NEWS ROUNDUP: Killer Mike’s NRA Interview, New R. Kelly Doc & More

NEWS ROUNDUP: Killer Mike, R. Kelly & More

By Jasmine Williams

Killer Mike ❤’s the NRA

While country musicians are distancing themselves from the National Rifle Association, the pro-gun lobby is getting support from an unlikely ally – Killer Mike. As half of explosive rap duo Run The Jewels the musician has never been known for his subtlety; however, he still managed to catch his fans off-guard earlier this week when he was the featured subject of an NRA interview. The NRATV segment was broadcast on March 22nd, two days before the March for Our Lives. During the 42-minute Q&A, Mike backs up the NRA, criticizes student gun-reform activists and attempts to link civil rights to the right to bear arms.

To be fair, Killer Mike has defended black gun ownership in the past so his arguments weren’t completely new and he did bring up some interesting points about the disparity in the treatment of black versus white activists. However, to choose NRATV to air his opinions was confusing and unacceptable to many; critics pointed out that his partnership with the gun lobbyists undermines some of the core arguments he makes in the interview. In fact, one of the only times that the NRA backed gun reform was in 1967 when it helped get the Mulford Gun Ban Act through. The law banned the open carrying of guns in California. It’s not a coincidence that the act was passed during the same period that the Black Panthers were rising to prominence.

Killer Mike has since apologized for some of his statements and the timing of his interview.

Is R. Kelly the Harvey Weinstein of the music industry?

Compared to the movie industry, the music world has been slow to catch onto the #MeToo movement. Case in point? R. Kelly. For years we’ve known that the R&B hitmaker was a sexual predator. He supposedly married Aaliyah at the ripe old age of fifteen and has since been accused of myriad forms of sexual abuse, starting a cult, and holding women at his home against their will. Recently released BBC documentary, R . Kelly: Sex, Girls and Videotapes has added more disturbing allegations to the musician’s list. The film features interviews with ex-girlfriend Kitti Jones, who describes how she was forced to engage with Kelly and others in a “sex dungeon” and his disturbing practice of “grooming” underaged girls.

Kelly has paid various court settlements to women over the years but has yet to be convicted of any crimes. He is currently on tour.

In other shitty-men-in-the-music-industry news: Charlie Walk is officially out at Republic Group. The record executive is the subject of an ongoing sexual misconduct investigation.

That New New:

Next month the Tribeca Film Festival will screen a new Patti Smith documentary. Horses: Patti Smith and her Band features the final concert of her 2016 tour which honored the 40-year anniversary of her 1975 album. Garbage will also celebrate an impressive milestone with a new-old release. The 20th anniversary of the band’s sophomore album, Version 2.0, will be commemorated with a reissue of the album on June 22nd.

Soul, psych, chill-out queen, Kadhja Bonet released a new track, “Mother Maybe.” It’s the first single off of her upcoming album, Childqueen, out June 8th.

Frankie Cosmos has a new album out this weekend. Vessel is Greta Kline’s third LP.

Phoenix, Real Estate, Nils Frahm, Ty Segall, and Cut Copy have all announced new tour dates.

The festival lineup for the Brooklyn edition of Afropunk is here! Erykah Badu, Miguel, The Internet, Janelle Monae, Ibeyi and many more will play Commodore Barry Park on August 25th and 26th.

A Tribe Called Quest has released their final video. Erykah Badu, Questlove, Common, Janelle Monae and many more guests pop up in “The Space Program,” an eight-minute Afro-futuristic journey that celebrates the seminal hip-hop group’s history while maintaining Tribe’s usual dose of political commentary. Audiofemme faves, Wax Idols, also have a new video out. Watch Mausoleum here and look out for their upcoming album, Happy Ending, out May 16th.

For more new music clips, check out Desdemona Dallas’ new Audiofemme column, Video of the Week.

More Music News:

  • At the beginning of this week, Chance The Rapper put attention on an incredibly racist advertisement for Heineken Light and brought up an interesting point by tweeting “I think some companies are purposely putting out noticeably racist ads so they can get more views.” He might be right – in this age of increasing political correctness and social media sharing, cultural controversies often go viral. Maybe advertisement firms are using this as a strategy; after all, no one has ever touted the industry for its upstanding morality. Heineken has since pulled the commercial but on Thursday, the beer company’s stock was up.
  • On Monday, The Associated Press reported that a toxicology report from Prince’s death reveals that he had an “exceedingly high” concentration of fetanyl in his body. The synthetic painkiller is 50 times more powerful than heroin and is a key facet of the current opioid crisis in the United States. The investigation in to the music legend’s passing remains open.
  • The Bushwick building that hosts soon-to-close venue, Silent Barn, may become the headquarters of Educated Little Monsters. ELM is a “local grassroots youth program and movement dedicated to providing artistic outlets and economic opportunity to native-Brooklyn youth of color.” The organization has launched a fundraiser to raise $50,000 to take over the space. Read ELM’s full statement and donate here.

FESTIVAL REVIEW: Highlights from FYF 2017

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Missy Elliott tweeted this selfie with Bkörk after their FYF headlining sets, calling the Icelandic singer “legendary.”

City festivals are always a little tougher on the spirit (and the feet) than their grassy, lets-camp-by-the-lake cousins. FYF may not have Coachella’s lush grass or Bonnaroo’s rowdy camping, but the lineup is always strong, and this year was no exception. Event organizers added a third day this year, a fact I was reminded of often (by people who do not consider three days a cake walk). There were a few disappointments (I could write a dissertation on the length of time Missy Elliot was actually on stage during her set), but the standouts for this fest were mainly classic acts, with a few surprises from up-and-coming stars.

Anderson Paak & the Free Nationals sweat out the small stuff. 

On the way out of the festival, before we hit a street that looked Lyft-capable, our group unanimously agreed that Anderson Paak & the Free Nationals killed it. Some might even say they were better than fireworks. The set was tight and intense, mirroring the ferocity of Paak’s drumming. Paak once described the dynamics of a great performance saying “people are going to a show and they want you to give them life, and in return they’re gonna have a moment.” They may not be a classic yet, but it was honor seeing them well on their way.

Björk danced with the birds.

The last time I saw Björk, she was performing during the heat of the day at Bonnaroo and I was not digging it; I left the show to find greener grasses. This year, however, my cynicism was short-lived. Backed by an orchestra and dressed in colorful layers of fabric that mimicked the feathers of a male bird, Björk impressed at every turn, her performance visceral and commanding.

A final bow from A Tribe Called Quest.

“This is our final performance here in L.A. as Tribe, obviously because Phife Dawg, our anchor, has been called to another mission,” Q-Tip announced Saturday to the crowd. The remaining members of Tribe (Q-Tip, Jarobi White and Ali Shaheed Muhammad) are in mourning, but their performance was not a dirge – it was a tribute. It was a greatest hits kind of night, with the band rocketing through “Can I Kick It?” “Buggin’ Out” and “Check the Rime” before ending on “We The People.”

Iggy Pop left his shirt at home. 

Iggy Pop doesn’t give a shit if you think he looks old. I heard quite a few rumblings about Iggy’s lack of shirt throughout the performance, but honestly, who cares? Iggy Pop obliterated his set. He cocked his hips, he licked his lips, he sidled up to the front of the stage and screamed into the roaring crowd. “Lust For Life” was an obvious highlight. I enjoyed seeing kids hopping up and down on their parents shoulders. A pregnant woman sipping an iced coffee weaved through the crowd, a sideways smile on her face as the music blared. Iggy paused for a moment, a rock legend showin’ his stuff.

Soul searching with Solange

Solange brought the pageantry, the style, and the soul to FYF. “I want y’all to sing it away,” she commanded the crowd, in that fluttery, soft voice of hers. Along with her 8-piece band and dancers, Solange dressed all in red. Choreographed micro-movements throughout the show acted as punctuation marks: a hand flick, a hurried body stopping suddenly, an arched head, gazing up at the sky. A Seat At The Table is an important album for Solange, it marks her maturity as an artist, as 2012’s True marked her maturity as a woman. By the end of the show, Solange brought a fleet of musicians onstage; the set glowed red as the final notes of “Losing You” played. A collective sigh of appreciation fell around me.

Nine Inch Nails confronts the world.

I’ve always been a little intimidated by Nine Inch Nails. When I saw they would be closing out FYF, I wasn’t sure what kind of feeling that would leave me with. After a weekend on the concrete, sipping beer, chilling out to Erykah Badu and Angel Olsen, would I want to check out feeling angry and morose? Trent Reznor said the band had been “hiding out and watching the world go crazy” since they last performed live three years ago. In a world gone mad, it did feel good hearing Trent Reznor scream. The crowd screamed back in unison and a feeling of unity washed over me. The performance was short, intense, ultimately cathartic for all involved.

Our Lyft driver played trance music on ride back to Venice. It was a nice, sleepy way to get home. My mind was full of dancing birds and the lyrics to “Get Ur Freak On.” Unlike Coachella or Bonnaroo, I didn’t leave feeling burnt out; I left FYF Fest feeling refreshed, feeling ready to fight another day.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

NEWS ROUNDUP: Yoko Ono, A Tribe Called Quest & More

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  • Read This: Musicians Pay Tribute To Yoko Ono

    Let’s settle this once and for all, guys: Yoko Ono didn’t break up the Beatles. Even she wasn’t coasting on the coattails of John Lennon’s success, she was creating radical art before she ever met him. Now that we’ve gotten that out of the way, some news: The Yoko Ono Reissue Project will be releasing the musical projects she created from 1968 to 1985. Want to understand how big of an influence she was on some of your favorite musicians? Read what they have to say about Yoko Ono, via Pitchfork.

  • A Tribe Called Quest Release New Album, Video

    We Got It From Here is the group’s first album in 18 years and features appearances by Jack White, Anderson Paak, Kendrick Lamar, Elton John. Continuing a tragic theme of 2016, the record was finished soon after founding member Phife Dawg’s death earlier in the year. The rapper comes to life in ATCQ’s new video for “We The People” as an animation; check it out below. 

  • New Collaboration by Parquet Courts/WALL/Merchandise

    Members of Parquet Courts (Austin Brown), WALL(Sam York) and Merchandise(Carson Cox) have teamed up on a gloomy disco track called “Fire Dance.” Squeaky synths and sparkling, haunting melodies decorate the track, which Carson describes as “an ode to downtown New York” and speaks of “lost memories.” Listen below:

  • Read This, Too: The Oral History of the Space Jam Song

    If you’re between the ages of 23 and 30, chances are you loooooved the movie Space Jam when you were in elementary school. It had everything: Basketball! Looney Toons! Michael Jordan acting in front of a green screen! I know I did (kids are weird), and it was mostly because of the soundtrack: “I Believe I Can Fly” Seal’s “Fly Like An Eagle,” and of course, the Space Jam Theme song. Even now, it will randomly get stuck in my head for no reason at all. Read the history of the song here, via Spin.