A Wave of Sadness: Music Icons Remember Brian Wilson

The music world is mourning the loss of a true legend, Brian Wilson of The Beach Boys, who passed away at 82. From rock and roll royalty to modern-day hitmakers, tributes have poured in, celebrating his unparalleled genius and the profound impact he had on countless artists and fans.

Here’s a look at how some of the biggest names in music and entertainment are remembering the “tortured genius” whose melodies shaped generations:

The Architects of Sound Remember a Peer

Bob Dylan led the charge, sharing his admiration on X: “Heard the sad news about Brian today and thought about all the years I’ve been listening to him and admiring his genius. Rest in peace dear Brian.”

For Carole King, Wilson wasn’t just a fellow songwriter; he was a kindred spirit. She shared on Facebook, “Brian Wilson was my friend and my brother in songwriting. We shared a similar sensibility… The world will miss Brian, but we are so lucky to have his music.”

The Rolling Stones guitarists both expressed their sorrow. Keith Richards kept it concise with a simple “Rest in Peace!” on Instagram, while Ronnie Wood lamented on X, “Oh no Brian Wilson and Sly Stone in one week – my world is in mourning. so sad.”

Bandmates and Collaborators Reflect

Al Jardine, a founding member of The Beach Boys, shared a deeply personal statement: “Brian Wilson, my friend, my classmate, my football teammate, my Beach Boy bandmate and my brother in spirit, I will always feel blessed that you were in our lives for as long as you were. I think the most comforting thought right now is that you are reunited with Carl and Dennis, singing those beautiful harmonies again.”

Ringo Starr sent his love and peace on X: “God bless Brian, peace and love to all the family, peace and love Ringo and Barbara.”

From Fleetwood Mac, drummer Mick Fleetwood took to X to express his gratitude: “Anyone with a musical bone in their body must be grateful for Brian Wilson’s genius magical touch !! And greatly saddened of this major worldly loss!! My thoughts go out to his family and friends.”

Artists Influenced by a “Mozart of Pop”

Sean Ono Lennon eloquently called Wilson “our American Mozart” on X, adding, “Not many people influenced me as much as he did. I feel very lucky that I was able to meet him and spend some time with him. He was always very kind and generous. A one of a kind genius from another world.”

Metallica frontman James Hetfield highlighted the timeless beauty of Wilson’s work in an interview with The Associated Press: “I think ‘God Only Knows’ that song is like one of the best written songs ever and thank you, Brian, for that. May you rest in peace, we’re going to miss you.”

Questlove of The Roots recognized Wilson’s unique ability to translate emotion into art, posting on Instagram: “I know Orbison is the king of emo, but man if there was a human being who made art out of inexpressible sadness …. damn it was Brian Wilson.”

Nancy Sinatra shared a cherished memory on Instagram: “One of the biggest thrills of my life was singing “California Girls” with Brian.”

Gene Simmons and Paul Stanley, co-founders of Kiss, both shared their respect. Simmons on X said, “Sadly, Brian Wilson has passed away. Songwriter, visionary. Thank you for a lifetime of wonderful melodies that spanned decades. I’m going to spend the day listening to the Beach Boys and reminiscing.” Stanley added on X, “‘Genius’ is a term used too often and too loosely. “Tortured Genius” even more so. Brian’s astonishing output of musical brilliance will bring joy while it influences generations to come. Thank you Brian and Rest In Peace.”

A Legacy That Will Echo On

Even those who played Wilson on screen felt his immense presence. John Cusack, who portrayed Wilson in the 2014 biopic “Love & Mercy,” posted on X: “The maestro has passed — the man was an open heart with two legs — with an ear that heard the angels. Quite literally. Love and Mercy for you and yours tonight. RIP Brian.”

The outpouring of grief and gratitude from across the music spectrum is a testament to Brian Wilson’s enduring legacy. His innovative compositions, intricate harmonies, and deeply personal lyrics not only defined an era but continue to inspire and resonate, ensuring his music will live on, echoing through the universe and beyond.

Source: AP News – Bob Dylan, Carole King, Keith Richards and more celebs react to the death of Brian Wilson

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Legendary singer-songwriter Billy Joel has canceled all upcoming concerts in the UK and US after being diagnosed with a serious brain condition. The 75-year-old music icon is now focusing on treatment and recovery under medical guidance.

A Shocking Diagnosis

In a heartfelt statement shared on Instagram, Joel revealed he has been diagnosed with Normal Pressure Hydrocephalus (NPH)—a condition that causes a build-up of fluid in the brain, leading to symptoms such as difficulty with hearing, vision, and balance.

According to his medical team, the condition has been worsened by recent performances, prompting doctors to recommend immediate physical therapy and a break from touring.

“I’m sincerely sorry to disappoint our audience,” Joel said. “Thank you for understanding.”

What Is Normal Pressure Hydrocephalus?

NPH is a rare neurological disorder that affects the way the brain functions. It can impact mobility, memory, concentration, and even bladder control. The condition is often misdiagnosed due to its subtle symptoms but can be successfully treated with surgery, often involving a shunt to drain excess fluid from the brain.

Despite being a challenging diagnosis, treatment can lead to significant improvement, especially when paired with ongoing physiotherapy.

Recent Health Struggles

Back in March, Joel had already postponed eight US tour dates, citing surgery and the need for rehabilitation. At the time, his doctors expressed optimism about a full recovery, although it wasn’t clear if the earlier health scare was related to his NPH diagnosis.

Refunds and Canceled Tour Dates

Fans who were eagerly awaiting Joel’s performances in Edinburgh, Liverpool, New York, New Jersey, and Detroit will now have to wait indefinitely, as all tickets will be refunded.

A Storied Career

Billy Joel, best known for timeless hits like Piano Man and Uptown Girl, has sold over 150 million records worldwide and earned six Grammy Awards throughout his five-decade career. His iconic residency at Madison Square Garden concluded last July after a record-breaking 10-year run.

Source: Sky News – Billy Joel cancels all upcoming concerts in UK and US after brain illness diagnosis

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Dave Shapiro, a pioneering figure in the heavy metal and hard rock music scene, tragically died in a plane crash in San Diego at the age of 42. The crash, which occurred on Thursday morning, also claimed the lives of two employees, according to the Federal Aviation Administration (FAA).

Shapiro, who held a pilot’s license and owned the aircraft involved, co-founded Sound Talent Group in 2018 alongside Tim Borror and Matt Andersen. The agency quickly gained a reputation for representing some of the most popular alternative bands across genres like pop-punk, metalcore, and post-hardcore. Their client list included well-known acts such as Hanson, Pierce The Veil, Parkway Drive, Sum 41, and Vanessa Carlton.

Sound Talent Group expressed deep sorrow in a statement:
“We are devastated by the loss of our co-founder, colleagues, and friends.”

Known as a passionate advocate for independent musicians, Shapiro also co-founded the National Independent Talent Organization. His impact on the music industry was recognized early on, earning him a spot on Billboard’s 2012 “30 Under 30” list of rising entertainment stars. Industry insiders credit Shapiro with opening doors for independent agencies and helping alternative bands break into the mainstream.

In a 2021 podcast, Shapiro shared his philosophy on work and passion:
“Finding something you love to do is only going to make you do a better job because you actually care. You’re not just showing up for the paycheck, it’s not a 9-to-5. This is part of living your life if you really love it.”

Shapiro’s roots were firmly planted in the “straightedge hard-core” scene of upstate New York—a subculture that promotes a drug- and alcohol-free lifestyle as a response to mainstream punk. He began his music journey in high school, forming a band that signed with Victory Records shortly after graduation. Touring and industry connections from those early years paved the way for his successful career on the business side of music.

Besides music, Shapiro was deeply passionate about flying. He took his first introductory flight at 22 and quickly became hooked. At one point, he even opened an office for his talent agency inside a hangar in San Diego.

Flying offered Shapiro a form of escape and focus:
“Flying helps me focus and helps me not be distracted by all the nonsense in the world, and whatever’s going on outside the plane kind of doesn’t matter in those moments,” he said in a 2020 interview.

Shapiro owned Velocity Aviation, a flight school, as well as Velocity Records. He frequently offered flights in both San Diego and Homer, Alaska, where he and his wife, Julia Pawlik Shapiro, had a home.

The couple married in 2016 in a uniquely adventurous ceremony in Talkeetna, Alaska. They secured their wedding licenses, flew to a glacier inside Denali National Park, and landed their plane on skis for the ceremony. Julia later reflected on their bond, writing that their shared love of adventure and unconventional lifestyles brought them together instantly.

In 2019, Shapiro proudly announced earning his airline transport pilot rating—the highest pilot certification in the U.S.—and he continued to challenge himself as an adrenaline junkie, enjoying base-jumping.

The music community quickly mourned Shapiro’s passing, with many remembering him as warm, genuine, and fiercely supportive of emerging artists.

Dayna Ghiraldi-Travers, founder of Big Picture Media, said,
“He would listen to any band you put in front of him to give them a chance.”

Nate Blasdell, former lead guitarist of I Set My Friends on Fire, shared his heartbreak on social media:
“Dave was the first booking agent I ever worked with and he was a major part of my music career in my late teen years. He was truly the best in the game and one of the most respected people in the industry.”

Sum 41’s lead singer Deryck Whibley credited Shapiro with helping revive the band during a difficult period:
“His opinion mattered so much to me. He was that guy I would go to for advice on things.”

Just months before his death, Shapiro had flown his new plane to witness Sum 41’s induction into the Canadian Music Hall of Fame. He promised Whibley they would fly together again soon.

“He said, ‘Me and my wife, we’re going to fly to you. We’re going to pick you up and we’re going to go somewhere crazy for lunch,’” Whibley recalled.

Dave Shapiro’s legacy lives on through the countless artists he championed, the music community he helped shape, and the passion he brought to both his work and his flying adventures.

Source: AP News – Dave Shapiro, groundbreaking music executive, dies in San Diego plane crash at 42

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Some songs are classics from the start. Others become legendary thanks to someone else’s fresh take. While artists like Kelly Clarkson have a knack for making any song their own, they’re far from alone in this talent.

Whether it’s richer vocals, tighter production, or the magic of high-end audio gear revealing hidden layers, some covers don’t just reinterpret a song—they eclipse it. We asked our Facebook community to share the covers they genuinely believe sound better than the originals. From folk to rock to cinematic soundscapes, here are the 25 most recommended covers you’ll want to add to your playlist.

1. Hurt – Johnny Cash (Original by Nine Inch Nails)

Trent Reznor’s original version of “Hurt” is raw and emotional. Johnny Cash’s cover takes it further—his weathered voice brings a haunting, intimate farewell. Recorded near the end of his life, Cash turns the song into a reflection on mortality and regret, making every lyric hit like a personal confession. Even Reznor said, “That song isn’t mine anymore.”

2. Sound of Silence – Disturbed (Original by Simon & Garfunkel)

The original is poetic and eerie. Disturbed’s take turns it into a powerful confrontation. David Draiman’s voice swells from whisper to operatic thunder, backed by massive layered instrumentation. It’s a dynamic transformation that sounds incredible on high-end sound systems.

3. Hallelujah – Jeff Buckley (Original by Leonard Cohen)

Cohen’s gravelly original is poetic, almost chant-like. Buckley’s cover floats with haunting falsetto and intimate guitar, transforming the song into a whispered prayer full of aching emotion. His control and restraint make it unforgettable.

4. All Along the Watchtower – Jimi Hendrix (Original by Bob Dylan)

Dylan’s version is cryptic and sparse. Hendrix’s cover explodes with layered guitar solos and studio magic, turning it into an apocalyptic prophecy. His virtuoso playing and fiery energy make this a vinyl and tube amp favorite.

5. Wicked Game – Ursine Vulpine ft. Annaca (Original by Chris Isaak)

Isaak’s dreamy original gets a cinematic upgrade with Ursine Vulpine’s orchestral arrangement and Annaca’s fragile vocals. The cover feels like a late-night film scene, with layered textures that come alive on high-end systems.

6. Sweet Dreams (Are Made of This) – Marilyn Manson (Original by Eurythmics)

The Eurythmics gave us a sleek synth-pop hit. Manson’s version is a nightmarish industrial dirge, with distorted guitars and ominous vocals. The raw, gritty edge makes it sound like a dystopian descent rather than a dance track.

7. The Man Who Sold the World – Nirvana (Original by David Bowie)

Nirvana’s MTV Unplugged take strips away theatrics, replacing them with intimate acoustic emotion. Cobain’s vulnerable delivery and the subtle cello create a personal, haunting version that many swear is the definitive one.

8. Song to the Siren – This Mortal Coil (Original by Tim Buckley)

Elizabeth Fraser drifts through this track like a ghost, turning Buckley’s folk ballad into a dreamy, ethereal experience. It’s a perfect listen on good stereo systems, where her voice feels both near and distant.

9. Fields of Gold – Eva Cassidy (Original by Sting)

Cassidy’s tender, heartfelt cover removes pop polish in favor of emotional purity. Her clear vocals and gentle guitar bring aching vulnerability to the song, making it perfect for quiet, intimate listening.

10. Blinded by the Light – Manfred Mann’s Earth Band (Original by Bruce Springsteen)

Manfred Mann’s version is a high-energy reimagining with synth flourishes, key changes, and theatrical vocals. It’s a tight, ambitious production that often outshines Springsteen’s looser original in terms of sheer impact.

11. With a Little Help From My Friends – Joe Cocker (Original by The Beatles)

Cocker’s soulful, gospel-infused take transforms this Beatles classic into an anthem of survival and solidarity. From soft intros to powerful vocal wails, it’s a dynamic journey that demands full emotional engagement.

12. Smooth Criminal – Alien Ant Farm (Original by Michael Jackson)

Alien Ant Farm’s rock version reinvents Jackson’s classic with crunchy guitars and energetic performance. It became a defining anthem for early-2000s rock fans and still delivers punchy dynamics on quality speakers.

13. Zombie – Bad Wolves (Original by The Cranberries)

Bad Wolves’ heavier, modern rock version of this haunting protest song keeps the emotional core intact while amplifying its urgency. Released as a tribute after Dolores O’Riordan’s passing, it’s powerful and sonically intense.

14. People Are Strange – Echo & the Bunnymen (Original by The Doors)

This post-punk take adds a cold, cinematic atmosphere to The Doors’ eerie classic. It’s moodier and more stylized, with brooding guitars and reverb-heavy vocals that shine on immersive sound systems.

15. House of the Rising Sun – Five Finger Death Punch (Traditional Folk Song)

Five Finger Death Punch adds a metal edge, turning this folk standard into a dark, doom-laden warning. The heavy instrumentation and growling vocals create a dramatic, almost apocalyptic vibe that hits hard on modern systems.

16. Running Up That Hill – Placebo (Original by Kate Bush)

Placebo’s cover trades Bush’s ethereal mystique for a raw, dark, minimalist sound. With haunting piano and anguished vocals, it’s a slow-building emotional collapse that envelops listeners with grief and longing.

17. War Pigs – Cake (Original by Black Sabbath)

Cake’s version swaps Sabbath’s heavy metal menace for ironic funk and deadpan vocals. The trumpet solos and groovy bass highlight the absurdity of the lyrics, making this an unexpectedly clever and sonically clean reinterpretation.

18. Nothing Compares 2 U – Sinéad O’Connor (Original by Prince / The Family)

O’Connor’s vulnerable, exposed performance made this track a global sensation. Stripped back to just her voice and silence, the heartbreak hits deeper, revealing every tiny crack in her emotional delivery.

19. Dreams – Lanie Gardner (Original by Fleetwood Mac)

Gardner’s viral cover brings warmth and intimacy to Fleetwood Mac’s classic. Her silky tone and clear vocals offer a fresh, stripped-back take perfect for mellow, late-night listening on high-quality headphones.

20. Knockin’ on Heaven’s Door – Guns N’ Roses (Original by Bob Dylan)

Guns N’ Roses turn Dylan’s folk lament into an arena rock anthem, with soaring guitars and soulful vocals. Slash’s melodic solos and Axl Rose’s emotional delivery make this a powerful, urgent reinterpretation.

21. Time After Time – Iron & Wine (Original by Cyndi Lauper)

Iron & Wine slows down Lauper’s ‘80s pop hit into a gentle, acoustic lullaby. The warm, minimal instrumentation and soft vocals feel like a personal confession, perfect for fireside listening.

22. Valerie – Mark Ronson ft. Amy Winehouse (Original by The Zutons)

Amy Winehouse’s soulful vocals breathe new life into The Zutons’ indie rock original. Mark Ronson’s production adds vintage flair and groove, making this cover a timeless party staple with undeniable charm.

23. I Will Always Love You – Whitney Houston (Original by Dolly Parton)

While Dolly’s country original is heartfelt, Whitney Houston’s powerhouse rendition turned it into an iconic ballad. Her soaring vocals and emotional intensity have made this version unforgettable for generations.

24. Nothing Else Matters – Apocalyptica (Original by Metallica)

This Finnish cello quartet transforms Metallica’s rock ballad into a haunting instrumental masterpiece. Their classical twist adds emotional depth and showcases the song’s beauty in a completely new light.

25. I Fought the Law – The Clash (Original by The Crickets)

The Clash’s punk rock cover amps up The Crickets’ original with raw energy and attitude. It’s fast, loud, and rebellious—perfect for fans who want their classics with a dose of streetwise grit.

These covers remind us how a fresh interpretation can transform a song, giving it new life and meaning. Whether it’s stripped-down vulnerability or sonic firepower, these versions prove that sometimes the cover truly can outshine the original.

Source: Headphonesty – 21 Unforgettable Song Covers That Sound So Good, Fans Think They’re the Originals

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After nearly four decades, a treasured sculpture of Jim Morrison—the legendary frontman of The Doors—has finally been recovered. The bust, which went missing from his gravesite in Paris back in 1988, was discovered by French authorities during a recent investigation.

The Paris Regional Judicial Police Directorate shared the news on Instagram Friday:
“After 37 years of absence, the bust of Jim Morrison, stolen in 1988 from the Père Lachaise cemetery, has been found.”

This iconic piece, beloved by fans worldwide, was uncovered thanks to a search ordered by a Paris court judge and carried out by the Financial and Anti-Corruption Brigade. The Paris Public Prosecutor’s Office confirmed the find, calling it a “chance discovery” that brings a piece of rock history back to the city.

Jeff Jampol, manager of the Jim Morrison Estate, expressed his relief and excitement in a statement to CNN:
“We’re happy to hear the statue has been found. It’s an important piece of history, and Jim’s family always wanted it to remain at his grave. Now, we’ll have to see what condition it’s in.”

The Story Behind the Bust and Morrison’s Grave

Jim Morrison, famed for his deep voice, poetic lyrics, and wild stage presence, died at the age of 27 in 1971. He’s buried in the Père Lachaise cemetery, one of Paris’s most visited sites and a magnet for music lovers around the world.

The bust on his grave was created by Croatian sculptor Mladen Mikulin and placed there on the 10th anniversary of Morrison’s death. But it vanished mysteriously in 1988, leaving a void for fans who pilgrimage to the site each year.

Morrison’s parents replaced his damaged headstone in 1990, inscribing it with the Greek phrase “True to His Spirit.” Despite the bust’s disappearance, his grave has remained a powerful symbol, drawing thousands annually—especially on July 3, the anniversary of his death.

A Legacy That Lives On

Over the years, Morrison’s grave has seen both devotion and chaos. In 1991, unruly fans forced police to use tear gas to disperse crowds. By the 30th anniversary, authorities had banned alcohol and music at the site, but thousands still gathered to pay their respects with wreaths and photos.

Former Doors keyboardist Ray Manzarek once said,
“Every day, somewhere in the world, a Doors song is played. The energy of Jim Morrison is still with us, in the ether.”

Known as “The Lizard King,” Morrison was infamous for his heavy drinking and unpredictable onstage antics. He left the band in 1971 to pursue poetry, moving to Paris with his girlfriend, Pamela Courson.

Tragically, Morrison died that same year in their Paris apartment. Courson reported finding him dead in the bathtub. While the official cause of death was heart failure, no autopsy was performed, fueling decades of speculation and conspiracy theories.

What’s Next?

With the bust now recovered, fans and the Morrison Estate hope to restore it to its rightful place, preserving the memory of a rock icon whose influence echoes on decades after his death.

Source: CNN – Jim Morrison’s stolen grave bust found after 37 years

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WOODBURY, Minn. — Jill Sobule, the fiercely independent singer-songwriter best known for her 1995 hit I Kissed a Girl, has died in a house fire in Minnesota. She was 66.

Her death was confirmed by publicist David Elkin on Thursday, though the cause of the fire in Woodbury remains under investigation.

Sobule rose to fame with a fearless voice, sharp wit, and unflinching honesty in her songwriting. Her breakout song, I Kissed a Girl, tackled themes of identity and sexuality at a time when few dared to. Though banned on several southern radio stations, it reached the Billboard Top 20 and became a cultural landmark.

“Jill Sobule was a force of nature and a human rights advocate whose music is woven into our culture,” said her manager, John Porter. “I lost a client and a friend today. I hope her music, memory, and legacy continue to live on and inspire others.”

Over more than 30 years, Sobule released 12 albums that fearlessly explored complex and deeply human topics—everything from the death penalty and eating disorders to reproductive rights and LGBTQ+ experiences.

Her first album, Things Here Are Different, debuted in 1990. Five years later, she struck a mainstream chord with two iconic tracks: Supermodel, featured in the film Clueless, and I Kissed a Girl. But Sobule never chased commercial trends—she built her career on authenticity.

In 2008, after setbacks with major and indie labels, Sobule turned directly to her fans, crowdfunding her next album well before platforms like Kickstarter became mainstream.

“The old kind of paradigm, where you waited for others to give you money and tell you what to do—it’s over,” she said at the time. “This is so great. I want to do everything like this.”

Born in Denver on Jan. 16, 1959, Sobule described herself as a shy child who found her voice through music. That voice would go on to share stages with legends like Neil Young, Billy Bragg, and Cyndi Lauper.

She brought that same voice to theater, too. In 2022, she premiered an autobiographical off-Broadway musical in New York, blending songs and stories from her own life. The following year, she told the Associated Press: “In a good way, I feel like I’m still a rookie. There’s so much more to do and I haven’t done my best yet.”

Fans cherished her live shows, often stripped-down and spontaneous. Sobule rarely used a set list, preferring to “wing it,” letting each performance breathe on its own.

She even made a cameo as herself on The Simpsons in 2019 and had the honor of inducting Neil Diamond into the Songwriters Hall of Fame.

Sobule was scheduled to perform in Denver on Friday night. Instead, an informal tribute will take place at the venue, hosted by radio personality Ron Bostwick, where fans are invited to share songs and stories in her honor. A formal memorial is planned for later this summer.

“No one made me laugh more,” said her booking agent Craig Grossman. “Her spirit and energy will be deeply missed within the music community and beyond.”

She is survived by her brother James Sobule, sister-in-law Mary Ellen, and extended family.

Jill Sobule’s fearless artistry and unwavering spirit blazed a trail for countless others. Her voice—raw, funny, defiant, and tender—remains unforgettable.

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Source: AP News – Jill Sobule, the singer-songwriter known for ‘I Kissed a Girl,’ has died in a fire

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If there were a Mount Funkmore, Marcus Miller would be immortalized on it, his face forever carved alongside other legendary bassists, sporting his signature porkpie hat. For over 40 years, Miller’s electrifying bass lines have powered some of the most iconic funk grooves, inspiring listeners around the globe to “Get Up Off That Thing.” His work can be heard on tracks by Michael Jackson, Chaka Khan, and Luther Vandross. His live performance of Run for Cover is a prime example of what it means to play “in the pocket,” where the rhythm section locks into a groove so tight that it forces the musicians to smile and nod at one another in musical bliss.

Miller’s musical journey began during funk’s golden era in the ’70s. It was a time when tracks from bands like Ohio Players and Parliament blasted from dorm rooms and basement parties, marking the rise of funk as “the chocolate-colored soundtrack to a golden age of music,” as cultural critic Michael A. Gonzales once described. Miller, now 65, puts it simply: “There’s no sad funk songs. Funk’s primary purpose is to get people moving, dancing, and shaking their behinds.”

Fast forward to 2025, and it seems that funk has lost its groove in the face of global challenges—plunging stock markets, rising prices, job layoffs, and political polarization. While these issues dominate the news, one lingering question is: What happened to the funk?

I grew up in the heart of funk’s golden era, just as so many others did. I watched Earth, Wind & Fire live, caught the latest dance moves on Soul Train, and embraced the defiant attitude that funk embodied—wearing an Afro pick with a clenched Black fist handle. Funk wasn’t just music; it was a lifestyle, a collective experience that brought people together through music, dance, and a shared sense of joy.

But somewhere along the way, something changed. In the ’80s and ’90s, the rise of hip hop, rap, grunge, and alternative rock shifted the musical landscape. Today, pop charts are dominated by synthetic dance hits that sound like they’ve been churned out by an AI bot. So, why did funk fade from the limelight, and what did we lose along the way?

A recent documentary, We Want the Funk!, directed by Emmy-award-winning filmmakers Stanley Nelson and Nicole London, explores this very question. It takes audiences on a journey to the roots of funk music, featuring legends like George Clinton and Marcus Miller, along with members of funk powerhouses like the Ohio Players.

The film highlights how funk music was born in the heart of James Brown. The Godfather of Soul pioneered the genre in the ’60s with hits like I Got You (I Feel Good) and Papa’s Got a Brand New Bag. Brown’s sound was stripped-down yet dynamic, defined by syncopated drums, driving bass lines, and blazing horns. His funky presence, Clinton says in the documentary, was undeniable. “Even if he sang the Star-Spangled Banner, it was going to be funky.”

Though funk began with individual performers, its true power came from community. Funk’s biggest acts were ensembles, and bands like Lakeside and Sly & the Family Stone exemplified a sense of unity. Marcus Miller, who grew up in Queens, New York, recalls how every block seemed to have its own funk band. Making a band click required constant rehearsals and arguments, but when it came together, the result was pure magic—much like a championship basketball team, Miller says. “Everybody plays the hell out of their role.”

This communal energy was felt deeply by audiences. Watching vintage performances, it’s clear that funk music had the power to bring people together, creating a sense of collective joy that was as powerful as anything I experienced in church. Funk wasn’t about “I”; it was about “we.” As Sly and the Family Stone sang, “Everybody take it to the top, we’re gonna’ stomp all night.”

Funk was also revolutionary in its inclusivity, bringing together musicians of all races. The genre’s interracial bands, like Sly & the Family Stone, offered a vision of racial harmony that was rare in America. “Sly & the Family Stone was the musical equivalent of ‘I Have a Dream,’” says drummer and producer Questlove in the film.

For me, growing up in a segregated Black community, seeing Black and White musicians working together in harmony was a radical act of optimism. Funk music transcended racial divisions, allowing us to dream of a world where differences could be set aside and unity could thrive.

There were moments when funk bands challenged expectations. The release of Bobby Caldwell’s What You Won’t Do For Love in 1978 stunned audiences when they realized the soulful voice behind the track belonged to a White man. Similarly, the Average White Band’s Pick Up the Pieces and Wild Cherry’s Play That Funky Music proved that funk wasn’t confined to any one race—it was a universal language.

So, what killed the funk? Some point to the rise of hip hop and rap, while others believe the business side of music is to blame. In the 1980s, record companies began to prioritize solo artists, seeing them as more profitable than large bands. Technology, too, has played a role, allowing solo artists to create hits from their bedrooms. “A solo artist can record a song at their house on their laptop and become a massive hit,” says Miller, who has shifted his focus to composing for film and TV.

Funk’s communal spirit has been replaced by a more isolated, “I” society. As sociologist Robert D. Putnam notes, we’ve become loners rather than joiners, leading to a decline in live band culture. Instead of gathering to dance and share the groove, we increasingly turn to screens, tuning out the collective experience that once made funk so powerful.

Despite its fading presence in mainstream music, funk’s influence endures. Elements of the genre still show up in hip hop, contemporary jazz, and even marching bands. Uptown Funk by Mark Ronson and Bruno Mars proves that the funk isn’t dead—it’s just been reimagined for a new generation.

And while today’s pop music may seem shallow compared to funk’s deep grooves, the spirit of the music lives on. Funk bands no longer dominate the airwaves, but cover bands across the globe—many in places as far-flung as Russia and Australia—keep funk alive. Funk dance routines, like those by Japanese choreographer Moga, show that the genre still has a global appeal.

Funk may have faded from the spotlight, but its legacy continues. It’s the music of togetherness, the rhythm that unites us. It’s a reminder that no matter who we are, where we come from, or what we believe, we all need the funk. And thankfully, it’s a groove we can’t quite let go of.

Source: CNN – What happened to the funk?

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NEW YORK (AP) — Country music is rapidly becoming a dominant force in mainstream pop music. Artists like Beyoncé and Post Malone, who were not traditionally associated with country, have recently released albums in the genre.

While these albums have gained popularity, their chances of receiving Grammy nominations remain uncertain.

Beyoncé’s groundbreaking album, “Cowboy Carter,” has reshaped the narrative around Black artists in country music, making her the first Black woman to reach No. 1 on the Billboard country albums chart.

Shaboozey’s hit, “A Bar Song (Tipsy),” is currently the biggest song of the year, holding the record for the most weeks at No. 1 on the Billboard Hot 100. This track blends his country sound with a sample from J Kwon’s 2004 hit, “Tipsy.” This summer, he made history as only the second Black artist to top both the pop and country singles charts simultaneously.

Post Malone has also smoothly transitioned into country music, making appearances in Nashville and performing at the Grand Ole Opry. His collaboration with Morgan Wallen, “I Had Some Help,” has become a chart success.

As the Grammy nominations approach, here are key points to know about the country categories:

Key Grammy Categories for Country Music

The Grammys feature four main country music categories:

1. Best Country Album
2. Best Country Solo Performance
3. Best Country Duo/Group Performance
4. Best Country Song (awarded to the songwriters)

Each category will recognize five nominees.

Who Submitted Nominations?

Beyoncé, Shaboozey, and Post Malone have all submitted works in these major country categories. Beyoncé’s “Cowboy Carter” is up for best country album, while Shaboozey’s “A Bar Song (Tipsy)” and Post Malone’s “I Had Some Help” are submitted for country song and duo/group performance categories.

They will likely compete against strong contenders for the best country album nomination, including Luke Combs, Kacey Musgraves, and Chris Stapleton.

Beyoncé’s Grammy Chances

Beyoncé did not receive nominations for “Cowboy Carter” at the 2024 Country Music Association Awards (CMAs), a decision that has drawn criticism. Country artist Mickey Guyton expressed disappointment over this outcome, which reflects Nashville’s insular music scene.

Guyton noted that establishing a presence in Nashville can enhance an artist’s chances of acceptance in the country community, and Beyoncé’s absence might have affected her Grammy nominations. If she secures a nomination for best country album, she would become only the second Black artist to achieve this, following Guyton.

Post Malone’s Grammy Prospects

Many believe Post Malone has a strong chance of receiving Grammy nominations due to his popularity in country music. He has worked with numerous country artists and received positive reactions from country radio.

However, his collaboration with Wallen might pose a challenge, considering Wallen’s controversial past. Despite Wallen’s popularity, he has yet to receive a Grammy nomination.

Shaboozey’s Grammy Chances

Shaboozey’s success is likely to center on his hit “A Bar Song (Tipsy),” which combines country and pop influences. The song’s popularity on both country and all-genre charts is a promising sign for its recognition at the Grammys.

Shaboozey made history as the first Black male artist to reach No. 1 on the country songs and airplay charts, indicating strong support from country radio.

As the Grammys approach, it will be interesting to see if the Academy embraces these genre-blurring artists and their contributions to country music.

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After more than a year of planning and dreaming about seeing the Eras Tour in person, I was singing my favorite Taylor Swift song surrounded by thousands of fellow Swifties.

The lyrics to “Death by a Thousand Cuts” cut deeper than usual, however, because I wasn’t attending her concert at Ernst Happel Stadium in Vienna. Instead, I was among swarms of crying fans in Stephansplatz in Vienna’s city center. The concert we had tickets to had been abruptly canceled less than 24 hours earlier due to credible threats of a terrorist attack.

For hours, I sang Taylor Swift songs and traded bracelets with other somber fans in the plaza. My husband, Dan, and I had ventured out to see St. Stephen’s Cathedral at the end of a weeklong vacation planned entirely around the Eras Tour. That night we stumbled upon a massive impromptu gathering to mourn collectively.

Planning for the Eras Tour a year in advance

A year earlier, I tried to buy tickets to one of Swift’s three concerts in Atlanta but couldn’t get them. The resale tickets were astronomically priced, even for nosebleed seats. Never mind that I also had a 2-month-old nursing baby, our second child, so I didn’t think I could be away from him for five or more hours.

When the European leg of the tour was announced for the summer of 2024, my husband and I realized that we could travel to a European city to see the Eras Tour for around the same price or cheaper than purchasing a resale ticket in the United States from a third-party seller.

Our children would also be 1 and 3 years old by then, so we’d feel more comfortable leaving them with family. I applied for presale codes to several European cities and received just one code for Vienna — and successfully used my presale code to purchase floor seats for my husband and me.

But this trip wasn’t just about Taylor Swift. This adventure would mark the first time I’d left my children overnight and the first solo trip for my husband and me in four years. My mom and mother-in-law both agreed to travel to Atlanta from out of state to watch our children for the week.

Heading to Europe to see Swift

To ensure we had plenty of time to make it to Vienna in case of travel mishaps, I strategically planned for the Eras Tour to be at the end of our weeklong trip to Austria. Our vacation included taking Salzburg’s Official Sound of Music Tour, singing show tunes on a tour bus in the Austrian Alps; riding a cable car up the Untersberg mountain and hiking to the summit; and touring Mozart’s childhood home, all before heading to Vienna.

The night before the concert, I opened my phone to the Vienna Eras Tour Facebook group to see the announcement that all three Eras Tour shows in Vienna were canceled due to the threat of a suspected terrorist attack. I scrambled to verify the news, eventually confirming the cancellation and the arrests of suspects.

I was devastated that I would likely never get to see the Eras Tour, relieved that I wasn’t injured or traumatized from a terrorist attack and stressed that we had spent so much money to see an event that didn’t happen.

The next day, we weren’t sure what to do given rumors that potential suspects were still at large, and local news sources discouraging people from wearing Taylor Swift merchandise in public. Eventually we decided to make the most of our last day abroad and visit St. Stephen’s Cathedral.

When we emerged from the subway station, we were surprised to find thousands of disappointed fans all coming together to create their own Eras Tour. I immediately joined in and instantly felt my spirits lift while sharing stories, trading bracelets and singing along with so many people experiencing the same emotions.

Still, I was crushed that I wouldn’t get to see Swift live. There would be future tours, but this one included parts from all her 11 studio albums, each one I associated with a different time in my life. Her music had inspired me, given me confidence and helped me cope with an array of troubles over the last 18 years. I was worried that my connection with my favorite artist would hold more sorrow than joy. So when I returned home, I started scouring the internet for tickets to one of the remaining North American shows. I wanted to go, even if it meant going alone.

Face value for my VIP floor seat in Vienna was $600. Seats in the same section for remaining shows in the United States and Canada were listed as high as $10,000. Even a nosebleed or partial view seat would be $3,000 or more after fees. There was no way to justify paying those prices.

I finally checked StubHub for the remaining shows in London, Swift’s last stop on the European leg of the tour. Prices were still above face value but nothing compared with those in the US and Canada. I realized I could purchase a London ticket, hotel and flight all for less than the price of a single US ticket.

To my surprise, my husband and everyone else I talked to encouraged me to go solo. Within a few hours, I had booked everything and was headed back to Europe in less than 48 hours.

Unlike my trip to Austria, I boarded the plane to London with zero plans. The day before I left, a giant tree fell on our house, puncturing holes in our kitchen and my daughter’s bedroom.

All available free time was redirected to cleaning up water and debris, calling insurance agents and feeling guilty for leaving my husband alone with our children while I gallivanted off to England. He assured me I should go, reminding me the tickets and hotel were nonrefundable. Despite all the tarps and buckets, I hugged everyone goodbye and started on my solo adventure.

I arrived in London early on August 19, giving me one day to adjust to the time difference and squeeze in some sightseeing. Being alone for the first time in years without any kind of agenda was exhilarating and terrifying at the same time. I also couldn’t remember the last time I had the freedom to do whatever I wanted to do for an entire day.

After checking into my hotel, I wandered through Hyde Park to Kensington Palace, where my aunt texted me about a special Taylor Swift exhibition at the Victoria and Albert Museum.

I loved walking through the “Songbook Trail” exhibition, a mile-long journey with 13 stops winding throughout the museum. Each stop represented an era, showcasing outfits and memorabilia that the performer had worn in music videos, at concerts and to awards shows.

The next day, I set out early to get in line for entry into Wembley Stadium. The floor tickets on the European leg of the tour did not have seats, and I wanted to get as close to the stage as possible. I got a spot in front of the diamond, the section of the stage where a large portion of the show takes place. I was roughly 20 yards from the stage, smushed in a sea of Swifties covered in glitter and sequins.

As the dancers emerged wearing giant fans, I could sense the excitement from everyone around me. I was still riddled with anxiety, worried that after all the effort and money it took to get to this point, Swift somehow might not make it onstage. I had meticulously planned every detail of our trip to Austria, and it ended in chaos.

I was struggling to believe that my spontaneous adventure was real when the dancers pulled their fans back to reveal Swift in her bedazzling pink and orange bodysuit and boots. I felt a wave of relief and knew following my dream to get to this point was all worth it.

The show was just as enchanting as I hoped it would be and full of surprises. For the first time, Swift performed “Florida!!!” with Florence Welch from Florence + the Machine. (The song was my husband’s favorite on Swift’s new album, “The Tortured Poets Department,” and I was sad he couldn’t see it performed live.)

Swift also brought out her songwriting partner and producer Jack Antonoff for the acoustic section to sing some of their favorite songs they had written together. When they started singing, I couldn’t believe it. Swift launched straight into “Death by a Thousand Cuts,” my favorite song, and the one I had dreamed to hear her perform for more than a year.

Eleven days earlier, I had been in Vienna singing this song and holding back tears thinking about how much I wanted to see her perform it, and now she was singing it right in front of me.

As the lights came on after the closing music video ended, I was filled with so much joy and gratitude that I was able — with the help of so many loved ones — to turn my own sadness and disappointment into the solo adventure of a lifetime. Taylor Swift showcased 11 different eras of her life and career on this tour, and she inspired me to enter my own new era, embracing spontaneity and the unknown.

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