Metallica’s Kirk Hammett: “Toxic masculinity has fuelled this band”

Metallica‘s Kirk Hammett has explained in a new interview how “toxic masculinity” has helped sustain the group.

Speaking to The New Yorker for a lengthy profile, the guitarist – who joined the iconic metal outfit in 1983 – said: “Toxic masculinity has fuelled this band.

“I’m still sitting around saying, ‘OK, I’m gonna write a really, really tough, kick-ass riff’. Just look at my rhetoric there: tough, kick-ass riff. It’s an aggression that everyone feels, but it was ratcheted up in us – this weird masculine macho bullshit thing.”

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Hammett told the publication that frontman James Hetfield would sometimes antagonise the audience at Metallica’s early shows: “Hey, any time this stuff gets too heavy for you… tough shit!”

As for the personal relationships within the band, Hammett recalled: “We would get drunk, and just start in. I remember once James got up and pushed Lars [Ulrich, drummer], and Lars literally flew across the room.

Metallica
Metallica, 2022. CREDIT: Press

“We would see each other and start wrestling. We could be in a room of twenty people and we’d fixate on each other. No one else mattered.”

Earlier this week, Metallica announced their 11th studio album ’72 Seasons’ and shared its first single, ‘Lux Æterna’. The record will follow on from the band’s 2016 LP ‘Hardwired… To Self-Destruct’, and is due for release on April 14, 2023.

Metallica are set to embark on a huge world tour that same month, which includes their previously-confirmed Download Festival headline slots.

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Speaking about the inspiration behind the forthcoming new album’s title, James Hetfield explained: “72 seasons. The first 18 years of our lives that form our true or false selves. The concept that we were told ‘who we are’ by our parents. A possible pigeonholing around what kind of personality we are.

“I think the most interesting part of this is the continued study of those core beliefs and how it affects our perception of the world today. Much of our adult experience is reenactment or reaction to these childhood experiences. Prisoners of childhood or breaking free of those bondages we carry.”

Meanwhile, Lars Ulrich has spoken of Metallica’s decision to let Stranger Things use ‘Master Of Puppets’ in the show’s fourth season.

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Kanye reveals he owes $50million in taxes

Kanye West has revealed that he owes $50million (£41.6m) in taxes.

During a recent interview on Tim Pool’s Timcast IRL podcast (which the rapper stormed out of after being challenged on his antisemitic views), Ye said the Internal Revenue Service had locked down $75m (£62.4m) in his accounts because he owes $50m in tax.

West told Pool that his “finance people” had notified him that he will “have to pay a lot of taxes”, per The Independent.

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“I’m talking about literally finding out that they were trying to put me in prison this morning,” he continued. “But I found out … they put a $75m hold on four of my accounts.”

West added: “And then they said, ‘You owe a lot of taxes’. Took me like six hours to find out how much… around $50m.”

The ‘DONDA’ artist acknowledged that he’s “obviously not the most financially literate person on the planet”, saying that he’s spoken to “different CFOs” within his business to work out whether not paying the funds would amount to tax evasion.

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“So now… I get to actually learn how to run a company,” West went on. “I get to learn how… to count, really. It’s like I didn’t even know where to put the money.”

Additionally, Ye claimed that he was making an attempt to buy his own bank. You can watch the interview in full above.

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The news comes after West and Kim Kardashian reached an agreement regarding the terms of their divorce, with the former couple finalising proceedings this week.

The rapper is required to pay Kardashian $200,000 (£167,000) per month in child support. The ex-spouses have also agreed to each cover 50 per cent of their children’s medical, educational and security expenses.

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Universal takes 49% stake in [PIAS]

Business News Deals Labels & Publishers Top Stories

By | Published on Wednesday 30 November 2022

[PIAS]

Universal Music has taken a 49% stake in [PIAS], a key independent music company which encompasses a network of labels as well as its distribution and services division, which rebranded as [Integral] in early 2021.

[PIAS] announced a strategic partnership with Universal in June last year, under which the major would access the indie’s distribution and label services expertise, while [PIAS] would get access to Universal’s resources so “to further grow its global offering and strengthen its position as the leading independent services provider”.

At the time [PIAS] co-founder Kenny Gates said: “Almost 40 years since Michel Lambot and I launched [PIAS] we are as eager and driven as we ever were and remain wholly committed to providing independent labels and artists with a platform to reach a global audience. This new, somewhat unconventional, strategic agreement with UMG will help both companies maximise the many opportunities we know are available, while not compromising our independence whatsoever”.

Under the latest expansion of that partnership, Universal becomes a significant shareholder in the [PIAS] business. However, the proudly independent music group is very keen indeed to stress that [PIAS] will “remain fully independent and its founders Kenny Gates and Michel Lambot will retain majority control of the company – Universal Music Group will have no seats on the company’s board”.

On that expansion of the partnership, Gates said this morning: “These days we are competing with finance and tech giants, and a partner like Universal Music Group provides the additional support for us to compete and grow”.

“Universal made it clear that they like us, they trust us and they need us, because they can’t do what we do and they value it highly”, he added. “For Michel and I this is our life’s work and an ongoing journey and I am excited about the prospect of this new chapter in the life of [PIAS]. This move makes us stronger and secures the future of our brand, our staff and our partners while maintaining control of our destiny”.

Meanwhile, co-founder Lambot stated: “We have enjoyed an excellent relationship with the Universal Music Group team since we announced our strategic global alliance with them last year. Kenny and I are celebrating our company’s 40th anniversary this year and we are still as ambitious as we were when we started out about growing our global presence and providing a world class service to the independent music community”.

Speaking for the Universal side of this deal, the mega-major’s boss Lucian Grainge said: “The boldly independent and music-centric culture that Kenny and Michel have built over the last four decades has provided a vital creative network to so many artists”.

“While much of the past was focused on ‘majors versus indies’, it’s clear that today, the important divide in our industry is about those committed to artist development versus those committed to quantity over quality”, he went on. “We share Kenny and Michel’s passion for developing artists and moving culture, and we recognise that a healthy music ecosystem needs companies like [PIAS] who are committed to amplifying the best voices in independent music”.



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Night & Day noise abatement notice court case begins

Business News Legal Live Business

By | Published on Wednesday 30 November 2022

Night & Day

The court hearing to consider the noise abatement notice served against Manchester venue Night & Day got underway yesterday.

Manchester City Council served the notice last year following a complaint from one of the venue’s neighbours, a person who moved into a residential property adjacent to Night & Day during the COVID lockdowns.

While it’s always annoying when people move into a part of a city famous for its nightlife, and then complain about that nightlife, the Night & Day saga is all the more annoying because when the residential property where the newish neighbour lives was redeveloped, the local council reportedly anticipated the noise issues and told developers to mitigate the problem as part of the building work. But that planning condition was seemingly neither followed nor enforced.

The Night & Day Café was founded in the early 1990s by Jan Oldenburg. When it opened, the part of Manchester in which it is based was, in the words of a recent Observer article, “dangerous and dilapidated”. It was cultural institutions like Night & Day that turned Manchester’s Northern Quarter into a particularly vibrant part of the city, where lots of people now want to live.

The council has been under considerable pressure from the Manchester creative community and the wider music industry to revoke the noise abatement notice, but so far it has refused, hence why the matter is now in court. If the notice is kept in force, it’s likely that Night & Day will have to close, because it would require the venue to alter its operations in a way that would make the whole enterprise commercially unviable.

Night & Day is now run by Oldenburg’s daughter and her husband, Jennifer and Ben Smithson.

According to the BBC, Jennifer spoke in court yesterday, confirming she remains “shocked” that the future of the legendary venue has ended up being decided in court. She told city magistrates hearing the case: “I can’t understand why the council thinks Night & Day have done something wrong. I’m at a loss as to why I’m sat here in a courtroom. We’re running our business in the same way for 31 years and I thought the council would be really proud of what we’ve done for the city of Manchester”.

Acoustic expert Peter Rogers also spoke in court, confirming that he had observed sound engineers at the venue and was satisfied they were doing all they can to reasonably keep noise levels down. The issue, he added, was that the necessary measures were not taken when the residential property next to the venue was redeveloped all the way back in 2000.

He explained, the BBC report continues, that “a bedroom which shares a wall with the venue has such ‘poor’ sound insulation that even the higher frequency vocals could be heard and the only way to address the issue would be to effectively create a ‘box within a box’ in the flat to insulate it from the sound”.

That would have been an expensive solution, he conceded, but something like that should have been implemented when the redevelopment occurred.

The hearing will continue today.



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Disney+ announces slew of original Korean productions to arrive in 2023

Disney+ has announced a slew of upcoming Korean originals to premiere on the streaming platform in the coming year.

The streamer made the announcement earlier today (November 30), announcing six new titles to be made available in 2023 so far. One series, titled Call It Love, is said to “[tell] the story of a mistreated daughter who seeks revenge on her mistress after the sudden death of her father”. Production for Call It Love will be helmed by director Lee Kwang-young, heralded by Disney+ has “the master of romantic dramas”.

Moving “is based on a popular webtoon by Kang Full and tells the story of three teenagers who discover they’ve inherited unusual powers from their secret agent parents”, according to Disney+. It is slated to star Miracle in Cell No. 7 star Ryu Seung-ryong, Happiness’ Han Hyo-joo and It’s Alright, This Is Love’s Zo In-sung.

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The third title announced by Disney+ today is Worst of Evil, set in 1990s South Korea. The series is said to follow an “investigative taskforce as their undercover officer, named Park Joon-mo, infiltrates a new criminal organisation responsible for fuelling a trafficking triangle. Worst of Evil, dubbed an “exciting new crime drama” by Disney, will star If You Wish Upon Me’s Ji Chang-wook, Squid Game alum Wi Ha-joon and True Beauty’s Lim Se-mi.

Rounding off the list of upcoming Disney+ Korean productions is RACE, written by acclaimed screenwriter Kim Roo-ri. The forthcoming series will tell the story of “a mediocre employee who unleashes her potential after discovering she was hired at her top-tier publicity company for diversity reasons”.

Disney+ also announced a new docu-series centred around K-pop boy group SUPER JUNIOR, titled SUPER JUNIOR: THE LAST MAN STANDING. The series was described by Disney as a “one-of-a-kind exploration of SUPER JUNIOR and its members, offering new insights into the modern K-pop industry”.

Aside from the six aforementioned titles announced by the streamer, Disney+ also announced two upcoming BTS-centred original productions to land on the platform next year – BTS Monuments: Beyond The Star and an as-yet-untitled J-hope solo documentary. More information on all eight Korean titles, including exact release windows, have yet to be unveiled by Disney+, however are expected to be announced in the coming months.

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