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As he releases a collection of work that has appeared in films, the English musician talked about making functional art, his most ubiquitous composition and why he dislikes wearing headphones on the street. More

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Earlier this year, Nas sparked buzz after he appeared to shade Doja on his song ‘Ultra Black, rapping, ‘We goin’ ultra Black, unapologetically black/ The opposite of Doja Cat, Michael Blackson black.’

Nov 4, 2020
AceShowbiz – Nas once again addressed his shade at Doja Cat on his song “Ultra Black” of his album “King’s Disease”. The rapper, who previously claimed to not have any hard feelings for the “Say So” hitmaker, said in a new interview that social media was to be blamed for the tension between him and the singer.
“Well, I’ve been away, so, of course, I mention someone’s name that’s popular and people are gonna talk about it,” Nas told NME on Tuesday, November 3, referring to the song which he released in August. “I hear people do it all the time but no one makes a big deal of it. Maybe it’s because I don’t put out records a lot, so they’re like, ‘Whoa!’ ”
He went on explaining, “I don’t really know the world that these stars live in anymore. I’m rapping the same way I did when I was on the block, but now there’s a new world and what I say can take off with social media and I can’t do anything about it.”

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Nas sparked buzz after he rapped, “We goin’ ultra Black, unapologetically black/ The opposite of Doja Cat, Michael Blackson black,” on the said song. It prompted fans to think that he’s referencing to the “Moo!” rapper’s past controversy after a video surfaced showing her joining a group chat full of white supremacists.
Doja, meanwhile, previously said that she couldn’t care less about the diss, alluding that she respects him as an artist she grew up on. “I don’t know, I’m just glad he’s still putting out music, ’cause I love him,” she explained to Fat Joe in a virtual interview when asked how she felt about being addressed by one of her favorite rappers. “I grew up on Nas, so to hear that, I’m like, ‘Damn,’ but also, ‘Damn!’ I f***ing love Nas, thank f***g God he noticed me.”
“I made jokes about it, but other than that, you will never see me beef with Nas,” she continued. “He might want to beef with me, but you’re not gonna see me beef with Nas. You won’t see me respond.”
Nas himself also had the same sentiment in his previous interview. “I just really was saying a rhyme that rhymed with ‘ultra black,’ ” Nas explained his lyrics during his appearance on “Power 106” in Los Angeles back in August. “I didn’t even think of it. It’s all love. It was just like, ‘Michael Blackson black’… It’s bars, it’s lines. We play with words.”

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In a recent interview with the radio personality Zach Sang, Ariana Grande described the moment she and one of her writing collaborators first listened to part of the instrumental track that would become “34+35,” the second song on her new album, “Positions.” “We heard the strings that sounded so Disney and orchestral and full and pure,” she said. “And I was just like, Yo, what is the dirtiest possible, most opposing lyric that we could write to this?”They came up with an airy hook centered around that titular math problem, which adds up to a lascivious wink. (Nice.) Like the best songs on her previous album, “Thank U, Next,” “34+35” shares a light, inside-jokey intimacy with its listener; it’s full of Grande’s conspiratorial giggles and whispered secrets.But it also contains a few new flourishes: theatrical, plucked strings that do not evoke grandeur so much as the creep of mischievous cartoon characters; unapologetically and sometimes humorously libidinous lyrics; and occasional slips of vulnerability that reveal the giddiness and anxiety of new love.[embedded content]As the follow-up to the record that subtly reframed Grande’s persona and release strategy, “Positions” has some big Gucci tennis shoes to fill. The implicit argument of “Thank U Next” — a less polished and more quickly made album that Grande put out less than six months after her more carefully orchestrated 2018 LP, “Sweetener” — was that the meticulously planned, reflexively world-toured Big Pop Album had become too slow and impersonal a delivery system for a digital-era pop star to express herself with any semblance of authenticity or timeliness. This was particularly true for Grande, now 27, who endured two life-changing events in the months after “Sweetener” came out: the death of her ex-boyfriend Mac Miller, and the dissolution of her engagement to the comedian Pete Davidson.“My dream has always been to be — obviously not a rapper, but, like, to put out music in the way that a rapper does,” Grande explained in a December 2018 interview, while she was working on the album. It was a winningly reformist approach if not an outright revolutionary one: to turn the pop record into something more like a mixtape than a multiplatform corporate product launch — all the better to swiftly deliver songs that could seem like status updates.With its text-speak song titles and air of relative idiosyncrasy, “Positions” continues in that direction. But it also gestures toward Grande’s earlier, more traditional past. Its R&B leanings (like the twinkling, ’90s-nostalgic closer, “POV,” or the understated “West Side,” which samples Aaliyah’s “One in a Million”) imagine a more mature update of Grande’s 2013 debut, “Yours Truly.” “Off the Table,” a slinky, searching duet with the Weeknd, even name-checks their collaboration from Grande’s pop 2014 breakout “My Everything”: “I can love you harder than I did before.”“Positions” is Grande’s sixth album.While “Thank U Next” emphasized hip-hop cadences, “Positions” largely finds Grande exploring her full vocal range, from those whistle notes to the low croon she employs on “Safety Net,” a moody ballad in which she trades verses with Ty Dolla Sign. Both the Weeknd and Ty Dolla Sign collaborations, though, feel more like demure throwbacks, and show that Grande hasn’t quite figured out how to update her approach to balladry with the same fresh, personable energy that enlivens her more upbeat tunes.She fares better with a house beat (as on the weightless highlight “Motive,” which features production by Murda Beatz, or the disco-inflected “Love Language”), which allows her to capitalize on one of her breathy voice’s greatest strengths: its uncanny ability to make a song feel like it’s hovering just a few inches off the ground. The sumptuous manifestation anthem “Just Like Magic” makes this Good Witch energy explicit. “Middle finger to my thumb and then I snap it,” she sings — a clever lyric in the way it thwarts expectation by moving from saucy to sweet.“Positions” isn’t quite the reinvention that “Thank U Next” was, but it continues Grande’s effort to make the mainstream pop album a looser, weirder and more conversational space. Some of the credit for that atmosphere should also go to Victoria Monet and Tayla Parx, two of Grande’s closest friends, who have been writing with her since “Yours Truly.” On Grande’s most distinct songs, their bestie chemistry is palpable.Many pop stars attempt to take their sound to the next level by making increasingly grand and bombastic big-tent statements. Grande has succeeded largely by doing just the opposite: turning her music into an atmosphere as intimate as her bedroom, a place where she’s sometimes entertaining a lover but just as often cracking goofy jokes with her closest friends.Ariana Grande“Positions”(Republic) More

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When speaking on Brian Koppleman’s The Moment podcast, the Tom Petty and the Heartbreakers guitarist admits he has always felt terrible his bandmate didn’t record his 1984 hit song.

Nov 3, 2020
AceShowbiz – Tom Petty’s longtime sideman Mike Campbell will always regret not going back to the Free Fallin’ singer after completing his “The Boys of Summer” demo, because he wanted his bandmate to have the biggest hit of 1984.
The guitarist created the tune and played a rough early demo to Petty and record label boss Jimmy Iovine, who passed on the track because it sounded too jazzy.
Convinced he had something special, Campbell made some alterations and, at Iovine’s suggestion, offered the tune to Eagles star Don Henley, who was working on the music that would make up his hit solo album “Building the Perfect Beast”.
Speaking on Brian Koppelman’s “The Moment” podcast, Campbell said he was crestfallen when Petty seemed underwhelmed by the track: “In Tom’s defence, when I got to the chorus, I went to a different chord…,” Campbell said. “He heard a slightly inferior version, and I remember when it went by, we were kind of grooving to it, and it got to that chord and Jimmy Iovine goes, ‘Eh, it sounds like jazz’… I was completely deflated.”

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Campbell felt sure Petty was “probably fed up” with the song and was busy working on his own music, and so when the idea to offer the song to Henley came up, he didn’t hesitate and they set up a meeting.
“It was just me and him,” Campbell added. “We sat at a big table. He sat at the other end like the judge, totally quiet and didn’t bat an eye – just listened with his eyes closed. And then he said, ‘OK, maybe I can do something with that.’ ”
Weeks later, Campbell received a call from the Eagles star: “He’s like, ‘Oh, I just wrote the best song of my life to your music,’ ” Campbell recalls.
Campbell and Henley then hit the studio together and recorded what was to become a monster hit around the world, but the guitarist has always felt terrible Petty didn’t record “The Boys of Summer”.
He also recalled the song coming on the radio while he and Petty were working on new music for Tom Petty & the Heartbreakers album “Southern Accents”, prompting his bandmate to note, “Boy, you know, you were really lucky with that. I wish I would have had the presence of mind to not let that get away.’ ”

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Findings from a test event with 1,200 attendees suggest that indoor concerts have a “low” impact on infection rates, providing they are well ventilated and follow hygiene protocols. More