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Inside The Playlist Factory 0

REVIEW

The rapper’s hard-knocking horrorcore is classic Memphis trunk music

INTERVIEW

Carl Nassib, the NFL’s Only Openly

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MOMINAA

Upcoming Tour Dates:

Date	Location
13 December	Lahore
18 December	Islamabad
18 December	Karachi

MOMINA MUSTEHSAN GETS FEATURED AT TIMES SQUARE

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ARTICLES

Inside The Playlist Factory 0

When he’s choosing your music for you, Carl Chery, 37, is in Culver City, California, sitting at his desk in an office with no signage, trying to decide whether Drake and Future’s “Jumpman” (jumpman, jumpman, jumpman) has jumped the shark. Or sometimes he’s at home in his one-bedroom apartment on the border of West Hollywood and Beverly Hills, walking around in his living room with new Gucci Mane blasting from a Beats Pill. Or at the gym going for a morning run on the treadmill, thinking about your gym and your treadmill, listening through headphones for changes in tempo and tone: Will this song push you through the pain? Is that one too long on the buildup? “It’s hard to describe because it’s more of a feeling or instinct,” says Chery of his process. He’s from Queens, New York, which, despite his residence in Los Angeles for the past four years, is obvious when you hear him talk. “It kind of just happens. You sit there and you start moving and just do it.” For a while we thought we could choose our own music. Remember that? In the wake of the last century we seized the right to take our pick from all of the songs in the world (All of the songs in the world!) and told anyone who didn’t like it exactly where they could go. And when it turned out that was too many songs after all (how many lifetimes are needed for a complete survey of Memphis soul? Or Brazilian funk?), a new category of music services appeared to ease our burden. But these services were flawed, said someone about to make a lot of money, and could only recommend music based on what we were already listening to. Did they even really know what we wanted? Do we not contain multitudes? And so now we have people like Chery.

The Impact of Music on Human Development

Music is one of the most universal ways of expression and communication for humankind and is present in the everyday lives of people of all ages and from all cultures around the world (Mehr et al., 2019). Hence, it seems more appropriate to talk about musics (plural) rather than in the singular (Goble, 2015). Furthermore, research by anthropologists as well as ethnomusicologists suggests that music has been a characteristic of the human condition for millennia (cf. Blacking, 1976; Brown, 1999; Mithen, 2005; Dissanayake, 2012; Higham et al., 2012; Cross, 2016). Nevertheless, whilst the potential for musical behavior is a characteristic of all human beings, its realization is shaped by the environment and the experiences of individuals, often within groups (North and Hargreaves, 2008; Welch and McPherson, 2018). Listening to music, singing, playing (informally, formally), creating (exploring, composing, improvising), whether individually and collectively, are common activities for the vast majority of people. Music represents an enjoyable activity in and of itself, but its influence goes beyond simple amusement.

Will we ever understand why music makes us feel good?

We like music because it makes us feel good. Why does it make us feel good? In 2001, neuroscientists Anne Blood and Robert Zatorre at McGill University in Montreal provided an answer. Using magnetic resonance imaging they showed that people listening to pleasurable music had activated brain regions called the limbic and paralimbic areas, which are connected to euphoric reward responses, like those we experience from sex, good food and addictive drugs. Those rewards come from a gush of a neurotransmitter called dopamine. As DJ Lee Haslam told us, music is the drug. Sound check The idea that musical emotion arises from little violations and manipulations of our expectations seems the most promising candidate theory, but it is very hard to test. One reason for this is that music simply offers so much opportunity for creating and violating expectations that it’s not clear what we should measure and compare. We expect rising melodies to continue to rise – but perhaps not indefinitely, as they never do. We expect pleasing harmonies rather than jarring dissonance – but what sounds pleasing today may have seemed dissonant two hundred years ago. We expect rhythms to be regular, but are surprised if the jumpy syncopation of rock’n’roll suddenly switches to four-square oompah time. Expectation is a complicated, ever-changing interplay of how the piece we’re hearing has gone so far, how it compares with similar pieces and styles, and how it compares with all we’ve ever heard.

REVIEWS

The rapper’s hard-knocking horrorcore is classic Memphis trunk music

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INTERVIEWS

Carl Nassib, the NFL’s Only Openly

The first album I ever heard was Speak Now, when I was in high school. I’d never heard of Taylor Swift. And all my buddies, my whole friend group, we were all listening to “Long Live.” And I was like, “Oh, man, this is a really, really good song.” And then I heard her songs at prom, and all that stuff. And I was like, “Man, she’s awesome.” So my friends and I went to see her on tour for Speak Now. And then a few years later, I saw her on tour for Red. And then a few years back, I saw her at the Reputation tour.

NEVINS: Oh, so you’re a hardcore, card-carrying Swiftie.

NASSIB: Oh, yeah. Primetime. One-thousand percent.

NEVINS: Is Taylor ever played in the locker room?

NASSIB: On my headphones, yeah.

NEVINS: Have you ever heard Tom Brady [Nassib’s teammate] play Taylor?

NASSIB: I have not.

NEVINS: I wonder if there are Swifties throughout the NFL that we don’t know about.

NASSIB: One-thousand percent. I think that there are Swifties everywhere. I can’t even count how many people came up to me in my building, and amongst my friends, to ask me about the album because they all know I’m a diehard T-Swift fan and my response has been, “It’s perfection.”

Samia wrote her bruising and brilliant debut album

It sounds like staring numbly into nothingness. And then a voice swells up. In Arabic, a woman sings a child’s nickname, her voice distorted beneath layers of fuzzy, phone line feedback: the last voicemail the musician Samia’s grandmother left her before she passed away three years ago. They both shared the same name; the song a symbol of her Lebanese heritage that’s been passed down through her family tree. It’s a comfort to her, one that opens her debut album, The Baby. A reminder that she’s not alone.

“I am the baby,” Samia admits, speaking via video call from her home in New York. The 23-year-old is proud of how much she relies on being cared for by others. So much so, in fact, that it’s informed what she calls the “thesis” of the record she’s spent much of her adult life building up to. “Part of the story of this album emotionally was accepting that I need people,” she says. “I always had an overwhelming fear of loneliness; I wanted that to be a part of who I am.”

Etta Marcus: London storyteller’s dark

Life’s biggest turning points are often uninvited: breakups, job losses, moving away. Feeling untethered and adrift can force new perspectives. When Etta Marcus was in her first year at London’s Trinity Conservatoire studying jazz, the head of department called to tell her she didn’t belong there. As the daughter of two teachers, university had always been part of the south London singer-songwriter’s plan – but now that was gone, she didn’t know where to go next. “When I told my parents, I was sobbing,” she recalls two years later, browsing the world music section at a record store in central London. It’s a Friday morning and we’re among the first customers, but they’re already pumping loud electronic music through the speakers to kick off the weekend early. Marcus recalls her experience to NME distractedly, half her focus on the Brazilian samba records she’s sifting through. “I was so overwhelmed,” she continues, looking up briefly. “Jazz school was intense. The teachers there were like JK Simmons in Whiplash.”

RELEASE RADAR:

DECEMBER

Artist	Single	Genre
new latest	latest	SECONDARY
sdfsdfds	sdfsdfdf	MAIN
jimmy janson updated 2.0f	willaim shakespear	SECONDARY

TOUR DATES

Artist	Tour Date	Location	Genre
jimmy janson updated 2.0	Wed Jan 08	Lahore, Pakistan	MAIN
jimmy janson 0.1	Mon Dec 21	lahore	genre name
jimmy janson ws5gb	Mon Dec 21	lahore	genre name
jimmy janson	Wed Jan 08	lahore	genre name