#rashad being based compilation

[ova-kakyoin]

OH MY GOD

[hatredofmusic]

My 50 Favorite Albums Of The 2010s

Alien Observer / Dream Loss [Only two of a large number of insanely good records Grouper released this decade]

An Empty Bliss Beyond This World [Weird music weird feelings. Memory and its fragility and impermanence.]

Because I'm Worth It [Of the post Hype Williams output, Dean gets the most recognition, but Inga's solo album gives me all kinds of weird feelings too.]

Between Two Selves [Maybe the best deep house record of the decade]

Black Is Beautiful [The most intriguing record from one of the decade's most intriguing bands. Here they are at the height of their powers, together, as a musically powerful group. I miss my red vinyl copy :( ]

Black Ken [In 2017 rap is a barren landscape and Lil B is its wandering prophet. It took a long time to gestate but Black Ken sounds like exactly what it is. It is post-post-rap. It is the self produced Lil B mixtape. It is Based.]

Black Up [This is the dopest hip hop record of the decade, of all the ones I heard. I should get into their other one.]

Blue Flame [6 Kiss was released in December 2009 digitally and in early 2010 on CD, so I can't in good consience call 6 Kiss a 2010s record, but someone might, and if you do, it instantly becomes the most important hip hop album of the 2010s. I could probably write continuously in adoration of Lil B. To me Lil B was the endpoint of rap. There is very little post Lil B of interest to me in hip hop. When I heard his music I felt this was it, rap has eaten itself. Blue Flame is like rap hell where everything that qualifies what makes good hip hop has been destroyed and is so far behind us in the rear view that we can only focus on what terrifying things may lie ahead.]

The Butterfly Effect [If you don't already know Shinichi Atobe, get to know him. His reemergence was one of this decade's proudest legacies and all of his records are worth putting on repeat.]

Cosmogramma [Wild, jazzy, futuristic... a total departure from his prior work. The Coltrane family is quite good at outdoing themselves.]

Donato Dozzy Plays Bee Mask [Great psychedelic ambient record. I listen to this before sleep all the time.]

Double Cup [Rashad's vision of Chicago is expansive and innovative. He is the heart and soul of footwork. Pick any of his records, or even any compilation he appears on, and it will rank among the most important footwork records. See also: the Rollin' EP, AND, RP Boo - Legacy!]

Electronic Dream [Beyond the MPC work, this feels like it slots in with all of what was going on relating to nostalgia and memory at the time. This sounds like late night Dance Factory on FM radio. Somehow, classy and sleazy at the same time.]

Floral Shoppe [Uhhhhhh I think vaporwave is cool and important and there's probably a whole mess of amazing vaporwave records from this decade but this is the best one right?]

For Those Of You Who Have Never (And Also Those Who Have) [Weird ambient music, weird ambient feelings. See also: Colonial Patterns]

Going Places [See also, the companion record "Being There".]

Grid of Points [Grouper's mini album is a heartbreaker.]

Hash-Bar Loops [I was in Amsterdam for half of 2011 so this is an oddly important record to me]

Holding New Cards [Variety hour with Keita Sano is exhilarating]

It Can Be Done, But Only I Can Do It [Omar-S made the most ebullient house music of the last two decades. He is simply the king of house right now. I will be humming his tunes until death. No one in the genre writes a simple melody better. Great fully formed house LPs are supposed to be an anomaly and he just cranks them out. This one has his best tune, which was one of the best tunes of the decade.]

Jai Paul [The Jai Paul leak was the best album of the decade by far]

Joy One Mile [Futuristic sounds from synth queen. I miss my copy :( ]

Late Nights With Jeremih [Best free mixtape of the decade by a country mile.]

Made The Harbor [The only folk record this decade that I adored]

The Magic Place [Lovely ambient! I adore it It's just so beautiful. I miss my copy :( ]

The Narcissist II [With this we are still in the most fruitful era of Hype Williams mythology. Inga Copeland drops in for arguably the duo's finest moment]

Platform [Wackiest things in 2016 included elections, sports championships and this Holly Herndon record, which I somehow did not sell :) ]

Pull My Hair Back [I didn't sell this one either, I couldn't, it's too important to me; every track on this Hyperdub classic is lovely]

The Psychic Paramount II [Excellent prog noise rock. I saw these guys open for The Jesus And Mary Chain once when I was on acid]

Quarantine [Weird music weird feelings. I miss my copy of this record :( I had to sell it for rent money or something but man was it a nice record with nice artwork.]

Ravedeath 1972 [Just one of his many great ones]

Replica [It may be the smartest move to list Chuck Person's Eccojams instead but Replica is an album I have some personal attachment to. 2011 was a rough weird year and this is a rough weird album. I listened to it on acid. I listened to it in Paris. It fucked me up.]

Resonant Body [The state of rave music in 2019 is very good]

Rhizome [I was at this show. As far as Merzbow output goes, this was easy listening. I didn't even need the earplugs.]

Room(s) [Quite sophisticated juke type music. At the type it felt quite innovative. I still listen to Machinedrum quite a bit, and I really dig those Sepalcure records, but tbh this was the one Machinedrum record I was really into]

Ruins [Ooof. Just unbearably unbelievably beautiful. I guess Grouper must nab The Artist Of The Decade Award from my personal award show.]

Severant [This one aged well. It sounded crazy and like nothing else at the time and that's still how I feel about it.]

Social Housing [I get the complaints but I think we have all become far too removed from Chicago house and we are blessed to have current producers do the style so well.]

Splazsh [Someone once wrote that Darren's pieces play on distance. Listen accidentally from another room and weird sounds snake their way into your memories and feelings and emotions.]

Syro [Plenty to love from everyone's favorite electro-trickster. It launched a more than adequately fruitful period for the Cornwallian]

The Tape Hiss Hooligan [Green Ova affiliated. This is a hard asf rap record. It's really good stoner rap.]

The Teac Life [Plenty of great singles and LPs and more from Legowelt this decade but this was his best one. Cinematic psychedelic deep house. The free reissue with bonus tracks was just an incredible value.]

Thank You For Letting Me Be Myself [Omar truly outdoes himself. He's the only guy making LPs of straight ahead club music that is anywhere close to this good. Plenty of gems to be found here.]

Ultimate Bitch [Lil B turned up to 11. Virtually all essential elements of his mystique are present. Shocking, hilarious, out of control, unbelievable.]

Vulnicura [Björk had a great decade and I would recommend picking up Utopia also. This was her best one.]

Where Dancefloors Stand Still [A DJ Sprinkles deep house mix cd? Order me 500 copies]

XXX [Either you like Danny Brown or you don't. I get it if you don't.]

Yeezus [Don't talk to me about MBDTF. It's good, we all liked it, but I prefer the follow-up way more.]

100% Galcher [Any and all Galcher releases qualify as interesting music for this decade. 100% was only the first taste of Galcher Lustwerk but it included all of his best early material.]

808s & Dark Grapes II [Tremendous.]

[all-they-say-is-na-na-na]

All They Say Is Na Na Na’s Favorite EPs of 2017

#25. ‘1UL’ by Danny L Harle (Bubblegum Bass/Electropop)

PC Music has always toyed between commercial dance-pop and experimental music, but this seems to be most straight-forward approach the former. Even though it could be improved in some ways, the EP ‘1UL’ contains Danny L Harle’s strongest material. The title track could easily be a number one hit if promoted the right way, and his collaboration with Carly Rae Jepsen “Happy All the Time”, despite not featuring Carly herself on the vocals, still has all the charisma of any of her pop anthems. It would be interesting to see how would his music translate to a full-length release, but if this is a little teaser, we should not worry.

Highlights: “1UL”, “Happy All the Time”

#24. 'Paradise' by ANOHNI (Art Pop/Electropop)

Last year, former Antony and the Johnson frontwoman ANOHNI released her debut solo album 'HOPELESSNESS', which was one of the most critically acclaimed albums of 2016, due its heavily political lyrical content and its production, handled by Oneohtrix Point Never and Hudson Mohawke. 'Paradise' is essentially a compilation B-sides from that album, which is mostly fine. The big single from this album is the title track, which is one of her best tracks under this moniker, but there are also some other nice tracks that, despite not being as good as the ones on her main album, are still worth a shot.

Let's hope she's not retiring

Highlights: "Paradise", "Jesus Will Kill You"

#23. ‘Steve Lacy’s Demo’ by Steve Lacy (Hypnagogic Pop/Alternative R&B)

Even though Steve Lacy is only 19 years old (and 18 at the time when he released his debut EP) he already has a quite long list of collaborators. After becoming a member of neo-soul band The Internet in 2015, he went on to work with Isaiah Rashad, Kali Uchis, Tyler the Creator and even Kendrick Lamar on one of the highlights of his latest album ‘DAMN.’, the song “Pride”. But his debut EP ‘Steve Lacy’s Demo’ remains one of, if not his strongest work. Even though it is quite short and seemingly simple, it feels like a really strong take on the post-Mac DeMarco sound of vaguely-psychedelic lo-fi indie-pop. But Steve’s own sound feels more full overall due to his strong melodies and excellent voice. We really need a full length album from this guy pretty soon, by the way.

Highlights: “Dark Red”, “Some”

#22. ‘Unalloyed, Unlicensed, All Night Long’ by Jesse Osborne-Lanthier (IDM)

The term “deconstructed club music” is thrown out way too easily these days, but it rarely ever feels accurate. Jesse-Osborne Lanthier’s latest EP for the Raster-Noton series, the last in their Unun series, is definitely “club” music, while simultaneously being challenging of its purpose and overall sound and aesthetic. Tracks like “Blackwell Dynonetics” or “Lick and a Promise” take elements from commercial EDM or trance, but doesn’t feel like a cliché, in fact, what Jesse does seems to be stripping it down to its most basic elements (like on “The Zika Slam”, where he takes that to its literal extreme) and it sounds like nothing else. Whether that is a “deconstruction” of typical club tropes is entirely based on the listener’s opinion, but one thing is certain, this EP actually sounds “fun” and promising for Jesse’s upcoming work.

Highlights: “Blackwell Dynonetics”, “Lick and a Promise”

#21. ‘Sudan Archives’ by Sudan Archives (Folktronica/Art Pop)

Sudan Archives is the project of singer, songwriter, producer and violinist Brittney Denis Parks, and this is her proper debut under this moniker. Having been part of a rather conventional pop and R&B band in her teens, she decided to take her own path as an experimental electronic artist, taking inspiration from Sudanese music, specially its usage of pentatonic scales and fiddles, as well the usage of violin in a non-traditionally Western way. But the R&B and pop influences are still very present on the record, overall it sounds a midpoint between tUnE-yArDs' deconstructed folk and FKA twigs' electronic-soul music, and definitely presents a very promising future for the artist.

Highlights: "Come Meh Way", "Paid"

#20. ‘Skin Companion EP II’ by Flume (Wonky/UK Bass)

Flume is one of the few producers who helped shaping the commercial club sound of the decade. But unlike all the other “chilltrap”/”future bass”/whatever producers, you can really tell when you are listening to a Flume song. And if his latest album ‘Skin’ was not enough, his companion EPs should not leave you a single doubt about it. The second one of those is probably the most “leftfield” out of them. Opening song “Enough” (feat. Pusha-T, delivering an excellent performance) is one of the most aggressive, jaw-dropping rap tracks that are closer to Death Grips than anything else. His other collaborations with Moses Sumney and indie-pop group Glass Animals have a more R&B-vibe which melts perfectly with the smooth production. It is dance music, it might get played in the radio, but it still feels unique. And extremely fun. Also, if you are not convinced about Flume’s greatness, just go to one of his shows. He really delivers.

Highlights: “Enough” (feat. Pusha-T), “Weekend” (feat. Moses Sumney)

#19. ‘KILL’ by Nkisi (Afro-House/Acid Techno/Hardcore EDM)

The Belgian-Congolese, London-based producer Nkisi is one of the founding members of the Afro-diasporic collective NON, and despite releasing a lot of killer music throughout these past few years and delivering excellent DJ sets as well, she never released an actual EP until now. ‘KILL’ shows everything that makes her one of the most interesting producers as of lately. In this release, hard-hitting techno, house, hardcore dance music, trance, kuduro (and smooth organic sounds that sound influenced by Central-African folk music and coupé-decalé, as you can hear on the rhythmic title track) and even the often-forgotten genre of gabber coexist - and all of that actually sounds cohesive. And if you are a fan of dance music, it should be impossible to miss this one.

Highlights: “Parched Lips”, “Kill”

#18. 'Tommy' by Klein (Sound Collage/Ambient Pop/Glitch)

By looking at this EP's cover (one of them, anyway) you might suppose this comes from PC Music... in a way, it kinda does, as the cover was made by Hannah Diamond. But, the music sounds nothing like it. At all. Having released music under NON Worldwide and Howling Owl, this is Klein's first release under Hyperdub... and doesn't sound like anything else ever done. While she has always done a very experimental take on the pop, R&B and gospel music she was raised with, this is absolutely unbelievable. One of the most mind-bending and occasionally disturbing releases of the year, probably the midpoint between Tim Hecker and like... Brandy. But still, completely unique.

Highlights: "Cry Theme", "Everlong"

#17. 'All Bitches Die' by Lingua Ignota (Death Industrial/Modern Classical)

This is probably one of the most abrasive releases of the year, but also one of the most vulnerable and personal. This is Lingua Ignota's (the project of musician Kristin Hayter) second EP this year, and explores themes of domestic violence and abuse in a very raw, angsty yet emotional way. But it also has some of the most interesting music to come this year, a combination of loud industrial-noise similar to that of Pharmakon or Dreamcrusher, combined with piano-and-vocal-centered classical music. It is not very accessible for those who are not already into those genres of music, but it still is an incredible, one-of-its-kind records.

Highlights: "Woe to All (on the Day of My Wrath)", "Holy is the Name (of My Ruthless Axe)"

#16. 'Shaneera' by Fatima Al Qadiri (UK Bass/Arabic Pop)

Fatima Al Qadiri has always been an artist who has explored the concept of identity and culture in a political context, from the fixation on Orientalism in 'Asiatisch', to the oppressive nature of 'Brute'. However, on 'Shaneera', she decides to take on LGBT identity in Arab countries. This is not only her best release to date because of its concept, but also because of its production. 'Shaneera' is probably her most fun, dancefloor-oriented project to date, mixing UK club music with Arabic pop and mahraganat, as well as funny and attitude-filled vocal samples from her collaborators, in a very inventive and unusual way.

Highlights: "Spiral" (feat. Bobo Secret), "Alkahaf" (feat. Bobo Secret and Lama3an)

#15. 'Whities 011' by Lanark Artefax (IDM/UK Bass)

Irish producer Calum MacRae has been music as Lanark Artefax for a couple of years, and has big fans such as Aphex Twin or Björk. His second EP, 'Whities 011', is a big example of why. A combination of techno, IDM, UK bass, grime and ambient music that sounds like both a combination of underground dance music genres of the past few years, and also something that has never been done before. Fans of atypical uses of vocal samples, dreamy atmospheres and weird rhythms will find a lot to like on this EP.

Highlights: "Voices Near the Hypocentre", "Hyphen to Splice"

#14. ‘Now That the Light Is Fading’ by Maggie Rogers (Art Pop/Synthpop)

The Maryland-born musician Maggie Rogers was discovered by Pharrell Williams, and her song “Alaska” became a cult hit thanks to the Internet. But there is more to Rogers than her potential to become a viral star. The previously mentioned track seems to pick up where Ellie Goulding’s debut ‘Lights’ left off (and actually succeeds at doing that) but the overall sound of ‘Now That the Light Is Fading’ feels more expansive. Tracks like “Dog Years” or “On + Off” take on a hazy-electro-R&B sound which sounds closer to a mix of Bat for Lashes and Nao, and fits perfectly with her soft voice. Her debut EP is, surprisingly, extremely strong, one of the best pop releases of the year so far, and shows that she has potential become a great artist on her own.

Highlights: “Alaska”, “On + Off”

#13. ‘Transphobic’ by Quay Dash (Hardcore Hip Hop/Experimental Hip Hop)

Quay Dash is not fucking around. The NY rapper came through with one of the most fun, diverse, innovative yet hard-as-fuck rap releases of the year. From the SOPHIE-produced opening track "Bossed Up" to the closing track "Decline Him", she proves that she's one of the better upcoming rappers. With an unbelievable flow, attitude and direct lines as well as a production that matches all of that, she is way better than most of the hip-hop acts in the mainstream nowadays, and definitely deserving of a spot in the limelight.

Highlights: "Decline Him", "Bossed Up"

#12. 'Alice Glass' by Alice Glass (Electropop/Post-Industrial/Glitch Pop)

2017 was a very intense year for Alice Glass. And not only because of the release of her debut solo EP, but also because she came forward about her experience in Crystal Castles, about being raped and abused by her bandmate, Ethan Kath, and the repercussions against that. Personally, while I always liked the EP (even though it was, understandably, quite divisive,) it truly clicked with me lyrically once she explained what happened. The lyrics deal with all the angst, sadness and confusion of being in that situation, along with the excellent production that accompanies it - musically, it combines the synthpop and punk vibes from her band, along with a more electronic production, influenced by industrial music, trap and even gabber. I really hope we do get an album from her next year, because I feel like we need more.

Highlights: "Blood Oath", "Natural Selection"

#11. coucou chloe - 'Erika Jane' (UK Bass/Experimental Hip Hop)

One of the best club music releases of the year was the second EP of French singer, rapper, producer and DJ coucou chloe. Having her music played by both Björk and Rihanna, her music is a very creative, minimal take on dance music, and 'Erika Jane' (also her birth name) proves that. The hip-hop influences are presented in the same way they appeared on Arca's first projects: very deadpan and at times impossible to wrap one's head around, but still extremely interesting for those who are interested in the genre.

Highlights: "GS", "Flip U" (feat. Sega Bodega)

#10. ‘Luz Mala’ by Bungalovv (IDM/Post-Industrial)

While the concept of “luz mala” (literally translated as “bad light”) does not appear on the whole concept of the Argentinian musician Bungalovv (member of the Buenos Aires electronic music collective TRRUENO) other than as an inspiration, his latest EP released under the Mexican-Canadian label Infinite Machine seems like a really odd take on the country’s folklore, both theme and sound-wise. Also inspired by African and Middle East rhythms, it takes on a sound that is decidedly “club-oriented”, yet feels innovative and playful, organic and industrial simultaneously. It is one of the label’s best releases in a while, something that trascends the usually vague term of “global bass” and does something actually exciting that will surely leave us waiting more (as the label promises an LP by 2018) and that is something to be excited for.

Highlights: “Ulna”, “Fémur”

#09. 'Shadow Expert' by Palm (Math Rock)

Palm are one of the most innovative new bands in rock music. Following their 2015 debut LP 'Trading Basics' with this EP, they leave the noisy intensity of their sound back then in favor of post-punk-influenced rock music with completely odd structures yet ridiculously catchy hooks, provided by both of the band's vocalists, Eve Albert and Kasra Kust. This sounds like a modern take on Battles or early Foals, but it is completely its own thing as well. Can't wait for their next album, 'Rock Island', to be released early next year!

Highlights: "Walkie Talkie", "Shadow Expert"

#08. ‘EP II’ by Buscabulla (Synthpop)

When people talk about music from Puerto Rico, the first things that tend to come to mind from there are salsa, bachata, reggaeton and so on. In theory, Buscabulla would be an exception, but does not mean that the Caribbean influences in their music are not present. That is probably the thing that distinguish them from any other of their contemporaries. While on their debut, self-titled EP the influences were a bit less obvious, at a musical level ‘EP II’ shows them being more unafraid and unashamed to show them. Their lyrics and music are likely influenced by the experience of living the USA as Latin American people, trying to reconnect with their roots. And their approach has a very successful result.

Highlights: “Tártaro”, “Frío” (feat. Helado Negro)

#07. ‘Finding People’ by Croatian Amor (Sound Collage/Post-Industrial/Minimal Synth)

Danish producer Loke Rahbek, member of bands such as Damien Dubrovnik or Lust for Youth, released this EP earlier this year as Croatian Amor, in which he makes the perfect "bubblegum industrial" album, finding the midpoint between experimental sound collage pieces and sweet, almost poppy synth melodies. 'Finding People' comes from an alternate world where the most influential Kate Bush track isn't "Wuthering Heights" or "Running Up That Hill", but "Waking The Witch" or even "Hello Earth". Personally, this EP was the soundtrack of my winter.

Highlights: "Sky Walkers", “Keepers”

#06. ‘ADD VIOLENCE’ by Nine Inch Nails (Electro-Industrial/Industrial Rock)

Last year, Nine Inch Nails released an EP called 'Not the Actual Events', which was probably their most abrasive, most metal release since the 'Broken' mini-album. Personally, I was into it, but my favorite NIN EP was without a doubt this EP. It is abrasive and experimental, while maintaining the "poppy" elements of their 2013 'Hesitation Marks'. From lead single "Less Than" (which was a minor radio hit in Alternative radios) to the William Basinski-esque loop on the ending of "The Background World", this might be one of the best things Reznor ever made (in my opinion, at least) and proves that Nine Inch Nails still have a lot to give.

Highlights: "The Background World", "Less Than"

#05. ‘When I Was Young’ by MØ (Electropop/Art Pop)

I was personally surprised by this EP. While I never really lost faith in MØ, after her singles I thought she'd make something that would be completely radio-oriented pop. I guess I was wrong and I'm thankful for it! The surprise-released 'When I Was Young' EP back to her debut album 'No Mythologies to Follow' but still feels a little more accessible and playful. While "Roots" and "Run Away" are both gorgeous Dirty Projectors-esque art-pop ballads, the title track and "Linking with You" have more colorful dancehall vibes. But the EP's strongest tracks are "Turn My Heart to Stone" and "BB", both career highlights. This might be my favorite release of hers, and I'm definitely down to hear more of this stuff.

Highlights: "BB", "Turn My Heart to Stone"

#04. ‘Steroids (Crouching Tiger Hidden Gabber Megamix)’ by Death Grips (Industrial Hip Hop)

I think this kind of represents my entire relationship with Death Grips:

https://twitter.com/iamvulnicura/status/866813534566481922

And this… release sounds like Government Plates + NOTM + gabber music. What’s not to love?

Highlights: uh… the whole thing?

#03. '13' by Denzel Curry (Trap Rap/Hardcore Hip Hop)

This is what rap music in the charts should sound like... in my opinion at least. '13' (Denzel Curry's first EP on a major label) is fun as hell, but still has extremely unusual yet accessible production and beats. Also, Denzel really kills it with his flow and lyricism, not being afraid to get political or serious but not afraid to have fun either. It also has excellent features from underrated rap hero Lil Ugly Mane and Ronny J. Probably one of the best rap releases of the year.

Highlights: "Hate Government", "Zeltron 6 Billion" (feat. Lil Ugly Mane)

#02. 'EP2' by Yaeji (Ambient House/Ambient Pop)

I'm probably going to say this several times, but, 2018 is going to be the year of Yaeji, and this is the perfect proof of that. Her production, fusing ambient music, deep house and trap, is immaculate, and so are the hooks found in this album. The way in which she alternates lines in Korean and English on "Drink I'm Sippin On" and "Raingurl" is something I have never heard before, same thing with the way in which she does it, full of attitude and passion. It also has the second best Drake cover released this year (the best is the Paramore one,) so you know, you must check this out if you do not want to miss something completely new.

Highlights: "Passionfruit", "Drink I'm Sippin On"

#01. 'RINA' by Rina Sawayama (Electropop/Contemporary R&B/Art Pop)

I have rooted for Rina Sawayama ever since I heard "Cyber Stockholm Syndrome". And with this EP she certainly did not dissapoint.

'RINA' is probably one of the most innovative pop releases since Charli XCX's 'Vroom Vroom' EP. The way in which she explores themes of loneliness in the modern age, the Internet, identity, depression and loss of love are really personal, but still playful enough to engage the listener. The production, handled by Clarence Clarity, is also very reminiscent of late-90's/early-00's pop (like Britney, N'Sync or Kelis) and modern J-pop (like Perfume or Utada), but also feels noisy in a Sleigh Bells-like way.

Rina Sawayama is one of the most exciting new artists to emerge in the last few years, and we will be definitely hearing more of her soon.

Highlights: "10-20-40", "Cyber Stockholm Syndrome"

[mystlnewsonline]

Chicago verdict raises hope of greater police accountability By ERRIN HAINES WHACK, AP National Writer A rare scene in the American justice system unfolded Friday in a Chicago courthouse: A white officer stood before a mostly white jury and was convicted of killing a black teenager. It was the second such verdict nationally in two months. Jason Van Dyke's guilty conviction for second-degree murder and multiple counts of aggravated battery for fatally shooting 17-year-old Laquan McDonald 16 times came two months after a Texas officer was convicted in the killing of a 15-year-old unarmed black boy. The pair of guilty verdicts could signal a shift in momentum after years of delayed arrests, non-indictments and not guilty verdicts. Activists and advocates say that their efforts, along with the ubiquity of cellphone camera evidence, could be changing the power balance between police and black communities. "We're starting to see some verdicts that are in line with justice," said Rashad Robinson, executive director of Color of Change, a civil rights group that has supported electing reform-minded district attorneys in cities such as Chicago and Philadelphia. "No verdict is going to bring Laquan back or change the way he was taken from his family, friends or community. But being able to start sending a message to law enforcement that they are not above the law is important." It was not an outcome some expected, despite evidence including a video of McDonald's shooting. It is extremely rare for police officers to be tried and convicted of murder for shootings that occurred while they were on duty. Before the conviction Friday, only six non-federal police officers had been convicted of murder in such cases — and four of those were overturned — since 2005, according to data compiled by criminologist and Bowling Green State University professor Phil Stinson. Several cases in the past few years — including the shootings of Michael Brown in Ferguson, Missouri; Eric Garner in New York; Tamir Rice in Cleveland; and Freddie Gray in Baltimore — have ended in disappointment for many in the black community, as white officers have gone unpunished in their deaths. Black Lives Matter sprung from that outrage after 18-year-old Brown, who was unarmed, was killed by a white Ferguson police officer in August 2013. Fueled by social media and nightly street protests, thousands of young people pressed for change in how police deal with black communities. Protests spread around the country when other African-Americans were killed by police. They demanded arrests, indictments, convictions and police reform. The Justice Department investigated multiple police departments and found patterns of racial discrimination. The McDonald case fueled a racially charged atmosphere in Chicago, and the city anticipated violence if the verdict had gone the other way. Police officers lined the streets and activists converged downtown in anticipation of the verdict. "If jurors would not convict a police officer who shot a man ... 16 times, when that man was not threatening the officer in any way, when would they convict?" said Georgetown University law professor and former federal prosecutor Paul Butler. "The concern was that it as a very real possibility, based on the way these cases usually go. If the jurors hadn't convicted Van Dyke, it would have been an outrage, but it would have been a familiar outrage." Van Dyke, 40, was the first Chicago officer to be convicted of murder for an on-duty shooting in 48 years. He was taken into custody moments after the verdict was read. It culminated a series of events that convulsed Chicago in the aftermath of the 2014 shooting. City officials resisted for months releasing a dashboard camera video that showed Van Dyke fire 16 shots at the teenager, who was walking away from officers. Police said McDonald was armed only with a small knife. The city erupted in protest after the video became public. Mayor Rahm Emanuel fired the police superintendent and a Justice Department investigation found a "pervasive cover-up culture" in the Chicago Police Department, which is headed for federal reforms. The Cook County district attorney, Anita Alvarez, was ousted from office in the 2016 primary election for failing to seek timely charges against Van Dyke. This summer, Emanuel announced that he would not seek re-election as strained relations with the black community took its toll on his political prospects. The verdict marks one step in the fight for racial justice and progress, said Charlene Carruthers, an activist and the founding national director of Black Youth Project 100. "We still have a lot more work to do," Carruthers said. "This is a moment where people are seeing that the blue wall that exists in Chicago has a crack in it. This is an opportunity to continue our organizing and act on the visionary demands that we have to transform our community." Civil rights leader Rev. Jesse Jackson called the verdict a "small sign of progress" in Chicago, which leads the nation's largest cities in police-involved killings. "The people's cup has run over with these police violations of people's rights," he said. "People were hoping for the best and expecting the worst." Jackson lamented the lack of diversity on the jury — which had a lone African-American, although blacks make up a third of Chicago's population — and wondered whether Van Dyke's conviction would overshadow the need for overall reform. "They were killing before, and subsequently," Jackson said. "The system continues unabated." But activist Robinson says the recent verdict sends a message to police and others in power. "Those in power know there will be consequences for not valuing black lives." ___ Whack is The Associated Press' national writer on race and ethnicity. Follow her work on Twitter at http://www.twitter.com/emarvelous .

Chicago verdict raises hope of greater police accountability By ERRIN HAINES WHACK, AP National Writer A rare scene in the American justice system unfolded Friday in a Chicago courthouse: A white officer stood before a mostly white jury and was convicted of killing a black teenager. It was the second such verdict nationally in two months. Jason Van Dyke’s guilty conviction for second-degree murder and multiple counts of aggravated battery for fatally shooting 17-year-old Laquan McDonald 16 times came two months after a Texas officer was convicted in the killing of a 15-year-old unarmed black boy. The pair of guilty verdicts could signal a shift in momentum after years of delayed arrests, non-indictments and not guilty verdicts. Activists and advocates say that their efforts, along with the ubiquity of cellphone camera evidence, could be changing the power balance between police and black communities. “We’re starting to see some verdicts that are in line with justice,” said Rashad Robinson, executive director of Color of Change, a civil rights group that has supported electing reform-minded district attorneys in cities such as Chicago and Philadelphia. “No verdict is going to bring Laquan back or change the way he was taken from his family, friends or community. But being able to start sending a message to law enforcement that they are not above the law is important.” It was not an outcome some expected, despite evidence including a video of McDonald’s shooting. It is extremely rare for police officers to be tried and convicted of murder for shootings that occurred while they were on duty. Before the conviction Friday, only six non-federal police officers had been convicted of murder in such cases — and four of those were overturned — since 2005, according to data compiled by criminologist and Bowling Green State University professor Phil Stinson. Several cases in the past few years — including the shootings of Michael Brown in Ferguson, Missouri; Eric Garner in New York; Tamir Rice in Cleveland; and Freddie Gray in Baltimore — have ended in disappointment for many in the black community, as white officers have gone unpunished in their deaths. Black Lives Matter sprung from that outrage after 18-year-old Brown, who was unarmed, was killed by a white Ferguson police officer in August 2013. Fueled by social media and nightly street protests, thousands of young people pressed for change in how police deal with black communities. Protests spread around the country when other African-Americans were killed by police. They demanded arrests, indictments, convictions and police reform. The Justice Department investigated multiple police departments and found patterns of racial discrimination. The McDonald case fueled a racially charged atmosphere in Chicago, and the city anticipated violence if the verdict had gone the other way. Police officers lined the streets and activists converged downtown in anticipation of the verdict. “If jurors would not convict a police officer who shot a man … 16 times, when that man was not threatening the officer in any way, when would they convict?” said Georgetown University law professor and former federal prosecutor Paul Butler. “The concern was that it as a very real possibility, based on the way these cases usually go. If the jurors hadn’t convicted Van Dyke, it would have been an outrage, but it would have been a familiar outrage.” Van Dyke, 40, was the first Chicago officer to be convicted of murder for an on-duty shooting in 48 years. He was taken into custody moments after the verdict was read. It culminated a series of events that convulsed Chicago in the aftermath of the 2014 shooting. City officials resisted for months releasing a dashboard camera video that showed Van Dyke fire 16 shots at the teenager, who was walking away from officers. Police said McDonald was armed only with a small knife. The city erupted in protest after the video became public. Mayor Rahm Emanuel fired the police superintendent and a Justice Department investigation found a “pervasive cover-up culture” in the Chicago Police Department, which is headed for federal reforms. The Cook County district attorney, Anita Alvarez, was ousted from office in the 2016 primary election for failing to seek timely charges against Van Dyke. This summer, Emanuel announced that he would not seek re-election as strained relations with the black community took its toll on his political prospects. The verdict marks one step in the fight for racial justice and progress, said Charlene Carruthers, an activist and the founding national director of Black Youth Project 100. “We still have a lot more work to do,” Carruthers said. “This is a moment where people are seeing that the blue wall that exists in Chicago has a crack in it. This is an opportunity to continue our organizing and act on the visionary demands that we have to transform our community.” Civil rights leader Rev. Jesse Jackson called the verdict a “small sign of progress” in Chicago, which leads the nation’s largest cities in police-involved killings. “The people’s cup has run over with these police violations of people’s rights,” he said. “People were hoping for the best and expecting the worst.” Jackson lamented the lack of diversity on the jury — which had a lone African-American, although blacks make up a third of Chicago’s population — and wondered whether Van Dyke’s conviction would overshadow the need for overall reform. “They were killing before, and subsequently,” Jackson said. “The system continues unabated.” But activist Robinson says the recent verdict sends a message to police and others in power. “Those in power know there will be consequences for not valuing black lives.” ___ Whack is The Associated Press’ national writer on race and ethnicity. Follow her work on Twitter at http://www.twitter.com/emarvelous .

A rare scene in the American justice system unfolded Friday in a Chicago courthouse: A white officer stood before a mostly white jury and was convicted of killing a black teenager.

It was the second such verdict nationally in two months. Jason Van Dyke’s guilty conviction for second-degree murder and multiple counts of aggravated battery for fatally shooting 17-year-old Laquan McDonald16 times…

[villo28-blog]

Empire Blog

The Hip-hop drama Empire is Fox's latest breakout hit, featuring an award-winning cast and crew that make the show a must watch. Created by Oscar winners Lee Daniels and Danny Strong, the King Lear-inspired family drama has been a rating boon for Fox, with viewership growing each week since its Jan. 7 premieres. The show's popularity is due in no small part to an incredible cast and the great writers. Former Hustle & Flow co-stars Terrence Howard and Taraji P. Henson electrify as Empire Entertainment mogul Lucious Lyon and his ex-wife called Cookie, recently released from jail for the drug hustling charges that gave the couple the revenue to start their Empire. Newcomers Trai Byers, Jussie Smollett, and Bryshere Gray stand out as the three Lyon sons and guest stars like Cuba Gooding Jr., Naomi Campbell, and Gabourey Sidibe add to the excellent drama. This show has brought a lot of controversies especially with the Christian churches that find that the scenes about the gay sons are too excessive.

Having a show that highlight homosexuality is always a hard sell because of the Evangelist who try to counter the belief of homosexuality. Empire had highlighted this in a way that audiences are willing to watch the show and just think of it as just entertainment.  Along with the all-star cast, the Lee Daniel’s has used each season. Empire has become a household name, every where you go the show has become a hot topic; each episode ends with a suspends, so it makes you want to watch the next episode, which makes the show more compelling.  Due to the popularity of the show, FOX has renewed the hit show for a fourth season. The critically acclaimed series has garnered multiple Emmy Awards and Golden Globe nominations. It was the only broadcast series to earn a 2016 Golden Globe Award nomination in the category of Best Television Series – Drama, and Taraji P. Henson won the Golden Globe for Best Performance by an Actress in a Television Series – Drama. Additionally, Henson has received back-to-back Emmy Award nominations for Outstanding Lead Actress in a Drama Series. The series also earned a Grammy Award nomination for Best Compilation Soundtrack for Visual Media. Empire recently received seven NAACP Image Awards nominations, including one for Outstanding Drama Series.

In addition to the regular cast, the series has featured guest appearances by a wide range of talented performers, including Mariah Carey, Taye Diggs, Phylicia Rashad, Chris Rock, Alicia Keys, Marisa Tomei, Naomi Campbell, Ludacris, Adam Rodriguez, Rosie O’ Donnell and Andre Royo. Empire ranks as the No. 1 broadcast drama among Adults 18-49 for the fourth consecutive season and is the No. 1 broadcast entertainment program among Adults 18-34, Teens and young women. The show continues to outshine its competitors, and its viewership continues to grow. Empire is now looking to sign on for their Fifth season as they continue to produce compelling episodes. Not only are they showcasing on Fox, but they have also acquired other network and other distributors that now distribute the past season. So if you missed the other three episodes, you can now go online to Netflix or Hulu and watch it.   Although Empire has been successful, it has not gone without its share of legal problems. Twentieth Century Fox Television won a significant legal victory when a California federal judge ruled in its favor in a legal war over Empire, its hit drama about a feuding music-industry family led by Lucious Lyon. Facing an $8 million demand from Empire Distribution -- a record label and publishing company that has worked with such hip-hop artists as T.I., Snoop Dogg and Kendrick Lamar -- Fox filed suit in March 2015, seeking declaratory relief that its use of "Empire" wasn't a trademark violation. Empire Distribution brought counterclaims and demanded an injunction.

In his summary judgment opinion, U.S. District Judge Percy Anderson decides that he doesn't need to address whether consumers are confused by the source of Fox's hip-hop drama and associated soundtracks in the marketplace. Instead, the decision comes down to First Amendment protections and an important test that's been around since actress Ginger Rogers unsuccessfully sued over Federico Fellini's 1986 film Ginger and Fred.The first prong of the Rogers test that courts apply in this situation is to examine whether the use of the mark has artistic relevance to the underlying work. Here, Anderson writes, "The word 'Empire' is relevant to Fox's work because the Empire Series tells the story of characters struggling for literal control over an entertainment company called 'Empire Enterprises,' and figurative control over the vast 'empire' that Lucious Lyon has built. Additionally, the Empire Series is set in New York, the Empire State."Citing First Amendment protection, this brings to an end the multimillion-dollar legal back and forth between Empire the TV show and Empire the San Francisco-based music company – at least for now. It all started when, not long after the Lee Daniels and Danny Strong co-created series debuted on January 7, 2015, Empire Distribution sent letters to Fox claiming it had rights to the name used by the hip-hop drama. The established hip-hop company also said that for $8 million, or guest spots for their artists and $5 million, it would back off the assertion that its brand was being tarnished by the hit show’s “portrayal of a label run by a homophobic drug dealer prone to murdering his friends.” On March 23, Fox took Empire Distribution to court to protect its “intellectual property rights in and to its breakout fictional television series Empire.” The hip-hop company countersued, and the two sides went to the trademark mattresses. As successful as Empire is they are not immune from problem and law suits especially with their distribution. As a film director learning about all these problems with the show as successful as they are helping to know the pros and cons of having a distributor and the different legal problems that can arise.

Sources:

 http://www.tvguide.com/tvshows/empire/658356/

 http://deadline.com/2017/05/empire-finale-spoilers-recap-terrence-howard-taraji-p-henson-illene-chaiken-donald-trump-fox-1202101747/

https://www.theguardian.com/tv-and-radio/2017/may/22/when-good-tv-goes-bad-empire

http://1019ampradio.cbslocal.com/2016/09/15/timberland-exits-empire-tv-show/

 https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/maddieberg/2017/03/20/how-empire-became-the-most-valuable-show-on-broadcast-tv/&refURL=https://www.google.com/&referrer=https://www.google.com/