Jess Glynne sorry for transphobic slur – Music News



Singer Jess Glynne has apologised for using an “unacceptable” transphobic slur during a podcast interview last week.

The Hold My Hand hitmaker was chatting to comedian Mo Gilligan when she mentioned taking a friend to a “tranny strip club”, prompting outrage from gay rights activists, who took aim at the star over her choice of words.

One Twitter user urged Glynne to “just leave us out of your funny anecdotes”, adding, “we are not a laughing stock, we are human beings.”

Another wrote: “A slur that rolls out as easily as it did suggests that #JessGlynne doesn’t consider the t word a slur at all.”

The backlash prompted Glynne to release a statement online on Monday.

“I want to address my appearance on the @mothecomedian podcast, when a story I told caused massive and righteous offence,” the statement read. “Firstly, I want to say that I am wholeheartedly sorry.

“I know that in this case, sorry is not nearly enough, throughout my life I have made a lot of mistakes and what I have come to know is that the only benefit to making one is to learn from it. I didn’t want to simply put out a PR apology on social media because I know that I have caused offence and pain to the community that I love and have always wanted to support.

“To be in the knowledge that I have negatively impacted the community through my own ignorance has ripped out a piece of my heart. I know I needed to address my mistake head on and educate myself about an issue I was frankly ignorant of. The language that I used on the podcast was unacceptable… I am ashamed that I was unaware of the potency of the T-slur until now.”

She added: “Murders and attacks are commonplace in this community and safe environments are paramount. I now understand how insulting it was to see a clip of me and @mothecomedian laughing at a story which I should have known better than to tell and casually, thoughtlessly using a word that is a dehumanising, dangerous slur to so many.

“Today I have learnt something that I will carry with me for the rest of my life. I hope by using my platform to apologise I can also start the conversation and others may benefit from being educated by braver souls than myself…

“I do believe personal development never ends but we have to make a commitment to change and I will be taking some time to continue to grow.”



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Mötley Crüe’s ‘Time For Change’ Featured In Commercial For Delta Faucets


MÖTLEY CRÜE's 'Time For Change' Featured In Commercial For DELTA Faucets

MÖTLEY CRÜE‘s song “Time For Change” is featured in a new commercial for the Delta brand’s faucets, shower heads and other kitchen and bathroom accessories. Check it out below.

“Time For Change” is taken from MÖTLEY CRÜE‘s fifth studio album, “Dr. Feelgood”, which came out in 1989 via Elektra.

This is not the first time a MÖTLEY CRÜE song has found its way into a commercial. Two years ago, “Kickstart My Heart”, also from “Dr. Feelgood”, was featured in Planters‘s first-ever Super Bowl ad. In 2014, the same track could be heard in a commercial for the Dodge Charger.

MÖTLEY CRÜE‘s last studio album was 2008’s “Saints Of Los Angeles”, which was followed by a 2009 “Greatest Hits” compilation.

A tour film about MÖTLEY CRÜE‘s “farewell” shows, “The End”, came out in 2016, and a film adaptation of the band’s 2001 autobiography “The Dirt” arrived in March 2019.

MÖTLEY CRÜE‘s “The Stadium Tour” with DEF LEPPARD, POISON and JOAN JETT & THE BLACKHEARTS was originally scheduled to take place last summer but ended up being pushed back to 2021 due to the coronavirus pandemic which is sweeping the globe.

When it happens, “The Stadium Tour” will mark the CRÜE‘s first live dates since wrapping its 2014/2015 farewell tour. CRÜE toured with POISON back in 2011 and DEF LEPPARD teamed up with POISON for a string of road dates in 2017 — but the upcoming jaunt marks the first time all four acts have hit the road together for an extended tour.

Photo credit: Dustin Jack

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Watch Doja Cat do the silhouette challenge in ‘Streets’ video


Doja Cat has released the music video for her track ‘Streets’, taken from 2019 album ‘Hot Pink’.

READ MORE: Doja Cat – ‘Hot Pink’ review: the viral ‘Mooo!’ star proves she’s a mainstream rap contender

The video opens with a driver causing a traffic jam as he gets mesmerised by Doja as a mannequin in the window. Then, she pulls off her own rendition of the silhouette challenge as seen on TikTok, where she dances against a deep red light.

She also dances in the on top of a car in front of zombie-like men and pulls the aforementioned driver into her literal web among other dark scenes.

The viral challenge actually uses a mashup of ‘Streets’ and Paul Anka’s 1959 track ‘Put Your Head On My Shoulder’, contributing to the song’s recent popularity. This is just the latest instance of Doja paying homage to TikTok challenges in a video, after performing the viral choreography made to her song ‘Say So’ in its respective visuals.

Watch the video for ‘Streets’ below:

 

Despite being released in late 2019, ‘Streets’ marks the seventh song from ‘Hot Pink’ to receive a music video, following ‘Juicy’, ‘Rules’, ‘Bottom Bitch’, ‘Cyber Sex’, ‘Say So’ and ‘Like That’.

Prior to the rise in popularity of ‘Streets’ and its associated TikTok challenge, Doja Cat had actually sampled the same Paul Anka song in her 2018 track ‘Freak’, which received an official release on streaming services in August of last year.

As for the follow-up to ‘Hot Pink’, Doja revealed in September that it is apparently finished.

“It’s all ready. I hate that I’m holding on to it right now,” she said.

“…I see everybody is like, ‘Put it out, put it out’, and I’m like, ‘I would’, like, you have to plan things accordingly and there’s a lot going on.”

2021 has seen Doja Cat team up with a variety of collaborators, including Saweetie for ‘Best Friend’ and Ariana Grande with Megan Thee Stallion for a remix of ’34+35′.





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Hear the Title Track From Nancy Wilson’s Solo LP ‘You and Me’


Nancy Wilson has released the title track from her upcoming debut solo album, You and Me.

The song builds and swirls around acoustic guitar, with percussion, keyboard and vocal harmonies adding layers to the poignant track. Lyrically, “You and Me” is an ode to Wilson’s mother, Lois, and the influence she had on the singer’s life.

“This song is a song for women,” the Heart cofounder explained during a conversation with iHeartRadio. “It’s like a conversation in zero gravity with my mom, like when you’ve had a dream of your mom and she’s no longer of the Earth but you’ve felt like you got to hang out with her? That’s what this song is about.”

Lois died in 2006, but Nancy credits the matriarch for heavily influencing her and her, sister Ann.

“She was a steel magnolia of a woman,” Nancy said of her mom, “forceful and strong and nurturing and soft all at once. She said, ‘Follow your bliss. …Whatever makes you the most fulfilled, just follow that bliss.’ That’s what we did and we weren’t afraid of it.”

Listen to “You and Me” below.

The title track is the first original song unveiled from You and Me. Last fall, Wilson released her version of Bruce Springsteen’s “The Rising,” giving fans their initial taste of the upcoming LP. Other covers include renditions of Pearl Jam’s “Daughter,” the Cranberries’ “Dreams” and Simon & Garfunkel’s “The Boxer.” Original tracks include a song called “Party at the Angel Ballroom,” featuring Duff McKagan of Guns N’ Roses and Taylor Hawkins of the Foo Fighters, and “4 Edward,” an instrumental dedicated to Eddie Van Halen.

You and Me is due for release on May 7.

 





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A Misfits 7-Inch Vinyl Has Sold for Over $10,000


Vinyl is big business, especially if you’re a Misfits fan and a rare 7″ is going for over $10,000.

This in-demand platter was a limited release back in 1977 featuring the song “Cough / Cool” on the A-side with “She” as the B-side. Only 500 copies of the vinyl were pressed, but part of what is driving the demand is that this is the lone appearance of drummer Manny Martinez on a Misfits record.

Martinez was one of the first hirings of Danzig as he was putting together the Misfits and “Cough / Cool” was their first single. The Misfits, in this incarnation, featured Glenn Danzig on vocals and electric piano, Jerry Caiafa (whose name was misspelled on the record sleeve) on bass and Martinez rocking the drumkit.

As Caiafa’s name was misspelled, he would later asked to be billed as “Jerry, only Jerry” and eventually the stage name Jerry Only was born. Martinez’s stint was brief, with the band shortly replacing him with a drummer known as Mr. Jim.

Discogs, the online music marketplace, recently posted their wrap-up for the month of January, revealing that the largest amount of cash spent on a vinyl release during the month was the $10,877 price paid by a collector to own this Misfits rarity.

The song was recorded at Rainbow Studio in New York and as stated was limited to a run of just 500 copies.

You can see more of the most expensive items sold through Discogs for the month of January here.

See the Misfits in the Top 25 Punk Albums of All Time





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Daddy Yankee Nabs 36th Top 10 on Hot Latin Songs


As “#Problema” arrives at No. 9 on Hot Latin Songs, Yankee collects his 36th top 10 and extends his fourth-most collection of top 10s trailing Enrique Iglesias and Luis Miguel’s 39 and Bad Bunny’s 38. Yankee, likewise claims his 82nd entry on the chart and continues as the act with the third-most entries, behind Bad Bunny’s all-time record of 111 chart visits and Ozuna’s 94.

Meanwhile, his own “De Vuelta Pa’La Vuelta,” with Marc Anthony, holds tight at No. 10 on Hot Latin Songs for a second week, after its previous No. 6 debut and peak (chart dated Dec. 26, 2020).

Yankee will premiere “#Problema” on ABC as he will perform the song live Monday night (March 8) on Jimmy Kimmel Live! followed by a live performance Tuesday on Good Morning America. The tune’s first TV presentation could help boost the song’s sales and streams on next week’s chart.

“#Problema” was produced by Dímelo Flow, Slow Mike and BK and written by Yankee, Raphy Pina, Dímelo Flow, Slow Mike, Justin Quiles, IZZACK and BK.



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Women Underrepresented in Popular Music, New Study Finds


A new study from the University of Southern California’s Annenberg Inclusion Initiative reveals the bleak reality for women in popular music. The report—compiled by Dr. Stacy L. Smith, Dr. Katherine Pieper, Hannah Clark, Ariana Case & Marc Choueiti—sought to “assess the gender and race/ethnicity of artists, songwriters and producers across the 800 top songs from 2012-2019” (derived from the Hot 100 Year- End Billboard Charts). The researchers found that less than 23 percent of artists and less than 2 percent of producers were women.  

This year’s study generated the fourth annual report from the Annenberg Inclusion Initiative, which received funding from Spotify for the research. It also reviewed the Grammys’ five biggest categories—Record of the Year, Song of the Year, Album of the Year, Best New Artist, and Producer of the Year. And while the number of women nominees is trending upwards, the 9-year peak in 2021 represented only 28.1 percent of total nominees, and as recently as 2017 was a mere 6.4 percent. The Academy of Recording Arts and Sciences, who produces the awards show, hired its first-ever chief diversity and inclusion officer last year. 

Other trends include the divide between women solo artists (31 percent) and women in bands (7.3 percent), and between women artists in total (21.6 percent) and women songwriters (12.6 percent). Genre-wise, female artists were most prominent in pop (32 percent) while only 12.3 percent of hip-hop/rap songs performed by women. And while all-male writing teams were common (57.3 percent) less than 1 percent of songs had women-only writing credits. 

Artists of color fared better, making up 45.4 percent of performers in the 800 songs in the study. But the report determined that women of color were “invisible” as producers, with just eight of the 1,093 producing credits. 

Read “Why Are Women Underrepresented in Music? Look to the Ryan Adams Story” on the Pitch. 



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Bonnie Tyler credits Botox for helping her look younger – Music News



Bonnie Tyler has credited twice-yearly Botox sessions for helping her maintain her youthful appearance.

The 69-year-old singer consistently wows fans with her flawless facade, and told Britain’s The Sun newspaper that the paralysing injections have kept her wrinkles at bay.

“I’ve been having Botox twice a year, for many years, darling,” the Total Eclipse of the Heart star replied when asked how she stays looking so young. “I haven’t had the opportunity since the Christmas before last (due to the Covid-19 pandemic). But I’m doing all right. I’m quite fit for my age, thank God.”

Bonnie also told the publication that when it comes to her plans for the future, she intends to keep performing and making music for as long as possible.

“I’m never going to retire – look at Tom Jones,” she added. “He’s amazing. His voice is as strong as ever – and he’s got 10 years on me.”



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Chevelle Announces New Touring Bassist


CHEVELLE Announces New Touring Bassist

CHEVELLE drummer Sam Loeffler has revealed to the FM99 WNOR radio station that the band has secured a bass player for its upcoming shows in support of the recently released “Niratias” (Nothing Is Real And This Is A Simulation) album. “His name is Kemble Walters, and he plays in a band called ÆGES,” Sam said (transcribed by BLABBERMOUTH.NET). “And he’s actually the guitarist-singer in that band, but he plays bass in another band as well. And we just asked him. He’s a friend of ours; we’ve known him for many years and did lots of shows together. And we were, like, ‘Hey, man, we love you. We love your hair. Do you wanna come and play some shows?’ And he said ‘yes.’ So we’re gonna do that. And we’ll see how it goes. He’s a rad dude, so I’m sure it’ll be great — until he has to go and do his other projects again, or whatever he does. But it’s cool. It’s casual. And he’s great. He’s a great musician, and he’s a great bass player, and he’s a great guitarist. And he can sing. And he’s got really tight pants. So, we really like him.”

Sam also talked about the departure of longtime CHEVELLE bassist Dean Bernardini, who played his final shows with the band in December 2019. “He did it for 15 years and decided that he needed to be… His kids are now teenagers, and he needed to be home for a while,” the drummer said. “So, because of that, we have only rehearsed with [Kemble] once — well, twice, really. So we’re putting together setlists, working on that kind of thing, and sending music back and forth.

“It’s kind of an interesting time, because with putting out this album, we’ve been really busy,” he continued. “So starting probably next week, we’re gonna get back into just playing music again.

“It’s fairly depressing to play music knowing that you can’t go and do it. It’s one thing to go write music and play covers, but to play the music that you’re used to playing out in venues for years and years and years, it’s a little depressing — to know that you can’t do it. So we haven’t been doing that as much. Well, now we’re getting back into that. We have some shows at the end of June that we’re hoping happen — small festivals. So I think those will happen. That’d be good.”

Bernardini had been with CHEVELLE since 2005, even though 2007’s “Vena Sera” marked his first studio recording with the band.

“Niratias” was released on March 5. The disc was recorded throughout 2019 and 2020 with longtime producer Joe Barresi (TOOL, QUEENS OF THE STONE AGE), CHEVELLE. The cover artwork was created by Boris Vallejo. The famed and award-winning artist is responsible for the posters used for films like “Knightriders” and “National Lampoon’s Vacation”, as well as iconic 1970s and 1980s science fiction novel covers and magazines (such as Heavy Metal).

“The North Corridor” debuted at No. 8 on the Billboard 200 album chart and produced a No. 1 Mainstream Rock single, “Joyride (Omen)”.

The band’s album of rarities from 2002-2016, “12 Bloody Spies: B-Sides And Rarities”, was released in October 2018 via Epic.

Photo credit: Joseph Cultice

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Skullcrusher announces new EP ‘Storm in Summer’


Skullcrusher, the project of Helen Ballentine, has announced a new EP, ‘Storm in Summer’, due out next month.

The five-track EP will arrive on April 9 through Secretly Canadian and also include Skullcrusher’s previously released single ‘Song For Nick Drake’. To coincide with the announcement, Ballentine has released the EP’s title track, along with a music video by Silken Weinberg and Angela Ricciardi.

Watch the music video for ‘Storm in Summer’ below:

In a statement, Ballentine explained that she wrote the new single after releasing her last EP.

“Over that summer I thought a lot about what it means to really put myself out there and share something personal. I felt so vulnerable and overwhelmed by the fact that these songs I had written in private were exposed and likely being misinterpreted or disliked,” she said.

“I think the song really tries to communicate these anxieties in a cathartic way while also leaning more into the beauty of relinquishing part of myself.”

Skullcrusher released her debut self-titled EP back in July. In a four-star review from NME, the record was described as “tender campfire folk primed for success in indie’s delicate ecosystem”.

Skullcrusher’s ‘Storm in Summer’ EP tracklist:

1. ‘Windshield’
2. ‘Song For Nick Drake’
3. ‘Steps’
4. ‘Storm In Summer’
5. ‘Prefer’





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