Instrmntl Beats

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Instrmntl Beats last won the day on August 9

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  1. What's good to watch these days

  2. What's good to watch these days

  3. What's good to watch these days

  4. What's good to watch these days

  5. What's good to watch these days

  6. What's good to watch these days

  7. Tyler, The Creator Says He Had His First Boyfriend When He Was 15 Years Old

    I think it's because how Tyler unapologetically came onto the scene using homophobic slurs and even getting into beef with Tegan and Sara and on top of that he's made records with the most gangster (The Game) and popish (Pharell) of rappers like a spy infiltrating a hierarchy that may or may not necessarily have been supportive of a bisexual rapper. His sexual orientation shouldn't be a concern, because it's no one's business who he loves, but no matter how you cut it, he's trolling everyone including himself...
  8. What's good to watch these days

  9. FLAMINGOSIS IS NEXT!!! I just discovered him on bandcamp. Very dope indeed!
  10. Source: Music is political. Musicians are political. This we knew. Turns out that music-streaming services, the digital platforms that are supposed to merely host all of our songs and albums, are as well. Following a week of tumult in American politics that began with a violent race-related protest in Charlottesville, Virginia, Spotify—the leading on-demand music subscription company, far ahead of Apple Music, Amazon, and other rivals with more than 140 million users around the world—has removed some artists identified by activist groups as white supremacist “hate bands” from its service in the US. The Southern Poverty Law Center published a list of 37 “white power” artists back in 2014; a music publication resurfaced the list this week, and the bulk of the acts—including names such as Blood Red Eagle and Tattooed Mother Fuckers—were wiped from Spotify within the last few days. “Illegal content or material that favors hatred or incites violence against race, religion, sexuality, or the like is not tolerated by us,” a Spotify spokesperson told Billboard. It even followed up on its erasure of the “hate bands” by making a playlist called “Patriotic Passion,” which a spokesperson described—in a separate statement— as “a soundtrack to an America worth fighting for.” Screenshot / Spotify All this comes only a few weeks after Spotify launched an audio and visual project called “I’m With the Banned,” supporting and promoting artists from countries affected by the US’s new partial travel ban. Donald Trump’s name is not mentioned once in Spotify’s press release—but it doesn’t need to be, and Spotify’s political views are made even clearer by the company’s actions this week. While wary of making any overt moves at first, Silicon Valley is now, bit by bit, positioning itself decidedly against the Trump administration, with CEOs like Tim Cook openly coming out against Trump’s positionsand companies like CloudFlare deleting neo-Nazi news sites. Spotify is no exception. The difference is that while companies like Uber and Intel can protest Trump’s politics from a business perspective, Spotify—which claims to champion free speech and expression, and has from the very start insisted on making all music accessible to all—is in a much trickier situation to take a stance. Now that Spotify has laid out criteria for what music is offensive enough to be removed, will it apply the same standards to all songs in the future? Who will judge? Take, for example, Spotify’s “Patriotic Passion” playlist, which features controversial groups like N.W.A and 2 Live Crew that could very well be argued to “favor hatred or incite violence against race, religion, sexuality, or the like.” Or should the newly revived Guns N’ Roses be removed for one 1989 song that talks about “niggers, immigrants, and faggots?” By publicly deciding to wade in and remove content, as Facebook and other platforms have recently been pressured to do, Spotify is pledging to draw some sort of line on acceptable music—though where that line is exactly remains unclear. The company replied to Quartz’s request for comment with the same statement it gave Billboard.
  11. Source: GETTY IMAGE When Tyler, The Creator’s fourth album Flower Boy leaked last month, the primary initial takeaway was that some of the lyrics seemed to hint that Tyler is gay or bisexual. The most telling lyric, from “I Ain’t Got Time!”: “Next line will have ’em like ‘Whoa’ / I been kissing white boys since 2004.” Of course, Tyler has always been quick to joke about a variety of topics, so it’s sometimes hard to take what he says at face value, especially when he says it in a song lyric. That said, he was a guest on Know Wave‘s Koopz Tunes radio show this week, playing a bunch of songs that he enjoys and talking with the host between tracks, and one of the first things he said was that as a young teenager, he had a boyfriend: Born in 1991, Tyler would have been 13 or so when he was “kissing white boys” in 2004, as he raps in “I Ain’t Got Time!,” so him being in a relationship with another boy at 15 sounds pretty accurate based on the timeline he’s established. Also, it seems like the year 2004 was probably chosen for the sake of the rhyme. The lyrics of Flower Boy don’t seem to be the first time that Tyler has hinted at non-heterosexual tendencies, though, since he tweeted back in 2015, “I TRIED TO COME OUT THE DAMN CLOSET LIKE FOUR DAYS AGO AND NO ONE CARED HAHAHHAHAHA.” Listen to the entire show below, during which he also calls 2 Chainz his “favorite right now” and rattles off a freestyle rap, at about 1:05:00 into the episode.
  12. Source: Audio streaming website SoundCloud has survived its do or die moment. In the face of serious financial trouble, it secured $169.5 million of investment from merchant bank The Raine Group and investment firm Temasek Holdings. As its CEO and co-founder Alexander Ljung said: “Soundcloud is here to stay.” Ljung is not, however. He’s to be replaced by Kerry Trainor, former CEO of video-sharing site Vimeo. And, perhaps more importantly, it is unlikely that the SoundCloud that many musicians have known and loved (myself included) will live on. Prior to securing the cash injection it desperately needed, SoundCloud’s future was hanging in the balance. The tech company, founded in 2007, recently closed two of its offices and laid off around 40% of its workforce. To survive it desperately needed to monetize and clear its debts. With new investment and new management, the focus is likely to shift even more to sound business choices over the community of users that the site has long fostered. Since its inception, SoundCloud was a popular home for outlaw music on the web—DJ sets, remixes, mashups, underground hip hop mixtapes, and sound collages. The kind of music that can’t be sold or broadcast anywhere else due to binding copyright rules. But it didn’t just service outlaws. For independents, amateurs, and industry outsiders, it provided a space for marginal new music and sound-art scenes to not only exist, but flourish in a global network. SoundCloud incubated and encouraged new music styles that are now recognized in today’s cultural landscape: Dubstep, Chillwave/Glo-Fi, Vaporwave, EDM, Witch House, the recent resurgence of Deep House, and the emergence of lo-fi influenced “Soundcloud Rap.” It allowed users to make their music streams private and invite-only (accessible by a link). It made the sharing of not-yet-released new music easy for record labels, independent artists, and publicists to access. Its waveform widget, with its ability to place a comment anywhere on the track’s timeline, encouraged listener engagement. It was also easy to embed in websites and social media pages—saving music creators the hassle of hosting the audio on their own websites, and with the convenient bonus of collecting listener data in one place. Never good with money SoundCloud made it easy to share your musical creations with millions of potential listeners on the web. For listeners, SoundCloud was a valuable tool for discovery; their “suggested tracks” feature, uses machine learning to analyse listening habits and suggests new music from artists from every level, not just the mainstream or most popular. But for all of the ways in which SoundCloud has been popular with users and successful in terms of its cultural contribution, it has never been good with money. Just like those outlaw music formats that SoundCloud found a home for—music that exists outside of the music industry system—SoundCloud itself had difficulty monetizing its service. It has had numerous rounds of investment in the past ten years but failed to provide a return, failed to extract subscription money from users, and failed to provide a transparent royalty-based income stream for its music creators and copyright holders. And where SoundCloud struggled, its rival Spotify went from strength-to-strength. Ultimately, many music creators found that they could earn more money from their music on Spotify and another one of SoundCloud’s competitors, Bandcamp. Following deals with the major labels, it began to clamp down on illegal copyright infringements—pushing away a number of its original user base, DJs, to other platforms such as Mixcloud. Never the same again I’m a composer that uses SoundCloud as a portfolio, a way of sharing my work with the world. I embed the SoundCloud player on my website and social media accounts, and I use it as a means to connect with my listeners and discover other musicians that I otherwise would never have known about. I also use SoundCloud in my teaching and for listening research, to explore underground cultures, and to get inspired. For me, the magic of SoundCloud was that it existed outside of the music industry and its obsession with money. It seemed to be about sharing and community, about evolving culture, creating global networks based on aesthetics, practice, and creative philosophy. No doubt, SoundCloud’s new investors will seek to transform the currently debt-ridden company into a money-making enterprise. This will require a radical restructuring. As a result, SoundCloud is unlikely to be the same again. This is bad news for the listeners and music creators who rely on the service for documentation and discovery. So too for those who use the platform as a place to develop new music styles, push musical and sonic aesthetics, and build online communities. Underground, outlaw, outsider, and any variety of unprofitable music will need to find somewhere else to live.
  13. what are you listening to?

  14. what are you listening to?

  15. what are you listening to?