believe knows just how nasty the inside of your mouth tastes with a real hangover, the kind no amount of water or ibuprofen will help you white-knuckle through. The fact that this doesn’t sound like a good party somehow adds to the appeal; rather than exuberant or giddy, it sounds a little blurry, mumbled, weary, half-assed in a lived-in way, an ode not to nights out with friends or the communal ecstasy of the dance floor but to getting so shitfaced you can’t see straight. You can almost see him, glassy-eyed, stumbling on the way to the bathroom across the sticky floor. You can definitely hear him, in that moment when the music drops out, standing outside the bar as conversations loop around him, sidewalk unsteady beneath his feet, thinking dimly he should probably start heading home but realizing the party is merely moving elsewhere, and if he’s already in for a penny, well…. That last Good Lord sounds like it means fuck yeah, fuck it, and fuck me all at once, which is more or less how I remember the nights that reached that point, too. [8]

Nortey Dowuona: I bet you got some J-Kwon, you ain't got no Yeezy? YOU'RE GODDAMNED RIGHT WE DON'T. THIS SONG IS IMMORTAL. [10]

Joshua Lu: Empirical evidence that even the laziest samples can be overlooked if the song slaps enough. [6]

[Read, comment and vote on The Singles Jukebox]

[kylieforeverandever]

Kylie Minogue attending the Capital Fm Radio Music Awards 2002 At The Royal Lancaster Hotel In London on 27th March 2002.

[ausetkmt]

One of the Wu-Tang Clan’s biggest names is gearing up to paint the White House black.

As President Joe Biden and his wife prepare to celebrate Juneteenth, they have tapped Method Man to come to their home in the nation’s capital to commemorate the ending of the institution of enslavement of Black people and punctuate the importance of remembering African American fore-bearers.

The plan is to host a concert on the White House’s South lawn on Tuesday, June 13. In addition to recognizing Juneteenth, the president wants to also pay tribute to Black Music Month.

The press release from the White House stated the concert is an effort to “uplift American art forms that sing to the soul of the American experience.”

Staten Island’s own Method Man is one of the performers taking the stage on this occasion.

In addition to the Grammy Award-winning rapper, Audra McDonald, Jennifer Hudson, Ledisi, Colman Domingo, Fisk Jubilee Singers, Maverick City Music, Morgan State University Marching Band – The Magnificent Marching Machine, Hampton University Concert Choir, Step Afrika! And more will also perform.

The commemoration of Black Music Month and Juneteenth are both significant to African Americans. However, they hold weight for two very different reasons.

Black Music Month was founded by Music executive, songwriter, and producer, Kenny Gamble; radio host and media maven Dyana Williams; and DJ Ed Wright in 1979, according to the Grammy Awards.

When talking about why she, Gamble and Wright came up with the idea, she said, “[Music] is one of our greatest exports. That’s how we need to look at it. I want us to be celebrated. I want us to be respected. I want us to get what we rightfully deserve.”

Juneteenth, on the other hand, is the commemoration of informing people of African descent in Galveston, Texas by Union soldiers that they were no longer legally enslaved on June 19, 1885.

In 2021, this holiday recognized for the last 137 years by Blacks in Texas, was signed into law by President Biden.

He said on the day it became the country’s eleventh national holiday, “This is a day of profound weight and profound power, a day in which we remember the moral stain, the terrible toll that slavery took on the country and continues to take.”

[jenifersohowe]

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[nebris]

Marian Anderson (1897–1993) was an American contralto. She performed a wide range of music, from opera to spirituals, in major concert and recital venues between 1925 and 1965. Anderson was an important figure in the struggle for African-American artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, after being prohibited from performing for an integrated audience in Constitution Hall in Washington, D.C., First Lady Eleanor Roosevelt and her husband President Franklin D. Roosevelt arranged for Anderson to perform an open-air concert on Easter Sunday on the Lincoln Memorial steps in the capital which was broadcast to a radio audience of millions and was featured in a documentary film. In 1955, Anderson became the first African-American singer to perform at the Metropolitan Opera. She worked as a delegate to the United Nations Human Rights Committee and as a Goodwill Ambassador for the United States Department of State, giving concerts all over the world. She participated in the civil rights movement in the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The recipient of numerous awards and honors, Anderson was awarded the first Presidential Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.

This portrait photograph of Anderson in a formal gown was taken in 1940.

Photograph credit: Carl Van Vechten; restored by Adam Cuerden