Skip navigation

Monthly Archives: October 2018

The streaming service is a decade old on Sunday. So has it created a post-CD paradise for listeners or turned todays music into a grey goo? Our music editors argue for and against

The case for Spotify

The year is 2008. Now Youre Gone by Basshunter has spent its fifth week at No 1 and you cant get enough of it. Your options are as follows: head to the shops and buy the single on CD, which doesnt feel very on-demand; buy it as a download, the quality of which is as flimsy as Basshunters subsequent career; navigate through a labyrinth of occasionally pornographic popups to download it illegally; or sit through Scouting for Girls five times until it comes on the radio.

Ten years on, Spotify has erased these costly or frustrating scenarios. You can instantly access not just Now Youre Gone, but deep cuts from Basshunters oeuvre such as From Lawnmower to Music or his oft-overlooked Christmas single Jingle Bells (Bass). And, indeed, the majority of popular music made by anyone ever.

The result is musics most radically democratic era. While adverts between songs jarringly juxtapose the beauty of art with the brutality of capital, it is at least free to listen to them. Thanks to Spotify and YouTube, no one with internet access 90% of the UK needs to pay for music, an important and seismic shift from the vinyl, CD and download eras when, for many people, music ownership was a luxury or treat. For 9.99 the going price of one newly released CD album in 2008 you can have uninterrupted access for a month.

The Spotify logo on the facade of the New York Stock Exchange, as it celebrated its stock exchange listing in April 2018. Photograph: Reuters

You can already hear the effects of this democracy on music itself. The global profile of non-Anglophone pop has risen, from K-pop band BTS to Puerto Rican star Daddy Yankee, in part thanks to this levelled playing field; the multicultural hybrid music of stars such as Stefflon Don feels like the natural result of a culture that can access anything, anytime. Critics point out that you dont own the music you pay Spotify for, but effectively rent it, although the ownership of digital files was always pretty illusory and underwhelming anyway and, as anyone who has tried to copy a library of iTunes files from one device to another, a teeth-gnashing faff. As the parallel demise of Blockbuster Video and, er, print media shows, most people value convenience over physicality when it comes to film, news and music. It can also be argued that Spotifys quality is lower than that of a CD, which is true, and the muso in me trembles to think how many people are listening to Spotify on its low, data-preserving quality, which sounds as if the songs have been irradiated. But its 320kbps high quality setting will satisfy all but the most sensitive listener.

Spotify speaks to this silent majority of music fans. Audiophiles, object fetishists, anti-capitalists, musicians these groups noisily protest Spotify, but are marginal compared with the number of ordinary listeners, who never read the liner notes in the first place. For many people, music is just for mood, something to work, exercise or have sex to situations that Spotify usefully caters to with playlists such as Productive Morning, Extreme Metal Workout and 90s Baby Makers.

It is a badge of pride for musos to say that Spotifys machine-learning algorithms when you listen to a track and it recommends things you might also like dont cover their cosmopolitan taste. But there are plenty more people who have relatively narrow taste, for whom in a world where not everyone has the time or inclination to read up on new music this kind of recommendation is really cherished. And if you do happen to have catholic taste, or fannish obsession, there are some very deep back catalogues to go down (even, should you so desire, Basshunters). There are debates to be had over revenue sharing and the acts it chooses to promote, but Spotifys free, total access makes it essentially utopian. Ben Beaumont-Thomas

The case against Spotify

If I compiled the off-record remarks from my interviews over the past decade, the majority would concern Spotify namely how much artists hate it. Please dont put that in, they panic after slagging it off. I really need it to support my new album. And they do: Spotify is a kingmaker.

After the early 2000s doldrums, the recent music industry revenue boom is thanks to the rise in streaming. It is well known that artists dont see much of this. Spotifys royalty rate is notoriously low. The top 10% of artists dominate 99% of streams as Ed Sheeran getting 16 tracks in the Top 20 after the release of showed. Still, Spotifys patronage putting artists in its powerful playlists, which drive streams is crucial. Musicians cant afford to complain.

Spotifys CEO, Daniel Ek, speaking in New York in March 2018. Photograph: Ilya S Savenok/Getty Images for Spotify

At a relatively affordable 9.99 a month for an ad-free subscription, Spotify benefits the consumer more than the artist superficially. Its exploitative relationship with musicians has trickle-down effects. The most basic is that any artist who cant afford to make music is not going to be making much more of it or they will have to tour for longer (costing their health and creativity) and find alternative revenue streams to survive. But just as musicians realised they couldnt afford to be sniffy about selling out, after the puritanical 90s, Spotify undermined that undesirable alternative, too. As critic Liz Pelly writes in an essay for the Baffler, brands dont have to pay to use songs on adverts if they want to piggyback an acts cred they can put them on branded playlists without asking permission or paying a penny.

Setting aside the issue of money, these playlists have fundamentally changed the listening experience. Spotify prides itself on its personalised recommendations, which work by connecting dots between data points assigned to songs (from rap, indie, and so on, to infinite micro-genre permutations) to determine new music you might like. Its model doesnt code for surprise, but perpetuates lean-back passivity. There is no context on the platform, merely entreaties to enjoy more of the same: You like bread? Try toast!

It limits music discovery and the sound of music itself. Singles are tailored to beat the skip-rate that hinders a songs chances of making it on to a popular playlist: hooks and choruses hit more quickly. Homogenous mid-tempo pop drawing from rap and EDM has become dominant: New York Times pop critic Jon Caramanica regularly disparages this sound as Spotifycore.

The algorithm pushes musicians to create monotonous music in vast quantities for peak chart success: hence this years tedious 106-minute Migos album, Culture II, and Drakes dominance. Add in Spotifys hugely popular artists with no profile outside the platform, widely assumed to be fake artists commissioned by Spotify to bulk out playlists and save on royalties, and music appears in danger of becoming a kind of grey goo.

Spotify looks like a neutral platform but behaves like a gatekeeper. It faced a backlash this year after censoring R Kelly and XXXTentacion for their alleged acts of violence against women (only to grossly promote XXX after his murder). Why were only black men censored when many white male rockstars have violated women?

It continually perpetuates such inequality: a report by Pelly found that despite the woke optics of playlists like Feminist Friday, women are underrepresented on its most popular playlists. (Meanwhile, Drake benefited from Spotifys first global artist takeover, his face and music appearing on every editorialised playlist when he released this years Scorpion.) These function as echo chambers, popularity begetting more support, the antithesis of musical democracy.

Look: I pay my 9.99 a month. I use Spotify to make playlists for friends weddings and to compile 80s curios I discover on TOTP reruns. The genie isnt going back in the bottle. But we can be responsible listeners (I buy albums I listen to more than five times) and hold Spotify to account because the people it is meant to benefit cant. Any platform that intimidates the creators that underwrite its business is truly dystopian. Laura Snapes

Read more:


Jeremy Renner can sing! And he’s actually good! Really good!

The Avengers actor is featured on DJ/producer Sam Feldt‘s new song – and that’s really good too!

Heaven (Don’t Have A Name) is that big EDM sound that Avicii made so popular!

It’s ear candy!

And love all the choices Renner made! He’s not just singing! He’s song styling!

Check it out above!

Then CLICK HERE to listen to more music from Sam Feldt!

Read more:

On Tuesday, Tencent Music Entertainment filed for an IPO in the US that is expected to value it in the $25-30 billion range, on par with Spotify’s IPO in April. The filing highlights just how different its social interaction and digital goods business is from the subscription models of leading music streaming services in Western countries.

That divergence suggests an opportunity for Spotify or one of its rivals to gain a competitive advantage.

Tencent Music is no small player: As the music arm of Chinese digital media giant Tencent, its four apps have several hundred million monthly active users, $1.3 billion in revenue for the first half of 2018, and roughly 75 percent market share in China’s rapidly growing music streaming market. Unlike Spotify and Apple Music, however, almost none of its users pay for the service, and those who do are mostly not paying in the form of a streaming subscription.

Its SEC filing shows that 70 percent of revenue is from the 4.2 percent of its overall users who pay to give virtual gifts to other users (and music stars) who sing karaoke or live stream a concert and/or who paid for access to premium tools for karaoke; the other 30 percent is the combination of streaming subscriptions, music downloads, and ad revenue.

At its heart, Tencent Music is an interactive media company. Its business isn’t merely providing music, it’s getting people to engage around music. Given its parent company Tencent has become the leading force in global gaming—with control of League of Legends maker Riot Games and Clash of Clans maker Supercell, plus a 40 percent stake in Fortnite creator Epic Games, and role as the top mobile games publisher in China—its team is well-versed in the dynamics of in-game purchasing.

At first glance, the fact that Tencent Music has a lower subscriber rate than its Western rivals (3.6 percent of users paying for a subscription or digital downloads vs. 46 percent paying for a premium subscription on Spotify) is shocking given it has the key ingredient they each crave: exclusive content. Whereas subscription video streaming services like Netflix, Hulu, and Amazon Prime Video have anchored themselves in exclusive ownership of must-see shows in order to attract subscribers, the music streaming platforms suffer from commodity content. Spotify, Apple Music, Amazon Music, YouTube Music, Pandora, iHeartRadio, Deezer… they all have the same core library of music licensed from the major labels. There’s no reason for any consumer to pay for more than one music streaming subscription in the way they do for video streaming services.

In China, however, Tencent Music has exclusive rights to the most popular Western music from the major labels. The natural strategy to leverage this asset would be to charge a subscription to access it. But the reality is that piracy is still enough of a challenge in China that access to that music isn’t truly “exclusive.” Plus while incomes are rising, there’s extraordinary variance in what price point the population can afford for a music subscription. As a result, Tencent Music can’t rely on a subscription for exclusive content; it sublicenses that content to other Chinese music services as an additional revenue stream instead.

“Online music services in China have experienced intense competition with limited ability to differentiate by content due to the widespread piracy.” Tencent Music, SEC Form F-1

This puts it in a position like that of the Western music streaming services—fighting to differentiate and build a moat against competitors—but unlike them it has successfully done so. By integrating live streams and social functionality as core to the user experience, it’s gaining exclusive content in another form (user-generated content) and the network effects of a social media platform.

Some elements of this are distinct to Tencent’s core market—the broader popularity of karaoke, for instance—but the strategy of gaining competitive advantage through interactive and live content is one Spotify and its rivals would be wise to pursue more aggressively. It is unlikely that the major record labels will agree to any meaningful degree of exclusivity for one of the big streaming services here, and so these platforms need to make unique experiences core to their offering.

Online social activities like singing with friends or singing a karaoke duet with a favorite musician do in fact have a solid base of participants around the world: San Francisco-based startup Smule (backed by Shasta Ventures and Tencent itself) has 50 million monthly active users on its apps for that very purpose. There is a large minority of people who care a lot about singing songs as a social experience, both with friends and strangers.

Spotify and Apple Music have experimented with video, messaging, and social streams (of what friends are listening to). But these have been bonus features and none of them were so integrated into the core product offering as to create serious switching costs that would stop a user from jumping to the other.

The ability to give tips or buy digital goods makes it easier to monetize a platform’s most engaged and enthusiastic users. This is the business model of the mobile gaming sector: A minority percentage of users get emotionally invested enough to pay real money for digital goods that enhance their experience, currency to tip other members of the community, or access to additional gameplay.

As the leading music platform, it is surprising that Spotify hasn’t created a pathway for superfans of music to engage deeper with artists or each other. Spotify makes referrals to buy concert tickets or merchandise —a very traditional sense of what the music fan wants—but hasn’t deepened the online music experience for the segment of its user base that would happily pay more for music-related experiences online (whether in the form of tipping, digital goods, special digital access to live shows, etc.) or for deeper exposure to the process (and people) behind their favorite songs.

Tencent Music has an advantage in creating social music experiences because it is part of the same company that owns the country’s leading social apps and is integrated into them. It has been able to build off the social graph of WeChat and QQ rather than building a siloed social network for music. Even Spotify’s main corporate rivals, Apple Music and Amazon Music, aren’t attached to leading social platforms. (Another competitor, YouTube Music, is tied to YouTube but the video service’s social features are secondary aspects of the product compared to the primary role of social interaction on Facebook, Instagram, and WhatsApp).

Spotify could build out more interactive products itself or could buy social-music startups like Smule, but Tencent Music’s success also suggests the benefits of a deal that’s sometimes speculated about by VCs and music industry observers: a Facebook acquisition of Spotify. As one, the leading social media company and the leading music streaming company could build out more valuable video live streaming, group music sharing, karaoke, and other social interactions around music that tap Facebook’s 2 billion users to use Spotify as their default streaming service and lock existing Spotify subscribers into the service that integrates with their go-to social apps.

Deeper social functionality doesn’t seem to be the path Spotify is prioritizing, though. It has removed several social features over the years and is anchoring itself in professional content distribution (rather than user-generated content creation), becoming the new pipes for professional musicians to put their songs out to the world (and likely aiming to disrupt the role of labels and publishers more than they will publicly admit). To that point, the company’s acquisitions—of startups like Loudr, Mediachain, and Soundtrap—have focused on content analytics, content recommendation, royalty tracking, and tools for professional creators.

This is the same race its more deep-pocketed competitors are running, however, and it doesn’t lock consumers into the platform like the network effects of a social app or the exclusivity of a mobile game do. It recently began opening its platform for musicians to add their songs directly—something Tencent Music has allowed for years—but this seems less like a move to a YouTube or SoundCloud-style user-generated content platform and more like a chess move in the game of eventually displacing labels. Ultimately, though, building out more social interaction around music will be critical to it in escaping the race with Apple Music and the rest by achieving more defensibility.

Read more:

Read more:

Lindsey Buckingham sang “Go Your Own Way” with Fleetwood Mac, but he’s not happy that the band actually made him do that.

Buckingham announced on Friday that he is suing his former bandmates for kicking him off the group’s new tour, according to The Hollywood Reporter.

The rock legend said his manager told him in January that the band had decided to tour without him, but that none of his bandmates bothered to explain why.

Buckingham wants bandmates Mick Fleetwood, Stevie Nicks, Christine McVie and John McVie to pay him his full share of tour revenues because he still wants to be in the group.

The 69-year-old Buckingham said he agreed to do 60 shows with the band, but asked if the 2018 dates could be postponed so he could do a solo tour.

When the request was refused, he claims, Buckingham rescheduled the solo dates only to be told he was terminated anyway, according to People.

He has been replaced on the tour by former Tom Petty and the Heartbreakers guitarist Mike Campbell and Neil Finn of Crowded House fame.

Buckingham speculated to Rolling Stone earlier this week that Stevie Nicks was behind the termination.

Two nights before he was canned from Fleetwood Mac, Buckingham and the others performed in New York at a MusiCares benefit show honoring the group.

“We rehearsed for two days, and everything was great,” Buckingham said. “We were getting along great.”

However, Buckingham said group manager Irving Azoff later told him that Nicks was angry that he had an issue with the band walking on stage to her song “Rhiannon,” and that he “smirked” during her thank-you speech.

“It wasn’t about it being ‘Rhiannon,’ ” Buckingham said. “It just undermined the impact of our entrance. That’s me being very specific about the right and wrong way to do something.”

He also didn’t confirm or deny the smirk.

“The irony is that we have this standing joke that Stevie, when she talks, goes on a long time,” Buckingham says. “I may or may not have smirked. But I look over and Christine and Mick are doing the waltz behind her as a joke.”

Fleetwood Mac publicist Kristen Foster said in a statement Friday that the band denies all of Buckingham’s allegations.

“Fleetwood Mac strongly disputes the allegations presented in Mr. Buckingham’s complaint and looks forward to their day in court,” Foster said. “The band has retained Dan Petrocelli to handle the case.”

Read more:

Billy McFarland, leaving federal court after pleading guilty to wire fraud charges in March.
Image: Mark Lennihan/AP/REX/Shutterstock

Remember the disaster that was the Fyre Festival? Well, its founder, 26-year-old Billy McFarland, was sentenced to six years in prison and ordered to pay $26,182,386 on Thursday.

McFarland was found guilty of multiple counts of fraud that included the Fyre Festival debacle in which he scammed his investors out of $26 million, according to a Vice News report.

Hundreds of millennials traveled to the Bahamas in April of 2017 to attend the Fyre Festival. Once there, it was clear they had been duped out of the experience promised by McFarland and his numerous celebrity endorsers—Ja Rule, Bella Hadid, Kylie Jenner—as a part of his elaborate ticket scam. Tickets to the festival were sold for $450 to over $12,000.

Here’s a little taste of what attendees endured:

“The remorse I feel is crushing,” McFarland said during his sentencing, according to Vice News. “I lived every day with the weight of knowing that I literally destroyed the lives of my friends and family.”

McFarland’s legal team asked for leniency during his sentencing as he was recently diagnosed with bipolar disorder, claiming he wasn’t fully aware of his wrong doings. Judge Naomi Buchwald remained unconvinced, and said that the diagnosis was not an excuse for his past actions.

McFarland pleaded guilty to two counts of wire fraud in March related to his Fyre Festival scamming, according to Business Insider. In June he was arrested for another ticket scam: NYC VIP Access, where he sold people $150,000 worth of fake tickets to events, like the Met Gala and the Victoria’s Secret Fashion Show.

In July, two Fyre Festival attendants won a $5 million lawsuit against McFarland. He is also in the midst of a multi-million class action lawsuit filed by multiple ticket holders, according to Vice. 

It’s unclear if McFarland has any of the funds left to pay back these large sums of money. 

Seems like McFarland hasn’t seen the last of the court room, yet.

Read more:

As you’ll probably remember, Daily Mail report was published over the weekend that flat out said Michael Buble was retiring from show business after dealing with his son’s cancer battle the last few years.

But, alas — don’t worry, y’all! It’s #FakeNews — and Buble is pressing on with showbiz all the same!

Related: Buble’s A Christmas Staple!!

A rep for the singer was adamant in telling TODAY that the singer is NOT retiring, saying, well, just that in a statement (below):

“He is NOT retiring. Definitely not.”

Sounds pretty definitive!!

But the 43-year-old Buble himself took it a step further, showing this week that he’s not only been able to laugh off the retirement rumors, but he’s also having some fun with them!

Speaking on SiriusXM‘s Fantasy Sports Radio show over the weekend, Buble laughed about the report, and told co-hosts Mike Dempsey and Bob Harris (below):

“Just consider the source—that’s all I say to people. My buddies wrote me. I said, ‘Look at who said it.’ C’mon, are you kidding me? I need the money. I’m not going anywhere.”


Love the humor!!

And very grateful about the NON-retirement news!!

[Image via WENN.]

Read more:

Image copyright Hannah Jones

The venue, food and drink, music, the dress, hair and make-up… a happy couple’s checklist can go on and on.

And Princess Eugenie has added another factor into the equation – her wedding has to be plastic free.

The Queen’s granddaughter, who is marrying Jack Brooksbank on 12 October, told British Vogue that the couple’s house was anti-plastic and “Jack and I want our wedding to be like that as well”.

So how realistic is it? As Lindsay Miles discovered, there are quite a few things to take into consideration.

It’s just one day, why bother?

“A wedding is such a significant day that it’s even more important to be true to your values than on any other day,” says Lindsay.

“You can’t go back on your values just because you’re getting married.”

Lindsay, 36, a writer from Kent, and her Australian husband Glen, 38, first tried living without plastic in 2012.

What started out as a month-long challenge has turned into a way of life for the pair, who live in Perth, Western Australia.

“I’m more the driver than he is but we both got involved at the same time,” she says. “I’m the one that puts in more work but he agrees with all the values.”

So going plastic free for their wedding, in 2014, was a no-brainer.

Where to start?

Image copyright Hannah Jones

Plastic finds its way into weddings in many forms: food storage, drink packaging, decorations, flower delivery – that’s just the start.

For Lindsay, who blogs about living without waste, trying to make her special day plastic free came first ahead of any other wishes.

“We said we want to be plastic free ‘how can we do that’, rather than saying, ‘We want to have roses, we want to have canapes, can we do that plastic free?'”

They wanted “memorable” but didn’t want to break the bank.

Simplicity was also key. “For me, simple means no fuss – and devoting whole weekends to projects was out,” says Lindsay.

Image copyright Hannah Jones

Involving suppliers from the outset was the most effective way of making the plastic-free magic happen, she says.

“It’s really about having conversations with people and explaining why you want to do it. People are willing.”

But it is also about taking matters into your own hands.

“If you get stuff delivered to you, that’s when it comes in packaging. For us, it was making sure on the day – we went to all the deli, the bakery et cetera because that way we could guarantee there was no packaging.”

Eco wedding – how they did it

Image copyright Hannah Jones/Lindsay Miles
  • Invitations: electronic, sent via email or Facebook
  • Flowers: freshly picked by family and friends from their gardens, arranged in old jam-jars
  • Decorations: borrowed lace bunting from old tablecloths and curtains • tins fished out of recycling bins and wrapped in twine and in hessian ribbon, which was also used for table runners • hired tablecloths and tea cups • bought beeswax candles in jars
  • Food: local businesses focused on locally sourced produce • hired pizza oven • cakes from a bakery that didn’t use plastic packaging • Indian snacks donated by a friend as a wedding gift
  • Drink: tap beer and cider • local wine • pre-made soft drinks served in jugs • loose tea and coffee • no straws
  • Tableware: venue’s own crockery and cutlery (although having pizza minimised amount needed) • borrowed glasses
  • Gifts: guests told not to buy presents – to avoid any waste and wrapping
  • Dress: rather than spend hours trawling charity shops, the bride bought a High-Street dress she wore again and then sold on eBay
  • Hair and make-up: used make-up the bride already had • washed hair with bicarbonate of soda and vinegar
  • Favours/confetti: went without

Any compromises?

Image copyright Hannah Jones
Image caption Lindsay and Glen married at a local bowling club in Perth

Lindsay accepts that achieving a 100% plastic-free wedding also meant relying on other people.

For their wedding, they hired a pizza oven and used a local deli to provide the fresh ingredients – without plastic packaging – but did they know what went on behind the scenes?

“It’s possible he had some plastic that I didn’t see… whether he got a packet of salad in a plastic bag, I don’t know.”

The wedding’s eco-friendly credentials were counterbalanced by the air miles required to fly her family – albeit just four people – to Australia.

“In hindsight, I should have fallen in love with the guy in the village – but I didn’t,” Lindsay jokes.

“I fell in love with a guy in Australia, so it’s one of those things you have to compromise. My parents, my sister and brother flying out for a wedding – it’s a one-off.”

They did, however, decide to have the wedding as local as possible in the city of Perth, rather than the countryside, to reduce driving distances.

How difficult for Eugenie to achieve?

Wedding planner Katrina Otter says working with the right people is key, as some of the more “old-school suppliers” are less keen to adapt.

“Make sure you have the right team on board – work with a team willing to do it or one where it’s already part of their ethos.”

But she adds: “The bride and groom might not know where plastic is involved – such as cutlery often comes wrapped in cling film.”

No royal wedding is complete without a vibrant floral display.

Image copyright PA
Image caption Flowers were a big part of the Duke and Duchess of Sussex’s wedding day

And, traditionally, a key part of those has been the floral foam – the bricks of green, spongy foam that provide a foundation for floral arrangements, as well as a water source.

Katrina says finding an alternative to the non-biodegradable plastic material has become a big issue for the industry and many florists are looking to do it another way.

The florist who created the displays for the Duke and Duchess of Sussex’s wedding, Philippa Craddock, says she didn’t use any floral foam for their big day.

The number of couples requesting plastic-free weddings is on the rise, says Katrina, although it remains a small proportion.

Another issue to consider for any bride – especially one who is having live TV coverage – is the hair and make-up.

Kate Arnell, who blogged about her zero-waste wedding, in 2014, says she found it tricky to find plastic-free make-up and hair products.

“Now, there are a lot more available and I have since swapped to plastic-free alternatives,” she says.

Although whether Princess Eugenie will be opting for Lindsay’s bicarbonate of soda and vinegar concoction on her hair is yet to be confirmed…

Read more:

You already know what it is. It’s another installation of New Music Friday, where I tell you what to listen to based on my personal music taste, which has pretty much not wavered since 2016. That being said, I think (and I’ve been told) that I have great taste in music. But I guess you’ll just have to check out the list below to decide if you agree or not! And if you disagree, keep that negative energy to yourself because I don’t need it in my life. Anywho, this week, a lot of my favorites—like THEY., Daniel Caesar, and Keys N Krates—have dropped new sure-to-be hits. We also have a few surprise come-ups from the Latin music genre, so check out those songs too. And please, for the love of God, follow the New Music playlist on the Betches Spotify! We’ve now got over six hours of great music on there, and I need to be able to prove to my bosses that people actually GAF about these roundups I painstakingly write every single week.

Beauty & Essex by Free Nationals feat. Daniel Caesar and Unknown Mortal Orchestra

Ok, get this, guys. It’s Anderson.Paak’s band featuring Daniel Caesar. In other words, it’s sensual as hell. This song has to go straight to the top of your sex playlist.

“What I Know Now” by THEY. feat. Wiz Khalifa

Real talk, I don’t really love Wiz Khalifa (I only like him as a friend), but I’m obsessed with THEY., so anything they put out goes on my list. Ugh I just love them so much. All their music is consistently good without sounding the same or getting stale. I can’t describe it, so just go listen.

“Nadie Como Yo” by Malu Trevejo

Alexa, play “Nadie Como Yo”. Real talk, I have no idea what half this song is about because my dumb ass took French and Italian in high school and college, but I DO know that Malu Trevejo is extremely talented AND this song is v catchy and fun. Also, Malu is only 15 years old, so BRB while I yell at my parents for not making me insanely gifted from a young age. But anyway, listen to “Nadie Como Yo”.

“Getaway” by Keys N Krates feat. Mickey Shiloh & Noah

Ahem, I love this. I love the vocals—Mickey Shiloh has a really interesting voice and now I’m going to go listen to all her music. I also just love everything else about this! This is the one song you need to listen to if you want to pump yourself up—whether that be to do a beer bong, run a mile, confront a f*ckboy, anything.

“Goin Thru Some Thangz” by Ty Dolla $ign and Jeremih

Like on the one hand, I didn’t come here to be attacked by Ty Dolla $ign and Jeremih because YES, I am going through some things and NO, I don’t want to talk about it, okay??? But in all seriousness, this is another hit from this dynamic duo. Listen to it here now before the radio plays it three times every hour, as it is currently doing with “The Light”. Also, get pumped because their joint album, Mihty, comes out October 26th.

“Lil Bebe” by DaniLeigh

You may have already heard this song, and that’s because it went viral and even inspired a social media challenge. I mean, if your song doesn’t inspire a social media dance challenge, can you even call it a bop? IDK, because by those standards, “Lil Bebe” is a certified bop. In like, a week, this sh*t is going to be all over Hot 97. QUOTE ME. The video just dropped, and it’s fun and interesting. Now if you’ll excuse me, I need to go try to learn this choreo.

“Are You Sure Now?” by Borgore

This song comes off Borgore’s new EP, The Firest. It’s pretty quintessential Borgore. It goes hard and there’s plenty of bass in there. If it’s too heavy for you, grow up go listen to the other song off The Firest, “On The Side”, which is very pop-y.

“Big Bootie Mix” by Two Friends

Remember the good old days when mashup artists like Girltalk and DJ Earworm were all the rage? Well, those days are BACK with Two Friends and their latest mix, “Big Bootie Mix volume 14.” This mix is an hour long so it literally IS your entire playlist. It legit does not get any easier than that. Two Friends mix everything from Future to Tove Lo to Tiësto—and that’s only within the first two minutes.

“Azucar” by CHESCA

Okay once again, disclaimer, all I know of this song is that I think, based on my knowledge of Italian, that the title translates to “Sugar” (am I right, Spanish speakers?). BUT I honestly like the song despite my ignorance? It combines Latin and reggaeton sounds with a catchy hook that like, idk, COULD be the next “Despacito” if we get like, Ariana Grande or somebody to jump on the hook. Somebody make it happen.

Read more:

Michael Buble has apparently officially retired from music, effective… immediately.

According to what he claimed is his “last interview” ever with Daily Mail’s Weekend magazine, Buble got real about fighting his son’ cancer diagnosis several years ago, and how that has changed him as a person and a performer.

Related: Michael Buble Shows Off Son-Inspired Tattoo!

Speaking to the mag, Buble recounted how Noah, now 5, battled liver cancer in a life-changing way for their entire family (below):

“You just want to die. I don’t even know how I was breathing. My wife was the same and even though I was the stronger of the two of us, I wasn’t strong. My wife was… I’m sorry, I can’t make it to the end of that sentence.”

A very emotional Buble also spoke to the mag about how fleeting and useless social media networks have become, and how now that his new album Love was on the way, he felt it was time to walk away from the music industry for good.

Buble said (below):

“I don’t have the stomach for it any more. The celebrity narcissism. This is my last interview. I’m retiring. I decided I’ll never read my name again in print, never read a review, and I never have. I decided I’d never use social media again, and I never have. Why are we here? Is this all there is? Because if this is all there is, there has to be something bigger. My whole being’s changed. My perception of life.”


And he confirmed that, at least as of right now, he will retire from music following the release of his upcoming album.

So sad — but given his reasoning, understandable!!!

Thoughts, Perezcious readers??

[Image via Instagram.]

Read more: