Category Archives: Music

ASAP Rocky: Harlem Rapper Says Homophobia in Hip-Hop Is ‘Retarded’

ASAP Rocky

ASAP Rocky

Harlem rapper ASAP Rocky has been making power moves since dropping his LiveLoveA$AP mixtape last Halloween.

The videos for “Peso” and “Purple Swag” are nearing a combined eight million views and LiveLoveA$AP has proven so popular his record label has sent him back into the studio to re- record the whole thing professional-like.

Musically, the 23-year-old’s dexterous east coast-meets-Houston-chopped-‘n’-screwed vibe is proving to be a fresh new angle for hip-hop heads. What might be just as interesting is the man born Rakim Mayers’ willingness to question some of the macho standards of conventional hip- hop. Particularly when it comes to homosexuality.

“I don’t give a fuck about your business,” ASAP Rocky tells Spinner. “Man, if you’re gay we can be friends. If you’re straight, we can be friends. I’m not gay, I don’t plan on being gay, I don’t condone it and I’m not sayin’ I’m against it. I really don’t give a fuck and I don’t think anyone should care about what another man’s preference is… unless he’s interested, if you know what I’m sayin’.”

ASAP Rocky’s quick to point out that he’s an ardent heterosexual (he’s reportedly dating L.A. rapper Iggy Azalea). But it shouldn’t matter if he wasn’t.

“Who gives a fuck?” he continues. “I like women. I love women. I’m not going to not be your friend because you like men. As long as you’re a great person and, aside from that, y’know, you don’t bother me and make me uncomfortable, then let’s be friends, dude.

“It doesn’t matter. You don’t see people for being gay. People need to leave gay people the fuck alone. Like, who cares? If you still care about shit like that you need to just hang yourself like the rest of them KKK motherfuckers. For real. Who gives a fuck?”

What bothers ASAP Rocky most is that he figures things like homophobia are bad for his music.

“I’m not saying that hip-hop needs gay rappers or anything,” he says, “but they need to stop being so close-minded because that will just cause the genre to fail. Look at pop. Pop doesn’t discriminate against people. Look at Lady Gaga, y’know what I mean? Who the fuck makes the rules for hip-hop? Who the fuck dictates who’s cool and who’s not? Fuck you.”

ASAP Rocky figures there are better reasons to hate someone than who a person chooses to have sex with, and he feels hip-hoppers should be more accepting.

“[Hate a person] because they’re a thief or a bad person,” he says. “Don’t hate ’em for what they choose to do, because they make decisions on their own time what they choose to do. I don’t care and it’s like fucked up that hip-hop is so retarded. They don’t want to accept nothing.”

This story originally ran February 17, 2012 on Spinner.

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Beyonce Backs Ronda Rousey

Beyonce

Beyonce

Perhaps as a response to Taylor Swift’s uncomfortably vampiric need to bring famous women onstage as part of her concerts, the Queen B Beyonce recently shared a bit of gal power from the stage in Philadelphia with another strong woman — MMA fighter Ronda Rousey.

Now, Rousey didn’t actually appear on stage with Beyonce. But Beyonce used Rousey’s increasingly iconic “Do Nothing Bitch” speech to introduce her song “Diva.”

Sarah wrote about this natural coming together of elemental forces for Fightland.

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Sherlock Holmes’ Bartitsu Is A Thing At Music Festivals Now

Bartitsu

Bartitsu

Master detective Sherlock Holmes also happens to be the master of a fighting style called bartitsu.

This relatively unknown martial arts style is experiencing a moment right now, in part because it’s getting programmed at music festivals.

Sarah wrote about this emerging phenomenon for Fightland.

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Station To Station Is No Festival Express

Station To Station

Station To Station

In 2013 a guy named Doug Aitken made a weird art-freak train trip across the country in which people like Thurston Moore, Cat Power and Beck showed up to take part in the ride.

These events were then turned into a movie called Station To Station.

Sarah reviewed Station To Station for Consequence Of Sound.

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Graveyard – Innocence & Decadence (Album Review)

Graveyard - Innocence & Decadence

Graveyard – Innocence & Decadence

Buried deep at the end of Swedish rockers Graveyard’s fourth album Innocence & Decadence is the illuminating number, “Stay For A Song.” The song itself isn’t particularly special, a simple acoustic number that seems engineered specifically to work as the kick-off track for the band’s encore sets. But what happens during “Stay For A Song,” where Joakim Nilsson adopts the persona of a bow tie-loosened crooner pleading for the audience to stay for one more song, tells a much more important story about Innocence & Decadence. This Nilsson-as-a-singer as opposed to Nilsson, ringleader for some power rock vikings, is a strong current that runs through the entirety of Innocence & Decadence. This is Graveyard showing they’re more than just a pigeonhole-able stoner-doom band so much as they’re a rock ‘n’ roll band, and these 11 songs are their calling card.

The most effective example of the newer, broader visioned Graveyard comes on third track, “Exit 97.” It takes a couple listens to place it, but once you notice it, it’s unmistakable. It’s a classic soul belter, except in this case it’s not James Brown, on his knees, arms wide open, begging, pleading in “It’s a Man’s Man’s Man’s World,” or Screamin’ Jay Hawkins, wild-eyed and dangerously howling through “I Put A Spell On You.” It’s some white dude from Gothenburg doing his level best to channel both of their ghosts. And once you get past the fact Graveyard’s not trying to recreate the Sabbath’s “Killing Yourself To Live” you realize it’s pretty amazing. Likewise, “Too Much Is Not Enough,” complete with its female backup singers and raise-your-hand choruses, and the heartbreaker “Far Too Close” do nothing to dampen this soulman narrative.

That all said, Graveyard haven’t at all abandoned the propulsive mind-melt rock that got them to the show. It’s still all there. “The Apple And The Tree” is a particularly signature take on their cannonading sound with its fiery pace and working man blues lament. Equally spirited number “Can’t Walk Out” and its admonishment to “keep on dancin’ when the music dies” could be a Joy Division tribute if you squint and use your imagination. And “From A Hole In The Wall” may be closer to Motorhead minus Lemmy’s growl than any stoner rock labels that frequently typecast the band.

The result is an album that’s bolder, braver and broader than anything Graveyard’s done in the past and it makes Innocence & Decadence a worthy addition to the hard rock canon.

Watch “The Apple And The Tree”:

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