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Jay-Z has officially joined Instagram

Jay-Z has officially launched his own Instagram account.

The rapper took to the social media site for his first post yesterday (November 2), sharing a poster for new Netflix movie The Harder They Fall, which he produced.

His account picked up 1.5million followers in a matter of hours, including his wife Beyoncé, who is also the only person he follows. You can view his first post below.

The Harder They Fall, directed by Jeymes Samuel, was released on Netflix today (November 3). The Western film, which opened this year’s London Film Festival, stars Idris Elba, Lakeith Stanfield, Regina King, Jonathan Majors and Zazie Beetz, the latter two also appear on the film’s soundtrack.

In the film, Majors stars as Nat Love, an outlaw who rallies his gang to track down his enemy, escaped convicted Rufus Buck, played by Elba.

Jay-Z also executive produced the film’s official soundtrack and appears on two tracks ‘Guns Go Bang’ alongside Kid Cudi, which was teased in September, and ‘King Kong Riddim’ with Jadakiss, Conway The Machine and BackRoad Gee. Both tracks were shared last week.

Other notable artists on the soundtrack include CeeLo Green, Seal, Koffee with ‘The Harder They Fall’, co-written by Jay-Z, as well as Lauryn Hill and Fatoumata Diawara linking up on new cut ‘Black Woman’.

Meanwhile, Barack Obama recently helped induct Jay-Z into the Rock & Roll Hall of Fame and gave a speech about the rapper’s influence on him.

The former US president installed him as the latest rap star to receive the honour, who joins previous hip-hop inductees including The Notorious B.I.G., Tupac, N.W.A. and Public Enemy.

Obama said in a speech: “I’ve turned to Jay-Z’s words at different points in my life, whether I was brushing dirt off my shoulder on the campaign trail, or sampling his lyrics on the Edmund Pettus Bridge on the 50th anniversary of the Selma march to Montgomery.

“Today, Jay-Z is one of the most renowned artists in history and an embodiment of the American dream, a dream he has helped make real for other young people like him.”

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Two people dead after fall at ABBA tribute show in Sweden

Two people have died after a man fell seven floors during an ABBA tribute show in Sweden.

As the BBC reports, 1,000 fans were in attendance at the Uppsala Konsert & Kongress hall, which is located approximately 45 miles north of Stockholm.

Thirty minutes prior to the show, a man fell and landed on two people in the open foyer on the ground floor. He died and one of the concertgoers he hit was fatally injured. It is said that the third person involved sustained “non-life-threatening injuries”.

The scheduled performance was cancelled, with the venue being closed so that eyewitnesses could be questioned.

None of the victims have been identified. According to police, the man who fell is in his 80s while the other deceased male is in his 60s.

“We received a call about someone having either jumped or fallen from a high altitude,” police spokesman Magnus Jansson Klarin told the AFP news agency.

Klarin explained that officers were attempting to establish the details of what had happened, and that it is not yet known whether a crime had occurred.

The promotions company behind the show, MTLive, wrote on Facebook that “everyone is in shock” over the incident (via IQ).

“As you probably understand, it has been a tough day for all of us in the production. Our thoughts go out to the perished and their relatives. We still know nothing about what caused the accident and how this could happen.”

ABBA are due to return with a new album ‘VOYAGE’ this Friday (November 5). A string of accompanying “revolutionary” concerts will take place in London next year.

The post Two people dead after fall at ABBA tribute show in Sweden appeared first on NME.

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Nike’s Air Sprung Collection Grows With An Air Force 1 Low Next Nature

The Nike Air Force 1 Low‘s full 2022 plans haven’t been revealed by the brand, but what’s certain is that they’ll include more sustainable ensembles under the Next Nature banner.

Produced as part of NIKE, Inc.’s “Move to Zero” initiative, a newly-surfaced pair indulges in both at least 20% recycled materials and a springtime theme. The former achievement is denoted by the swoosh wheel logo on the sock-liner, as well as the lightly-speckled outsole, while the latter is achieved by way of a pastel color palette and playful graphics. Akin to a previously-seen Air Max 90, the latest take on Bruce Kilgore’s Air Force 1 includes butterfly graphics printed on the insole. Patches of the winged creature also appear on the medial heel, with floral ones appearing on the lateral side.

An official Nike.com release date hasn’t been disclosed by the brand, but that’s likely to change as Spring 2022 inches closer. In the meantime, enjoy images of the pair here below.

For more from the NIKE, Inc. empire, check out the latest Air Jordan 1 Low styles.

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

Nike Air Force 1 Low Next Nature
Release Date: 2021

Color: N/A

Womens: N/A
Style Code: DJ6377-100

After MarketAvailable Now

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This Air Jordan 1 Low Alludes To The Fan-Favorite Diamond Shorts

Over the course of its 36-year-old history, Jordan Brand has been self-referential. For the latest example, the NIKE, Inc. subsidiary has brought a diamond detail used on its apparel to the Air Jordan 1 Low.

While the off-white and black color palette isn’t new to the silhouette, its layout is. Nubuck materials covers most of the upper, with “colorless” leather appear at the toe box, profile swooshes and bottom heel overlay. “Wings” insignias at the rear indulge in a black tone, as does branding on the tongue label. Jumpman logos, however, are enclosed by a “diamond” shape that’s appeared across basketball shorts from Jordan Brand. Underfoot, sole units on the low-top Air Jordan 1 round out the sneaker’s understated makeup with a semi-translucent, light grey outsole.

For more Jordan release dates, check out the Jordan 4 “Red Thunder” expected to launch on December 23rd.

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

Air Jordan 1 Low “White/Black”
Release Date: 2021
Color: White/Black

Mens: N/A
Style Code: DH6931-001

After MarketAvailable Now

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Makin’ Tracks: ‘Damn Strait’ It’s Easy to ID
 Scotty McCreery’s Idol

Scotty McCreery’s first country concert as a fan boasted a really solid lineup: George Strait, Reba McEntire and Lee Ann Womack at the Greensboro Coliseum, when he was 16 years old.

When McCreery made his life-changing run on American Idol the next year, he competed with the Strait hit “I Cross My Heart” during one episode and performed “Check Yes or No” — at his hero’s request — in the finale.

“I’m a big old Strait fan,” says McCreery. “And that will always be the case, for sure.”

McCreery wears his allegiance on his sleeve in his latest release, “Damn Strait,” a steel-tipped heartbreak ballad that references a series of the Cowboy’s familiar titles. It mimics the latter’s style, too, with a bit of wordplay delivered through a subtle melody, devoid of theatrics. He also sings it like Strait would, with a sturdy matter-of-factness that acknowledges the very emotion he’s holding back.

“I never thought about it that way, but I’m sure that was subconsciously there,” says McCreery. “I was definitely thinking of Strait the whole time we were recording this. That probably just came through.”

Former Lyric Street artist Trent Tomlinson, who landed a cut on Strait’s 2006 album It Just Comes Natural, lived out the story in “Damn Strait.” He and an ex shared an affinity for the Cowboy’s music, and when that relationship came crashing down, it changed his relationship with Strait’s catalog.

“Every time a George Strait song would come on the radio or on Spotify or some kind of playlist, I didn’t want to hear it because it reminded me of that situation,” explains Tomlinson. “I never thought in a million years I would turn George Strait off my radio.”

Tomlinson shared that experience with songwriter Jim Collins, who co-wrote Strait’s “It Just Comes Natural,” and they decided to make that story the basis for their own song. They would need to incorporate enough Strait references to make the plot work, but they also knew they shouldn’t get carried away.

“The trick to a song like this is you don’t want to overdo it with the song titles because then it shifts into a grocery list of George Strait titles,” notes Collins. “The songs needed to fit into a storyline, and we tried to do it as subtly as possible.”

They led with a title, though — “Nobody in His Right Mind Would’ve Left Her” — making it the ex-girlfriend’s favorite Strait song, mirroring Tomlinson’s real-life experience. They wrapped a total of six titles — including “Baby Blue,” “Marina Del Rey,” “Blue Clear Sky,” “Give It Away” and “I Hate Everything” (“You kind of have to be a George Strait fan to get that one,” says Collins) — into the lyrics, though it feels like more.

It was only after they started that the phrase “Damn Strait” revealed itself: They used it as the opening to the chorus, as if the singer were cursing all those songs. As the chorus unwound, it recycled that same phrase, but with a different meaning, as the singer asks rhetorically, “Do I wish I could get her back?” The answer: “Damn straight.”

“The turn of a phrase made it all come together,” says Tomlinson. (The setup line sounds a tad like another Strait title, “I’d Like to Have That One Back,” though the writers say that was coincidental.)

Right or wrong, they structured it musically like a Strait tune. The chorus is distinct, but unlike many hits, it remains mostly in the same range as the verses that support it.

“That was intentional,” says Collins. “It just seemed like it ought to be kind of a George Strait vibe.”

More importantly, it fit Tomlinson’s range, since he envisioned it as a song he would record himself. And he did, giving a tip of the Resistol to the track’s inspiration in the process.

“If George Strait would’ve cut it in 1982, that’s what it sounds like,” says Tomlinson.

Riley Green heard Tomlinson do “Damn Strait” at a live acoustic show, and he considered recording it for a bit. Meanwhile, Tomlinson played it casually for Triple Tigers senior vp national promotion Kevin Herring, who was vp promotion at Lyric Street when Tomlinson was on the roster. Herring thought it was perfect for McCreery, so he relayed it via Triple 8 Management day-to-day manager Scott Stem in August 2020. And it rang true for McCreery.

“The way Jim and Trent wrote the song, there’s Strait titles that are in there obviously, but they make sense in the story of the song and they’re grammatically correct,” he says. “I just thought it was so cleverly written; then the hook is a clever twist on that as well.”

McCreery recorded it during the first few months of 2021 at Nashville’s Blackbird Studios with producers Frank Rogers, Aaron Eshuis and Derek Wells, paying homage to Strait while retaining McCreery’s musical personality.

“The conversation was, ‘How can we make this natural to Scotty and not so on the nose of like, ‘See what I did there?’ with the Strait references,’” says Eshuis. “Just make it feel sincere, like it belonged on a Scotty record and sounds like something he would actually say.”

Wells felt compelled to warn everyone that he had played on a Granger Smith recording of “Damn Strait” — another song with the same title. It turns out there are 21 different compositions with the same title and spelling in ASCAP and BMI’s Songview database, which Tomlinson and Collins had already discovered. Titles are not protected by copyright, but the two still wanted to get a blessing from all the writers whose songs they referenced, and they even gave them a one-time payment to acknowledge their inspiration.

“We just felt like it was the right thing to do,” says Collins.

The bulk of the track went down live in the studio, with a pulsing tone putting a modern spin on the old-school Strait vibe. That traditional portion of the production was enhanced when Mike Johnson blanketed the song with steel guitar at a later date.

“Scotty was really running the show, and he’s good at it,” says Eshuis of the tracking date. “He trusts the people he hires, but he knows what he wants, and it goes kind of smoothly and uneventful, for lack of a better word. And Scotty, you know, we could almost just keep his live vocals.”

“Damn Strait” was viewed as a potential single from the moment it arrived in McCreery’s camp, and it officially went to AM/FM radio via PlayMPE on Oct. 4. It rises to No. 47 on the Country Airplay chart dated Nov. 6 in its second week on the list.

“We have entered a time and place where country radio just doesn’t play George Strait anymore,” says Tomlinson. “And I had the thought of like, in some weird way, we’re kind of responsible for them playing George Strait again.”

That happens in a roundabout way, with McCreery essentially singing about how the Strait canon is so meaningful that he simply can’t listen to it. It’s kind of a backhanded compliment, though he believes his idol understands.

“I’m not sure that I’ve heard that storyline from a fan before,” says McCreery, “but I imagine I’d be flattered by it.”

This article first appeared in the Billboard Country Update newsletter, which features the latest airplay, sales and streaming charts along with compelling analysis of market trends and conditions. All for free. Click here to subscribe.

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The Kid LAROI & Justin Bieber’s ‘Stay’ Is One of the Longest-Leading No. 1s Ever on the Pop Airplay Chart

The Kid LAROI and Justin Bieber’s “Stay” has proven aptly titled when it comes to Billboard’s Pop Airplay chart, as the song adds a 10th week at No. 1 on the list dated Nov. 6.

The single, released on Raymond Braun/Columbia/Def Jam, is just the 15th No. 1 to reign for double-digit weeks, among 400 total leaders, dating to the chart’s inception in October 1992.

Here’s a recap of the longest-leading No. 1s on the chart, which reflects airplay, as tabulated by MRC Data, on over 150 mainstream top 40-formatted radio stations.

Most Weeks at No. 1 on Billboard’s Pop Airplay Chart:
14, “The Sign,” Ace of Base, first led Feb. 12, 1994
11, “Closer,” The Chainsmokers feat. Halsey, Oct. 8, 2016
11, “Over and Over,” Nelly feat. Tim McGraw, Nov. 6, 2004
11, “Torn,” Natalie Imbruglia, April 25, 1998
11, “I Love You Always Forever,” Donna Lewis, Aug. 31, 1996
11, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 9, 1995
10, “Stay,” The Kid LAROI & Justin Bieber, Sept. 4, 2021
10, “Circles,” Post Malone, Nov. 16, 2019
10, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, July 20, 2013
10, “We Belong Together,” Mariah Carey, July 2, 2005
10, “How You Remind Me,” Nickelback, Dec. 22, 2001
10, “Bye Bye Bye,” ‘N Sync, March 4, 2000
10, “My Heart Will Go On,” Celine Dion, Feb. 7, 1998
10, “Don’t Speak,” No Doubt, Dec. 14, 1996
10, “I Know,” Dionne Farris, April 1, 1995

“Stay” has topped the multi-metric, all-genre Billboard Hot 100 for seven total weeks. It has drawn 1.1 billion cumulative in airplay audience and 537.6 million U.S. streams and has sold 177,200 downloads from its release through Oct. 28.

As for the song’s further, well, staying power, “I don’t think it’s going to slow down anytime soon,” says Erik Bradley, music director at Audacy-owned KNOU Los Angeles and assistant program director/md at WBBM-FM Chicago, both of which report to the Pop Airplay chart. “I predicted a few months ago that it would probably be in power rotation through the holidays and into the new year. We’re still on track for that timeline.”

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Cameo for Songs? This ‘Shark Tank’ Startup Wants to Dominate the Personalized-Music Market

In July, Ellen and Omayya Atout arrived on the set of ABC’s Shark Tank with a $4 million valuation for their company Songlorious, a Cameo-like startup where customers can request personalized tracks written and performed by professional musicians. Though the show’s four investor “Sharks” quickly chewed that valuation down to just $1.2 million over the course of the episode, the Atouts also left with a $500,000 joint investment from four of them: Mark Cuban, Daymond John, Kevin O’Leary and Peter Jones. (A fifth Shark, Lori Greiner, stayed out.) More importantly, they secured the cumulative PR power and acumen of some of the world’s brightest business minds.

“We decided to take the deal because we realized that the Sharks — the value they bring — is way more than the money that they’re giving us as an investment,” Omayya tells Billboard. “Monetarily the valuation is down, but really, we think [the deal] actually brought our valuation up.”

The Atouts’ official deal with the Sharks isn’t yet done — investors and entrepreneurs on the show make what amounts to a handshake agreement on-air — but the married couple tells Billboard that negotiations are close to being complete and that all four Sharks currently remain committed to investing in Songlorious in exchange for a 10% share of the business (for a total of 40%).

Like so many businesses that launched over the past 18 months, Songlorious was a product of the pandemic. Omayya, who worked as a civil engineer at Amtrak, suffered a pay cut due to the economic crash, while the coffee shop where Ellen worked as a barista was forced to shut its doors. At the same time, the extra money they had earned as musicians — the couple met online while searching for collaborators before eventually falling in love and marrying — disappeared after music venues across the U.S. shuttered due to COVID-19.

In search of additional income, the Atouts soon landed on an idea: launch a website offering custom songs for a price. It didn’t take long for the business to take off; after buying ads on social media, “it just really exploded from there,” Ellen says. Soon, other musicians sidelined by the pandemic began contacting the Atouts to see if they needed extra hands. “We decided that seem[ed] like a great opportunity,” Ellen continues. Before long, and with the business growing rapidly, they began placing ads specifically to recruit additional musicians (referred to as “artists” on the Songlorious website).

Today, Songlorious is projecting revenues of $2.5 million for this year and $5 million for 2022, driven in part by the value of the Atouts’ Shark Tank appearance. (Omayya says the website’s organic traffic has increased roughly 20-fold since the episode aired on Oct. 15.) Meanwhile, the company has paid out over $650,000 to 160 artists — who are paid between 35% and 50% of the revenue generated from each song they contribute, depending on the specifics of the order — since launching in June 2020. Now, with a collection of brand-name, TV-famous investors on board, they’re hoping to take the business to the next level.

With the market for personalized songs heating up as of late, Songlorious’ new investment and heightened visibility have come at a crucial time. Another similar platform, Songfinch — launched in 2016 by veteran music executives John Williamson, Rob Lindquist, Scott Kitun and Josh Kaplan — closed a $2 million funding round in June from industry giants including The Weeknd, his manager Wassim “Sal” Slaiby, Atlantic Records CEO Craig Kallman, School of Rock CEO Rob Price and Reverb founder David Kalt (legendary songwriter and producer Quincy Jones made an additional investment in August for an undisclosed amount). A Songfinch representative says the platform hosts over 650 active artists who have created more than 25,000 original songs, and that it has paid out over $2.1 million to artists this year alone. Cameo CEO Steven Galanis has also indicated a potential move into personalized songs for the entrenched platform, which is already utilized by a host of well-known musical artists and last year pulled in $100 million in revenue, 75% of which went to talent. (The company is reportedly valued at $1 billion.)

Custom songs on Songlorious start at $45 for a 30-second acoustic jingle but can cost as much as $230 for a three-minute track. (The average order is around $179, the Atouts say). In addition to length, add-ons include more complex instrumentation, a faster turnaround time (seven days vs. four days) and the ability to choose a specific artist for an additional $20 (it behooves an artist to be requested specifically, as they then receive a larger cut of the revenue). For an extra $150, the company also offers a commercial license option for small businesses.

When placing an order on Songlorious, customers specify the occasion, who the song is for and the story behind the request. They can also choose from among several genres and moods and identify up to four lyrical elements that must be included. Revisions cost extra if there’s a “preferential issue,” says Ellen, though changes are free if Songlorious makes a mistake. But errors aren’t typical, say the Atouts: before making their way to the customer, completed songs undergo a quality check to ensure the production is up to snuff and that all requested elements are included.

To ensure quality, artists are subjected to an audition process during which they must complete a hypothetical order for a 30-second track. If approved, they undergo a small training session where a Songlorious team member (the company has four employees) walks them through the company’s standards for creating, in Omayya’s words, “a five-star song.” For artists, Songlorious has the potential to provide a healthy income on its own, but only for those who commit to it full-time. The Atouts tell Billboard that one particularly prolific Songlorious contributor is tracking to pull in between $80,000 and $100,000 from the platform this year alone.

With the Shark Tank investment, the Atouts plan to expand Songlorious’ marketing while streamlining operations, including by improving the technology on their website. In the future, they’re also looking to offer songs in languages other than English, with Arabic up first (Omayya’s father’s family hails from the Middle East). They’ve additionally discussed working with celebrity musicians, though that comes with a serious limitation: “Most famous artists,” says Ellen, “aren’t willing to do it at a price point that most customers would be willing to pay.” Still, Omayya says, adding a charitable component — as Cameo has done in the past — could draw A-listers to the platform in the future.

Now that live performances are taking place with greater and greater frequency across the U.S. and abroad, one might reasonably expect the demand from gig-starved musicians for income-generating platforms like Songlorious to be on the wane. But so far, at least, its stable of artists have remained highly engaged, with orders snapped up almost as fast as they come in. “We’ve had no problems with [turnaround],” says Omayya. “The songs get taken pretty quickly.”

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‘Let It Be’ director says he “doesn’t care” that Ringo Starr thinks film is “miserable”

Michael Lindsay-Hogg, the director of The BeatlesLet It Be film, has said he “doesn’t care” that Ringo Starr isn’t a fan of the documentary.

Released in 1970, the project captured the Fab Four during recording sessions for their 12th studio album – also titled ‘Let It Be’ – and drew particular attention to heated exchanges between Paul McCartney and George Harrison.

READ MORE: The Beatles’ split 50 years on – the best songs from the solo careers

Fifty-five hours of unseen footage from the Let It Be shoot – as well as 140 hours of audio – was repurposed by Peter Jackson for his forthcoming The Beatles: Get Back documentary, which arrives in the UK on November 25 via Disney+.

During a new interview with Rolling Stone, Lindsay-Hogg responded to Starr’s admission that he “didn’t feel any joy in the original” film. The drummer described the project as “miserable” and criticised it for focusing “on one moment between two of the lads [McCartney and Harrison]”.

Lindsay-Hogg said: “Personally, I don’t care. That’s his opinion. And we all have them. I mean, the polite version is everybody’s got elbows and everybody’s got opinions. I like Ringo. And I don’t think he’s seen the movie for 50 years.

“And I think, if you haven’t seen the movie in a long time, and you may not have the best memory in the world, all that kind of gets mixed up in your brain about what it was like. Because when I saw it last, I’m thinking, ‘What is he talking about?’ In fact, there’s great joy and connection and collaboration, and good times and jokes and affection in Let It Be.”

Starr also criticised Let It Be for only including “seven to eight minutes” of The Beatles’ show on the Apple Corps rooftop in 1969, while Jackson’s Get Back documentary presents a 43-minute version.

Lindsay-Hogg described the concert – which was The Beatles’ first live appearance in three years – as “magical”, adding: “And they’re having such a good time. They realise, wow, we’ve been missing this.

“And through much of the picture, they’re happy and they’re trying to work things out. You don’t always have a smile on your face when you’re trying to work something out. You’re thinking.”

He added: “So I just don’t think [Starr has] seen it for a long time. And again, with respect, I don’t care. As a human being, he’s wonderfully quick and funny.”

Ringo Starr made the comments during a Zoom Q&A session back in March.

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China tennis star Peng Shuai says ex-vice premier forced her into sex

Former world No.1 tennis doubles player Peng Shuai, one of China’s biggest sporting stars, has publicly accused a former Chinese vice premier of forcing her into sex several years ago in a social media post that was later deleted. According to a screenshot of her verified Weibo account late on Tuesday, Peng said that Zhang […]

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13 teams set for inaugural PBA 3×3 tournament

MANILA, Philippines—The first PBA 3×3 tournament is set to have 13 total teams including 10 from the league’s franchises and three guest teams. While there will be 10 teams coming from the PBA’s clubs, four of those will carry either a different brand or a subsidiary. PBA 3×3 Chairman Dickie Bachmann in an interview with […]

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Massive Attack lead campaign to expose “greenwashing” at COP26

Massive Attack have helped launch a campaign to expose corporate “greenwashing” at COP26.

READ MORE: Extinction Rebellion – “This is not the end”

The Bristol band’s Rob Del Naja has teamed up with green industrialist Dale Vince and artist Bill Posters to reveal the practice, which is the process of conveying a false impression or providing misleading information about how a company’s products are more environmentally sound. The trio will highlight the issue with a comprehensive data drop every day during the UN’s Climate Change Conference in Glasgow.

The first drop contained thousands of alleged greenwashing sponsored ads and content from social media giants that artists claim are “created by the world’s top 100 private and state-owned corporations that are responsible for over 70 per cent of all historic and current global greenhouse gas emissions”.

According to the campaign entitled Eco-Bot, this “is the first time that such a large-scale analysis of corporate greenwashing influence campaigns has been exposed online, and the first time that the public can observe the manipulation of information in real time and map the extent of that disinformation on a daily basis”.

“The general public are very much aware of the harm caused by the disinformation that is propagated via social media platforms,” Del Naja said. “This project aims to show that Facebook in particular is responsible for most of the climate disinfo in current circulation and will also reveal the dimensions of the greenwash industrial complex – and the profits it generates for the platforms.

“The cultural and live music sectors have been historically used by major transnational polluters (fast food/airlines/automotive) as public arenas to do their dirty laundry. As artists we have spent decades attempting to persuade promoters and venues to remove unethical, polluting identities and sponsors from live music events. This is the cultural sector’s opportunity to return the favour via this public service intervention.”

Bill Posters added: “With so much trust and collective perceptions of truth being eroded due to the epidemic of climate change greenwashing and disinformation on social media platforms, Eco-Bot’s AI systems and data visualisations attempt to make the scale of the issue visible and relational for broad public audiences at this crucial moment in human history.

He continued: “Mark Zuckerberg is a climate change disinfo pusher. We could say the same thing for Jack Dorsey [Twitter CEO]. Why? Because they both retain sole control or huge influence over the policies on their platforms that amplify and normalise climate disinformation for profit. If they want to retain control or influence then they must be held accountable. They could easily end most of the harms associated from climate disinformation on their platforms if they wanted to.

“We built this conceptual flagging system to ask the question: ‘If they can protect people from harms caused by COVID-19 disinfo, then why can’t they do the same for the climate?’”

The latest project comes after Massive Attack recently launched a campaign calling on the government to cut carbon emissions at concerts, which Thom Yorke also backed.

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Listen to Alfie Templeman’s rousing new single ‘3D Feelings’

Alfie Templeman has shared his new single ‘3D Feelings’.

The track, the video for which you can view below, was produced by The Vaccines frontman Justin Young and Will Bloomfield.

“‘3D Feelings’ is about being reminded of your past self in different ways,” said the 18 year-old singer. “Whether it’s objects or people, these are all things we feel a deja vu experience from. We get reminded of feelings we once felt through them, and those feelings just hit you and can’t be controlled. It can be a comforting experience, or a painful one, but either way it takes you back immediately to that feeling you once felt and that can be so powerful.”

He continued: “The song came together so quickly as a fun jam between Will & I, the opening guitar lick was made up on the spot after we found a really nice chord progression for me to solo over. Justin then inspired me to write some really cool lyrics for this one, they flow so effortlessly and they’re really fun to sing.”

It follows the release of his debut mini-album, ‘Forever Isn’t Long Enough’, earlier this year.

NME gave the record four stars upon its release, praising it as “a bold display of self-confidence”.

It added: “On this mini-album, Templeman’s far-flung influences are brought together more fluently than before. And more importantly, he appears in the throws of continual creative reinventions; he has every reason to be feeling pretty confident with himself.”

Meanwhile, Templeman recently opened up about his mental health, saying he was diagnosed with depression and anxiety.

He is due to hit the road for a UK tour next March. You can see the full schedule below.

MARCH 2022
02 – The Cluny, Newcastle

03 – Saint Luke’s, Glasgow
04 – Brudenell Social Club, Leeds
05 – Gorilla, Manchester
08 – Leadmill, Sheffield
09 – Rescue Rooms, Nottingham
10 – O2 Institute, Birmingham
11 – Thekla, Bristol
12 – Patterns, Brighton
16 – O2 Shepherds Bush Empire, London
18 – The Academy, Dublin

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