The 63rd annual Grammy Awards will be broadcast by CBS from Los Angeles on Sunday, Jan. 31 — but not much else is known about the ceremony, one of the many awards shows taking place as the coronavirus pandemic and its resulting restrictions continue.After 40 years, the show’s longtime producer, Ken Ehrlich, has retired from the awards, and Ben Winston (known for his work on James Corden’s late-night show and “Carpool Karaoke”) will be taking over. Trevor Noah, from “The Daily Show,” will host. But who will perform — and how — are still big questions.Beyoncé, Taylor Swift, Dua Lipa and Roddy Ricch picked up the most nominations. The Weeknd and Luke Combs were among the artists surprisingly snubbed this year.Record of the Year“Black Parade,” Beyoncé“Colors,” Black Pumas“Rockstar,” DaBaby featuring Roddy Ricch“Say So,” Doja Cat“Everything I Wanted,” Billie Eilish“Don’t Start Now,” Dua Lipa“Circles,” Post Malone“Savage,” Megan Thee StallionAlbum of the Year“Chilombo,” Jhené Aiko“Black Pumas (Deluxe Edition),” Black Pumas“Everyday Life,” Coldplay“Djesse Vol. 3,” Jacob Collier“Women in Music Pt. III,” Haim“Future Nostalgia,” Dua Lipa“Hollywood’s Bleeding,” Post Malone“Folklore,” Taylor SwiftSong of the Year“Black Parade,” Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk and Rickie “Caso” Tice, songwriters (Beyoncé)“The Box,” Samuel Gloade and Rodrick Moore, songwriters (Roddy Ricch)“Cardigan,” Aaron Dessner and Taylor Swift, songwriters (Taylor Swift)“Circles,” Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post and Billy Walsh, songwriters (Post Malone)“Don’t Start Now,” Caroline Ailin, Ian Kirkpatrick, Dua Lipa and Emily Warren, songwriters (Dua Lipa)“Everything I Wanted,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)“I Can’t Breathe,” Dernst Emile II, H.E.R. and Tiara Thomas, songwriters (H.E.R.)“If the World Was Ending,” Julia Michaels and JP Saxe, songwriters (JP Saxe featuring Julia Michaels)Best New ArtistIngrid AndressPhoebe BridgersChikaNoah CyrusD SmokeDoja CatKaytranadaMegan Thee StallionBest Pop Solo Performance“Yummy,” Justin Bieber“Say So,” Doja Cat“Everything I Wanted,” Billie Eilish“Don’t Start Now,” Dua Lipa“Watermelon Sugar,” Harry Styles“Cardigan,” Taylor SwiftBest Pop Duo/Group Performance“Un Dia (One Day),” J Balvin, Dua Lipa, Bad Bunny and Tainy“Intentions,” Justin Bieber featuring Quavo“Dynamite,” BTS“Rain on Me,” Lady Gaga with Ariana Grande“Exile,” Taylor Swift featuring Bon IverBest Pop Vocal Album“Changes,” Justin Bieber“Chromatica,” Lady Gaga“Future Nostalgia,” Dua Lipa“Fine Line,” Harry Styles“Folklore,” Taylor SwiftBest Rock Performance“Shameika,” Fiona Apple“Not,” Big Thief“Kyoto,” Phoebe Bridgers“The Steps,” Haim“Stay High,” Brittany Howard“Daylight,” Grace PotterBest Rock Album“A Hero’s Death,” Fontaines D.C.“Kiwanuka,” Michael Kiwanuka“Daylight,” Grace Potter“Sound & Fury,” Sturgill Simpson“The New Abnormal,” The StrokesBest Alternative Music Album“Fetch the Bolt Cutters,” Fiona Apple“Hyperspace,” Beck“Punisher,” Phoebe Bridgers“Jamie,” Brittany Howard“The Slow Rush,” Tame ImpalaBest R&B Performance“Lightning & Thunder,” Jhené Aiko featuring John Legend“Black Parade,” Beyoncé“All I Need,” Jacob Collier featuring Mahalia and Ty Dolla Sign“Goat Head,” Brittany Howard“See Me,” Emily KingBest R&B Song“Better Than I Imagine,” Robert Glasper, Meshell Ndegeocello and Gabriella Wilson, songwriters (Robert Glasper featuring H.E.R. and Meshell Ndegeocello)“Black Parade,” Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk and Rickie “Caso” Tice, songwriters (Beyoncé)“Collide,” Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar and Benedetto Rotondi, songwriters (Tiana Major9 and Earthgang)“Do It,” Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch and Vincent Van Den Ende, songwriters (Chloe X Halle)“Slow Down,” Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson and Gabriella Wilson, songwriters (Skip Marley and H.E.R.)Best Progressive R&B Album“Chilombo,” Jhené Aiko“Ungodly Hour,” Chloe X Halle“Free Nationals,” Free Nationals“____ Yo Feelings,” Robert Glasper“It Is What It Is,” ThundercatBest Rap Performance“Deep Reverence,” Big Sean Featuring Nipsey Hussle“Bop,” DaBaby“What’s Poppin,” Jack Harlow“The Bigger Picture,” Lil Baby“Savage,” Megan Thee Stallion featuring Beyoncé“Dior,” Pop SmokeBest Melodic Rap Performance“Rockstar,” DaBaby featuring Roddy Ricch“Laugh Now, Cry Later,” Drake featuring Lil Durk“Lockdown,” Anderson .Paak“The Box,” Roddy Ricch“Highest in the Room,” Travis ScottBest Rap Song“The Bigger Picture,” Dominique Jones, Noah Pettigrew and Rai’shaun Williams, songwriters (Lil Baby)“The Box,” Samuel Gloade and Rodrick Moore, songwriters (Roddy Ricch)“Laugh Now, Cry Later,” Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron LaTour and Ryan Martinez, songwriters (Drake featuring Lil Durk)“Rockstar,” Jonathan Lyndale Kirk, Ross Joseph Portaro IV and Rodrick Moore, songwriters (DaBaby featuring Roddy Ricch)“Savage,” Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe and Anthony White, songwriters (Megan Thee Stallion featuring Beyoncé)Best Rap Album“Black Habits,” D Smoke“Alfredo,” Freddie Gibbs and the Alchemist“A Written Testimony,” Jay Electronica“King’s Disease,” Nas“The Allegory,” Royce Da 5’9”Best Country Solo Performance“Stick That in Your Country Song,” Eric Church“Who You Thought I Was,” Brandy Clark“When My Amy Prays,” Vince Gill“Black Like Me,” Mickey Guyton“Bluebird,” Miranda LambertBest Country Song“Bluebird,” Luke Dick, Natalie Hemby and Miranda Lambert, songwriters (Miranda Lambert)“The Bones,” Maren Morris, Jimmy Robbins and Laura Veltz, songwriters (Maren Morris)“Crowded Table,” Brandi Carlile, Natalie Hemby and Lori McKenna, songwriters (The Highwomen)“More Hearts Than Mine,” Ingrid Andress, Sam Ellis and Derrick Southerland, songwriters (Ingrid Andress)“Some People Do,” Jesse Frasure, Shane McAnally, Matthew Ramsey and Thomas Rhett, songwriters (Old Dominion)Best Country AlbumLady Like,” Ingrid Andress“Your Life Is a Record,” Brandy Clark“Wildcard,” Miranda Lambert“Nightfall,” Little Big Town“Never Will,” Ashley McBrydeBest Latin Pop or Urban Album“YHLQMDLG,” Bad Bunny“Por Primera Vez,” Camilo“Mesa Para Dos,” Kany García“Pausa,” Ricky Martin“3:33,” Debi NovaBest American Roots Performance“Colors,” Black Pumas“Deep in Love,” Bonny Light Horseman“Short and Sweet,” Brittany Howard“I’ll Be Gone,” Norah Jones and Mavis Staples“I Remember Everything,” John PrineBest Global Music Album“Fu Chronicles,” Antibalas“Twice as Tall,” Burna Boy“Agora,” Bebel Gilberto“Love Letters,” Anoushka Shankar“Amadjar,” TinariwenProducer of the Year, Non-ClassicalJack AntonoffDan AuerbachDave CobbFlying LotusAndrew WattBest Music Film“Beastie Boys Story,” Beastie Boys“Black Is King,” Beyoncé“We Are Freestyle Love Supreme,” Freestyle Love Supreme“Linda Ronstadt: The Sound of My Voice,” Linda Ronstadt“That Little Ol’ Band From Texas,” ZZ TopSee the full list of nominees at the Grammys’ website. 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A video of the sailors singing went viral on social media, prompting many to infer a hidden meaning in the pop song’s lyrics.Below deck on their submarine, Indonesian sailors crowded around a crewman with a guitar and crooned a pop song called “Till We Meet Again.”Weeks later, the same sailors vanished deep beneath the Pacific Ocean while descending for a torpedo drill, setting off a frantic international search. Indonesian military officials said on Sunday, four days after the vessel disappeared, that it had broken into three pieces hundreds of meters below the surface, leaving no survivors among the 53 crew members.Now, the video of the submariners singing is resonating across Indonesian social media, in a nation where many people are jaded by a steady stream of bad news: devastating earthquakes, erupting volcanoes and sinking ferries.“If land is not where you are destined to return to, there is a place for you in heaven,” members of the band Endank Soekamti, who composed the song, wrote on Instagram below a clip of the sailors’ performance.The clip went viral after the Indonesian Navy released it on Monday. Lt. Col. Djawara Whimbo, a spokesman for the Indonesian military, said in an interview on Tuesday that the video had been recorded last month to honor the outgoing commander of the navy’s submarine fleet.The video has hit a nerve online, in part because the song — which describes a reluctant goodbye — sounds especially poignant in the wake of the accident.Some social media users speculated that the sailors had a “hunch” about the looming accident and were singing about their own fate. Colonel Whimbo said that was a reflection of “cocoklogi,” an Indonesian phrase that describes looking back at people’s lives to find clues to explain seemingly random events.People in the Muslim-majority country, from remote villagers to senior politicians, often rely on faith and superstition to understand current events. A succession of Indonesian presidents have paid their respects to the spirit world, consulting with seers or collecting what they believed were magic tokens, for example.In the years after the 2004 tsunami that killed 230,000 people in Indonesia and elsewhere, many Indonesians blamed the disaster on then-President Susilo Bambang Yudhoyono, saying that he carried the shadow of cosmic misfortune.Sutopo Purwo Nugroho, a former spokesman for Indonesia’s disaster management agency, told The New York Times in 2018 that he made a point of incorporating local wisdom and traditional beliefs while communicating the science of disasters.“The cultural approach works better than just science and technology,” Mr. Sutopo said. “If people think that it is punishment from God, it makes it easier for them to recover.”The latest diaster struck last week, when a 44-year-old submarine, the Nanggala, disappeared before dawn during training exercises north of the Indonesian island of Bali. Search crews from the United States, India, Malaysia, Australia and Singapore later helped the Indonesian Navy hunt for the vessel in the Bali Sea.For a few days, naval experts worried that the sub might run out of oxygen. Then the navy confirmed over the weekend that it had fractured and sank to a deep seabed.Among the items a remote-controlled submersible found at the crash site was a tattered orange escape suit.A tattered orange escape suit that was found in the waters near where the submarine sank. Fikri Yusuf/Antara Foto, via ReutersPresident Joko Widodo of Indonesia expressed his condolences to the families of the fallen sailors on Monday, calling them “the nation’s best sons” and noting that the government would pay for their children’s education through college.“May the spirits of the golden shark warriors get the best place at the side of Almighty God,” he said.The song the sailors sang last month, “Till We Meet Again,” happens to have a complex back story.The musician Erix Soekamti said that he and his bandmates wrote it about six years ago on a remote island east of Bali, as a tribute to the local people they had met over the course of a monthlong recording session.The song’s lyrics can be interpreted as fatalistic:Beginning will endRise will setUps will meet downsThe song was meant to convey optimism, Mr. Soekamti said, but it has slowly become associated with loss, misfortune and death.A few years ago, he said, the crowd at an Indonesian soccer game sang it after a goalie for one of the teams died during a previous match. “Then it became a loser song,” he said. “Now, when a team loses, that song will be sung.”“Till We Meet Again” has been covered by other musicians; a melancholic version by the Indonesian singer Tami Aulia has more than nine million page views on YouTube.But Mr. Soekamti said his band now avoids playing it and recently declined to include it on an upcoming live album.“I am sad,” he said, “and, in a way, afraid.” More

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During the Live session, Tekashi also shades Nicki’s ex Meek for calling him a “rat” for snitching on his former gang member Nine Trey Gangsta Bloods, telling him that he’s nobody without Nicki.
Jun 13, 2020
AceShowbiz – Nicki Minaj hopped on an Instagram Live with her “Trollz” collaborator 6ix9ine (Tekashi69) on Thursday, June 11, not long after they released their new song. While some fans were excited for the new song, some others blasted Nicki for working with Tekashi following his snitching scandal.
During the livestream session, the Trinidadian star revealed no once, including fellow rappers, didn’t have the right to call out her collaborator. “Street n****s have every right to feel how they wanna feel about snitchin’ because they live that life,” Nicki Minaj said. “I feel rappers need to play it easy because everybody mingles and integrates with everybody and if a top executive rat called one of you unsigned rappers right now to sign y’all, y’all signing.”
“We not gon’-if a rat executive call y’all to sign, y’all signing. So, let’s be clear when we talk about rappers versus street n****s. It’s rappers that put guns they ain’t never bust a day in they life in the music all the motherf***ing time so we’re not talking about rappers,” the “Anaconda” hitmaker added. “I feel street n****s have a right to feel how they wanna motherf***in’ feel because they in the field and you know, I’m not on the block with 6ix9ine.”
Of her husband’s reaction to her collaboration with the “FEFE” rapper, Nicki explained, “My husband doesn’t f**k with the snitch culture. My husband is just like, ‘You know, I can’t f**k with that.’ And I respect him because he’s lived a different life. Y’all wanna make it rap one minute and streets the next minute.” She added, “Y’all wanna talk about people not writing they raps one minute, and then do songs with people that don’t write raps the next minute. But if somebody talk about the integrity of hip hop it’s a problem, but y’all can talk about the integrity of these streets and not snitching. We not on the block. None of you n****s is on the block!”

During the Live session, Tekashi also shaded Nicki’s ex Meek Mill for calling him a “rat” for snitching on his former gang member Nine Trey Gangsta Bloods. “Meek Mill, you can’t pick and choose who you want to call rats… Ever since Nicki left you, you are a nobody… Listen, Nicki took you on tour… You were her opener,” 6ix9ine ranted. “”Nicki made you, you n***a. No b***h wanted to f**k you, n***a. Did you forget who you was?”

“Listen. I forgot what Drake said. What did Drake say? Some s**t like that, is that your tour or your girl’s tour. That was never your tour, homie. Listen, you was put on by Nicki Minaj. And you rollin’ with rats now but you know what? Nobody knows. Nobody knows. Nobody is gonna be like… You’re with a rat every day. You’re with a rat. Your prison reform. Your bail reform is with a rat. ‘Oh no, she wasn’t street.’ She was sellin’ kilos of cocaine. You don’t want nobody to know?”

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Listen to the varied, explosive, resonant sounds of instruments struck, shaken, pounded, scratched.In the past, we’ve chosen the five minutes or so we would play to make our friends fall in love with classical music, piano, opera, cello, Mozart, 21st-century composers, violin, Baroque music, sopranos, Beethoven, flute, string quartets, tenors, Brahms and choral music.Now we want to convince those curious friends to love percussion — the resonant sound of instruments struck, shaken, pounded. We hope you find lots here to discover and enjoy; leave your favorites in the comments.◆ ◆ ◆Andy Akiho, composer and steel pan virtuosoIt’s an exciting era for percussion innovation and inspiration. Particularly new works with flexible instrumentation, because they really showcase an ensemble’s choices and personality. Sandbox Percussion’s multiple versions of Jason Treuting’s “extremes” are an awesome example of how a great composition can renew itself with each interpretation. It’s interesting to learn how the piece works and what inspired the material — rhythms drawn from the letters of six American cities — but most important, I just love listening to and watching it be performed, and I want to share that experience with you.Jason Treuting’s “extremes”Sandbox Percussion (Jonny Allen, Victor Caccese, Ian Rosenbaum, Terry Sweeney)◆ ◆ ◆Valerie Naranjo, musician and ‘Saturday Night Live’ band member“Gmeng Se Naah Eee” (“What Shall We Do?”) is a concerto movement for gyil (pronounced “jeel”) and orchestra. The gyil is a pentatonic African marimba that utilizes only four notes per octave in any particular work. Its composer poses the question — When trouble strikes, what shall we do? — then answers it: We will press forward with wisdom and determination, until we move from dismay to delight. I find it amazing that the 12 notes the gyil uses in this work can tell the story of wisdom conquering all with such exuberance — lifting my mood and making me dance.Ba-ere Yotere’s “Gmeng Se Naah Eee”Orchestrated by Andrew Beall; performed by Valerie Naranjo◆ ◆ ◆Evelyn Glennie, musicianPercussion is primal, sophisticated, raw, refined, playful, complex; it evokes a web of emotions and ignites vibrations that transform the body into a huge ear. “Thunder Caves” is relentless drumming that unleashes the human hand and technology together. The voice is primal, too, and what I drum I think about through the guttural grunts of my voice. Pronged sticks, drum sticks, flix sticks, skin on skin — all contribute to the sound colors on these conventional instruments. The incessant pounding of the kick bass drum gives this piece unrelenting momentum.“Thunder Caves”Improvised and performed by Evelyn Glennie (RCA)◆ ◆ ◆Antonio Sánchez, drummer and ‘Birdman’ composerThe drums are the engine of pretty much any band, but some engines work in a unique way. The first time I heard this live recording of Duke Ellington’s “Things Ain’t What They Used to Be” with the Keith Jarrett Trio — Jarrett on piano, Jack DeJohnette on drums and Gary Peacock on bass — back in college, I was astounded by how fluid the drums made the music sound. DeJohnette is one of the most original voices to ever play the instrument. Even though the swing factor is undeniably strong in his performance, the unconventional fills and accents keep a very well-known tune, with a very simple form, exciting and unpredictable. You can hear the crowd going crazy behind some of those trademark DeJohnette fills. Pure bliss.“Things Ain’t What They Used to Be”(ECM)◆ ◆ ◆Stewart Copeland, composer and former Police drummerMost concert works for percussion are as much fun as a concussion. But sometimes folks like Steve Reich and John Adams find real beauty in hitting things. In this piece Tan Dun takes it further, bravely writing for waterphones and other wildly rebellious instruments. He builds a rich orchestral envelope to suggest pitches and rhythms for the unpitched, wafting water sounds. Listening on your slick system, or over your headphones in a darkened room, it is guaranteed to inspire a wild adventure movie of your own design. For background while doing stuff, it will inspire lateral thinking and novel solutions. Probably not great for group bonding, marching or sex — and definitely don’t drive on this stuff!Tan Dun’s Concerto for Water PercussionNew York Philharmonic; Kurt Masur, conductor◆ ◆ ◆Sarah Hennies, composer and percussionistThe composer and performer Michael Ranta, born in 1942, is a crucial figure in percussion music, though he is almost totally unknown today, even to musicians. He was extremely prolific in the 1970s as an interpreter of avant-garde composition, as an improviser and as a composer of highly individualistic solo works, which he still produces today. He has spent significant time in Asia, especially China and Japan, and “Yuen Shan,” for live percussion and prerecorded sounds, is based on ancient spiritual principles and was composed over a period of almost 40 years. Ranta’s stalwart commitment to being a percussionist who is also a creative artist has been a source of great inspiration for my own work.Michael Ranta’s “Yin-Chu”From “Yuen Shan”◆ ◆ ◆David Allen, Times writerCarl Nielsen’s irrepressible Fourth Symphony was written in 1916, in the middle of World War I, and it’s a dogfight between light and dark. Where does the percussion fit in? As the orchestra tries to soar into glory in the finale, two timpanists duke it out, stationed at opposite sides of the stage — and, as Nielsen wrote, “maintaining a certain threatening character,” their dueling dissonances and the brutality of their attack almost pulling the music back into martial disaster. But not quite; life triumphs. It’s one of the most remarkable uses of the percussion in the symphonic repertoire, and stunning to witness live.Nielsen’s Fourth SymphonyBerlin Philharmonic; Herbert von Karajan, conductor (Deutsche Grammophon)◆ ◆ ◆Cynthia Yeh, Chicago Symphony principal percussionistThe most obvious traits of percussion in the orchestral realm are sheer power, intensity and terror — both overt, in-your-face terror and a subtler undercurrent of fear. Percussion is often used to create a color, a shimmer, a sparkle or crashing waves. The sounds we can make are limitless because our instruments actually are limitless; percussion is defined as anything one shakes, scrapes or strikes, and this is why I chose Christopher Cerrone’s “Memory Palace.” Almost all the instruments in this piece are D.I.Y.: planks of wood, pieces of pipe, bowls and bottles. It showcases the versatility of percussion — the range of instruments, the creation of rhythm, melody, harmony, character and mood.Christopher Cerrone’s “Memory Palace”Ian David Rosenbaum, percussion (National Sawdust Tracks)◆ ◆ ◆Glenn Kotche, composer and Wilco drummerDynamic and energetic, “Drums of Winter” is at the heart of John Luther Adams’s fascinating early multimedia work “Earth and the Great Weather: A Sonic Geography of the Arctic.” Even without pitched percussion, it contains all of the most exciting elements of percussion music. The tumultuous power and subtle peace of the natural world are expertly encompassed. The piece moves quickly and covers a lot of ground, with the sonic peaks and valleys of rhythmic consonance and dissonance showcasing the tonal potential of the drum quartet. The last 30 seconds are an exhilarating finale bound to open doors and ears to more.John Luther Adams’s “Drums of Winter”Amy Knoles, Robert Black, Robin Lorentz and John Luther Adams, percussion (New World Records)◆ ◆ ◆Anthony Tommasini, Times chief classical music criticThough the piano is a percussion instrument, we agreed we’d look beyond its traditional repertoire for this feature. But John Cage’s Sonatas and Interludes for Prepared Piano are works that truly create a percussion ensemble of exhilarating variety. In these 20 pieces, Cage continued his experiments with prepared pianos — regular pianos with screws, bolts, slabs of rubber, pieces of plastic and other items inserted, according to Cage’s precise specifications, between its strings. By striking the keys, a player produces an array of thuds, chime-like tones, near-pitchless plunks, delicate harplike sounds and more. In the paired Sonatas XIV and XV, “Gemini,” the music sounds like a vaguely Asian dance, with rippling riffs in the bass register, melodic bits in peeling high tones, alluring thumps and intricate rhythmic figures.John Cage’s “Gemini”David Greilsammer, piano (Sony Classical)◆ ◆ ◆Seth Colter Walls, Times classical writerWhen it comes to Duke Ellington’s music from the early 1940s, discussion tends to center on the contributions made by the bassist Jimmy Blanton and the tenor saxophonist Ben Webster — and the skill of the percussionist Sonny Greer is often overlooked. Yet Ellington himself described Greer, his longtime drummer, as the “world’s best percussionist reactor.” “When he heard a ping,” Ellington added in his memoir, “he responded with the most apropos pong.” You can hear that responsiveness throughout the classic “Cotton Tail,” as Greer drives the ensemble sections, adds excitement to an already stirring Webster solo and pongs nimbly underneath Ellington’s piano.Duke Ellington’s “Cotton Tail”(Sony)◆ ◆ ◆Tyshawn Sorey, composer and instrumentalistComposed in 1978 for an eight-member percussion ensemble, Roscoe Mitchell’s “The Maze” is a seminal example of his dialogic/Afrologic relationship to composition. Its unusually notated score favors an egalitarian aesthetic, in which each of the performers has opportunities not only to interpret complex, traditionally notated passages, but also to explore different sonic areas in their individualized assemblages, which feature traditional Western percussion instruments, self-invented equipment and a multitude of found objects. “The Maze” encourages the performers to collaboratively interact with all the traditionally and graphically notated materials in a manner that problematizes separatist notions of “improvisation” and “composition,” cultivating a sonic universe in which such a binary never existed in the first place.Roscoe Mitchell’s “The Maze”(Nessa)◆ ◆ ◆Steven Schick, musicianDuring my first visit to New York City on a crystalline autumn day in 1977, I walked the length of Manhattan to stand outside of the building where Edgard Varèse had lived in SoHo. Along the way, I heard the metal-on-metal cacophony of construction, wailing sirens and snippets of the city’s joyous mix of world music. I realized then that “Ionisation,” composed of those very sounds, was not barren modernism but Varèse’s love letter to his adopted home. Listening 44 years later, the noises of “Ionisation” are still bracing, the rhythms still joyous, and I am buoyed again by this fierce anthem to the present.Varèse’s “Ionisation”Ensemble Intercontemporain; Susanna Malkki, conductor◆ ◆ ◆Jason Treuting, composer and So Percussion memberI first listened to “Genderan” in 1997. It is in the gamelan gong kebyar style and showcases so many of the transfixing qualities of Balinese music — qualities that led me to study with I Nyoman Suadin at the Eastman School of Music, and then to travel to Bali to learn more with him and other musicians. “Genderan” begins with a unison introduction, then hits with intricate hocketing over the gong cycle, showing off bright melodies that wind over the beat in endlessly compelling ways. This music utterly changed my life and my understanding of percussion and its capacities. I hope you love it, too.“Genderan”From “Music for the Gods”; recorded in Ubud, Bali, 1941◆ ◆ ◆Joshua Barone, Times editorIn its rhythms and lyrical gestures, this piece seems to contain elements of Steve Reich and John Adams — maybe even Leonard Bernstein. Yet it predates them all: Colin McPhee wrote “Tabuh-Tabuhan” in 1936, influenced by his years spent studying gamelan music in Bali. He transplanted his research onto the Western classical orchestra, featuring Balinese gongs but also creating what he called a “nuclear gamelan” of two pianos and percussion instruments, and approximating the sounds of hand-beaten drums in the strings. The resulting works helped to pave a new path, later trod by Benjamin Britten and broadened by Lou Harrison, for Western percussion in the 20th century.Colin McPhee’s “Tabuh-Tabuhan”BBC Symphony Orchestra; Leonard Slatkin, conductor (Chandos)◆ ◆ ◆Zachary Woolfe, Times classical music editorIn the prelude to Janacek’s opera “Kat’a Kabanova,” the percussion is as articulate as any singer could be in previewing the drama to come: the timpani, first shadowy, then brutal, beating like a heartbeat, like fate; and the insistent sleigh bells that will later carry away a husband, leaving his wife to temptation, adultery and suicide. Percussion functions under, over and through the orchestra — adding punctuation, italics, boldface.Janacek’s “Kat’a Kabanova”Vienna Philharmonic; Charles Mackerras, conductor (Decca)◆ ◆ ◆Kate Gentile, drummer and composerThe brilliant, multitudinous improvisation in this excerpt typifies the “ancient to the future” ethos of this revolutionary group. The Art Ensemble of Chicago’s extensive percussion setup is played freely and fully by all four band members on this 1969 recording, made before Famoudou Don Moye joined. Lester Bowie is listed as playing bass drum; Roscoe Mitchell, cymbals, gongs, conga drums, logs, bells, siren, whistles, steel drum, etc.; Joseph Jarman, marimba, vibes, conga drums, bells, whistles, gongs, siren, guitar, etc.; and Malachi Favors, log drum, cythar, percussions, etc. — all that in addition to their primary instruments.“Reese and the Smooth Ones”Art Ensemble of Chicago — A.A.C.M.◆ ◆ ◆Elayne Jones, former San Francisco Opera timpanistThe timpani can be such a loud instrument, and people tend to watch you when you’re playing it. But it really captures the audience when it’s so soft; it kind of gets you. Just before the end of Beethoven’s Fifth Piano Concerto, it’s only the solo piano and the quiet timpani. Something so big and so heavy, but it comes out so delicate. You capture everyone’s imagination.Beethoven’s Fifth Piano ConcertoAndras Schiff, piano; Staatskapelle Dresden; Bernard Haitink, conductor (Teldec)◆ ◆ ◆ More

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The Philadelphia rapper has teamed up with 21 Savage, Lil Baby, and Lil Durk to build their own music streaming platform, insisting the new app will not be the same as the already existing ones.

Dec 29, 2020
AceShowbiz – Meek Mill, 21 Savage, Lil Baby, and Lil Durk are developing their own music platform.
The 33-year-old star has teamed up with his fellow rap stars to build their own digital streaming service as a new platform that will support artists with the hope of maximising “black wealth.”
Meek made the announcement on Twitter whilst seeking a third party to build the platform, writing, “Me lil baby Durkio tryna get somebody in Silicon Valley to build us our own music platform we can be majority owner in! We will pay!! We need top Silicon Valley steppers please! 21 gone link in too we need some app options we looking for the best platform builders!!!! Tryna get started 2021 (sic).”
The following day, Meek gave more information surrounding the business venture and expressed how they plan to donate money back to the musicians who stream their music through the platform.

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He tweeted, “We gone start something and donate a % to the people we make money from! We waiting on production now! #culturecurrency coming full blast!!!”
However, the “Going Bad” hitmaker assured fans the new platform would not be a copy of already existing streaming services like Spotify and Apple Music as they plan to connect with the big companies to maximise their client’s work.
He added, “Respectfully to Spotify too we get millions with them one of my biggest platforms I sell on! We need their help too… but we gone build something where we can maximize black wealth and we not gone fail by any means ‘we got a real backing behind us’ let’s get it.”
“We not even trying to build the same thing as Spotify …tidal … apple we wanna build a platform/tool and connect it with those big big companies and eat and build up some billion dollar sh*t! If you a big rapper that sale a lot and got a lot of influence rap in for (percentage) (sic).”

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