Cupe

Link not working there m8

Ok I've manually done everyone's now. There's just ADJF Cash

I did it for you. $19 Prestige is worth $190 ADJF

There is currently $151.62 Prestige cash left in circulation in these cunts accounts: @AlexJ (Cash hand savings account) @Scixors (Cash) @Duz (Cash and savings account) @Bristles (Cash and savings account) @LabRat (yours is in the savings account - transfer it out and exchange it into ADJF Cash) You all need to transfer it back to ADJF Cash or risk losing it.

When you make a post on the forum (or perform one of several other actions; for example receive +1 rep or add an event to the calendar) you receive points called 'ADJF Cash'. This 'cash' equates to 1% of a dollar (or 1 cent). Eg. 1 post = 1 cent. What this means is that if you do enough you'll earn enough to exchange these points (ADJF Cash) for items in the ADJF Store. Eg. If you make 1000 posts you'll earn $1 You can also deposit money in the Savings Account to earn interest (additional ADJF Cash) in the same way a bank works. Make cents?

The URL will go under all of them I'm just posting ideas

UPDATE - I'VE DONE ALL THIS NOW I'm going to kill the other 2 currencies and just have $ADJF Cash to make things clearer. That way there will just be one single currency that you earn and can deposit in the bank for interest (I'm killing $Prestige & $Royal). You need to convert your money back to $Basic before I delete it cause you might lose money. GO NOW: https://www.ausdjforums.com/index.php?app=points&module=points&controller=dashboard COMMENT BELOW WHEN YOU'VE DONE IT - Those that are too slow may lose cash. This explained: Basically you can earn money from receiving +rep, making threads and posts, creating calendar events and generally engaging in the forum. This can then be used to purchase things in the ADJF Store (yes this means you can buy stuff for free just by posting on the forum).

Sounds like you hit the mark chief Also nice one doing a write up +rep

Nice. Basically just need ideas for slogans and other visual shit. Also wanting to make a personalised signature series for the more active users here. I can put anything on nearly any kind of clothing and chuck it up. I'm slowly trying to add all the colours and designs to everything but it takes fucking ages.

What do you want for yours m8?

The @Scottie prototype

The @yizzle edition

So I been adding more designs to the shop and will keep going until there's a version of every decent colour and design. https://www.ausdjforums.com/store/ Let me know if you have any design ideas or other suggestions. I've also reshuffled prices to the tightest possible margin which makes most of them cheaper. Everything is printed on top quality AS Colour cotton which is pre much premium industry standard.

Feature image by​ Philip Cosores There’s nobody like Hans Zimmer. For decades, the German-born composer has changed the way Hollywood approaches film scores, melding classical signatures with modern pop elements, all without losing any of the gravitas needed to make a film tick and tock. He’s a heavy metal John Williams, an electronic Bernard Herrmann, an industrial Wendy Carlos; in other words, none of the above. He’s impossible to pigeonhole, if only because his sound has consistently evolved over time. For that reason alone, he’s managed to work with almost every major filmmaker in the industry, from Christopher Nolan to the Scott brothers, Terrence Malick to Barry Levinson, and has scored almost every genre in the medium, ranging from science-fiction spectacles to superhero rollercoasters, lighthearted dramedies to historical epics. Even when the movie’s awful, he’s not, and that notion couldn’t be more apparent than when you watch him perform live. Wait, watch him live? Yes, sometime over the last couple of years, a lightbulb went off in Zimmer’s head, and he came to the brilliant conclusion that his music might work out on the road. And so, what originally started as a short European stint quickly turned into a full-fledged North American tour, even featuring a prestigious appearance at this year’s past Coachella, where he offered an abbreviated set during one of the festival’s highly coveted slots. Now, seeing how everyone from Goblin to John Carpenter to Ramin Djawadi are touring behind their scores, it was only a matter of time before Zimmer did the same — and it’s not like he’s without reason. His work for world renown blockbusters such as The Dark Knight Trilogy, Inception, Interstellar, Man of Steel, et al. has since made Zimmer as synonymous with pop music as, say, your Kanye Wests and your Beyoncés. People of all ages know Hans Zimmer and that’s a very remarkable power to wield. On Friday night, that power was on full display at Chicago’s Allstate Arena, a good 20 miles away from all the hubbub going down at Lollapalooza in Grant Park. Good riddance. While the city’s skyline echoed with the all-too-familiar sounds of “Mr. Brightside” and “What’s My Age Again?”, the inner walls of the sequestered Rosemont venue reverberated with the orchestral flares of Zimmer’s finest compositions. For three hours, the blockbuster composer conjured up his strongest and most eclectic themes, leading a band, an orchestra, and a choir, who were all revealed in that very order to the whimsical scores of, yes, Driving Mrs. Daisy, Sherlock Holmes, and Madagascar. The audience oohed and aahed as each curtain pulled back to disclose another dozen musicians playing furiously. It was an overwhelming sight to behold, seeing so many human beings interact in unison, and likely explains why Zimmer neglected to have any footage from the respective films play to each theme. It would have only been a distraction; there was just so much going on at any given time. Not only were there over 40 musicians on stage at once — percussionists, violinists, guitarists, brass musicians, guest vocalists, and the list goes on. — but the man himself rarely stuck to one instrument. Blink once, Zimmer would be plucking the banjo. Blink again, he’d be fiddling with synthesizers. And when he wasn’t playing, he was talking up a storm, either sharing stories on his collaborations with acclaimed directors or turning the spotlight on his many colleagues. One particular highlight arrived when he discussed how he nabbed the job for Disney’s The Lion King and stressed how much he appreciated working alongside South African producer and vocalist Lebo M, who he called “the real lion king” after the 53-year-old legend finished belting out the iconic themes only minutes beforehand. Later on, tears were shed when Zimmer recalled hearing the tragic news of Heath Ledger’s passing while working on The Dark Knight and then especially the Aurora shooting incident surrounding The Dark Knight Rises. “I remember going to New York for the premiere,” he recalled over the film’s mournful tones, “and it went absolutely great, and the next day, we got into the plane for our European premiere. I remember arriving at my apartment in London really early in the morning, it was something like 6:30 or 7:00, and the phone rings and some journalist, he’s asking me to give my reaction, my reaction to the terrible shooting, the terrible tragedy, and it happened when they were screening our movie in a small town in Colorado, a small town called Aurora. And none of us had heard of it, we had been on the plane all night, so I said the first thing that came to words, I said, ‘Devastated.’ “And all day I was thinking about the victims and the loved ones they left behind and how a word is just not enough, and I phoned my friends in the choir at night and said, ‘Can we make a piece of music that uses no words, but it should feel as if we’re stretching out arms out, and we’re reaching across the Atlantic, and embracing the loved ones left behind in that small town of Colorado called ‘Aurora.’ And you know, the world hasn’t gotten any better since then: London, Paris, Brussels, Manchester, Syria, Venezuela, every day we hear about horrors and bloodshed, but just tonight, look at the stage, people from all nations, are all here for you Chicago. Let us play from our hearts…” The way Zimmer was speaking, it was almost as if he was letting his mind go on cruise control, and it was rather hypnotic. Each word felt like one part of a long stream of consciousness, all of which was seemingly coming from the same emotional center that influences his work. It was a riveting meditation, to say with nothing but respect, and added a depth to the night that reminded everyone why Zimmer’s music is so impactful. Like any great composer, he doesn’t just score a film, he draws emotions out of every scene, and what has long made him a cut above the rest is how he’s been able to take those emotions and make them feel universal. Seeing him there with his eclectic and incredibly diverse group of talent only drove that point further home. Zimmer isn’t responsible for just outstanding film scores, but outstanding music, the kind that can bring the world together, if only because it was made by so many people across the world. Sure, that sounds preachy and cute and kind of insufferable come to think about it, but it’s hard to deny those feelings when they’re running down your face and burning your soul. And to think, that was all before he even got to “Time”. Photo by​ Michael Roffman Setlist: Intro Medley Driving Discombobulate Rescue Me / Zoosters Breakout Crimson Tide / Angels & Demons Medley Roll Tide 160 BPM Gladiator Medley The Wheat (with Czarina Russell) The Battle (with Czarina Russell) Elysium (with Czarina Russell) Now We Are Free (with Czarina Russell) The Da Vinci Code Chevaliers de Sangreal The Lion King Medley Circle of Life Intro (with Lebo M) This Land (with Lebo M) King of Pride Rock / Circle of Life (Reprise) (with Lebo M) Pirates of the Caribbean Medley Jack Sparrow Marry Me Suite (One Day / Up Is Down) He’s a Pirate (Klaus Badelt cover) Post-Intermission You’re So Cool Rain Man / Thelma & Louise Rain Man Theme Thunderbird Superheroes What Are You Going to Do When You Are Not Saving the World? Is She With You? The Thin Red Line – The Amazing Spider-Man 2 Journey to the Line The Electro Suite The Dark Knight Suite Why So Serious / Like a Dog Chasing Cars / Why Do We Fall? Fear Will Find You / The Fire Rises / Gotham’s Reckoning Aurora Interstellar Medley Day One No Time for Caution Stay Encore: Inception Medley Half Remembered Dream Dream Is Collapsing Mombasa Time Source

Dusting ‘Em Off is a rotating, free-form feature that revisits a classic album, film, or moment in pop-culture history. This week, Wren Graves looks back at how N.W.A’s Straight Outta Compton changed the direction of hip-hop forever. Let’s talk about a technological disruption, a bit of engineering ingenuity that solved a problem for drug dealers. You see, while marijuana is relatively popular, the price that consumers are willing to pay for it is only a little higher than the production costs. There just isn’t a lot of money in selling weed, especially at the lower levels of the trade. In this sense, cocaine is better, with wonderful profit margins, but the problem throughout the ’70s was that you had to know rich, white people if you wanted to sell your product at a premium. The full innovative force of Capitalism was brought to bear on the problem, and a solution was found: a new manufacturing process that allowed the drug to be profitably sold for a couple of dollars per dose. The exact moment of inspiration is lost to history, but by 1981 crack cocaine had made its debut. What followed has been called an epidemic, as crack spread from neighborhood to neighborhood and city to city like a virulent disease. According to The Department of Justice, from 1984 to 1985, “The number of people who admitted using cocaine on a routine basis increased from 4.2 million to 5.8 million … cocaine-related hospital emergencies rose by 12 percent, from 23,500 to 26,300; and in 1986, they increased 110 percent, from 26,300 to 55,200. Between 1984 and 1987, cocaine incidents increased fourfold.” The money and illegal nature of the business attracted guns, which attracted violence, which attracted newspapers, which attracted the office of the President of the United States. Ronald Reagan endorsed a program called Drug Abuse Resistance Education, of which the Surgeon General said in 2001, “Meets the criteria for Does Not Work.” For her part, First Lady Nancy Reagan offered, “Just say no.” Meanwhile, in the span of a few years, poor neighborhoods were transformed by the guns and gangs into warring kingdoms, with plenty of civilian casualties scattered among the fallen soldiers. For every million crack users, there were several million more people who felt the impact even though they didn’t use themselves. We could see this in hundreds of cities around the United States, but today we are most concerned about the city of Compton in Los Angeles County, California. “When something happens in south-central Los Angeles, nothing happens. It’s just another nigga dead.” This is how Ice Cube launches into the first track off N.W.A’s 1988 album, Straight Outta Compton. The subject matter was unprecedented. “Back then we was calling it reality rap,” Ice Cube told Rolling Stone in 2015. “It was the media that called it gangsta rap.” It’s not hard to see why. Many murders take place throughout these songs; if N.W.A had offed this many people in “reality,” they would have been the most accomplished serial killers in American history. On the other hand, words like “gang” and “gangsta” appear with some regulatory. Just look at the first four lines of the very first verse: Straight outta Compton, crazy motherfucker named Ice Cube From the gang called Niggas Wit Attitudes When I’m called off, I got a sawed-off Squeeze the trigger and bodies are hauled off Remember, this is the height of the crack epidemic. Compton is depicted as a violent hellscape and N.W.A as lords of the land, who occasionally pause in their rampages to attend parties or pursue pretty women. On “Straight Outta Compton”, Ice Cube sums up the tone: “Here’s a murder rap to keep you dancing.” It’s an intoxicating mixture that influenced generations of musicians. And if we go back in time, to the very beginning, we will see that it had three key ingredients. O’shea “Ice Cube” Jackson would supply much of the vocabulary for the gangster rap movement. N.W.A’s producer, Andre “Dr. Dre” Young, saw how all the pieces would fit together. But from its very beginning, gangster rap has been a genre obsessed with authenticity. And N.W.A’s authentic hero — or antihero if you prefer — was former drug dealer and gang member Eric “Eazy-E” Wright. Before forming N.W.A, the three had collaborated together in 1987 on the deliriously dangerous “Boyz-n-the-Hood”. Sixteen-year-old Ice Cube wrote the lyrics, and Dr. Dre produced. But it was Eazy-E, armed with authenticity and a high-pitched charisma, who delivered the message. The setting is the drug-ravaged inner city. The “hero” of the song is a dangerous, even frightening man, who happens to enjoy cracking jokes. Smart-ass villains have been popular since Shakespeare, and Eazy-E’s performance turned the song into a local LA hit. The three men had a lead single before they had an album or even a group identity. N.W.A., Niggaz Wit Attitudes, was quickly assembled. From his old group, the World Class Wreckin’ Cru, Dr. Dre poached turntablist DJ Yella and rapper-producer Arabian Prince. Lorenzo “MC Ren” Patterson was plucked from high school, like Ice Cube. Together with associates such as Krazy Dee and the Fila Fresh Crew, they released N.W.A. and the Posse in November 1987. N.W.A then jettisoned the posse and repurposed the best songs for other projects. “Boyz-n-the-Hood (remix)” went to Eazy-E’s 1988 solo effort, Eazy-Duz-It. Straight Outta Compton claimed “Dopeman (remix)” and “8-Ball (remix)”. The differences between the originals and the remixes show a rapid evolution. Here’s the original “8-Ball”. Note the heavy reliance on the turntable. The basic story of a man with no definite plan and an 800 brand Olde English 40 oz. malt liquor remains the same. Eazy-E crashes parties, picks fights, and generally raises hell — a portrait of a night on the town. But “8 Ball (remix)” is funkier — less scratchy and more melodic — foreshadowing Dr. Dre’s later g-funk beats. The verses are tighter, too; on the original, Eazy-E raps, “Police on my tail, I don’t like jail/ 40 oz. in my lap, and it’s cold as hell.” This is a fine little detail, but the second draft is much more evocative: “Police on my drawers, I have to pause/ 40 oz. in my lap, and it’s freezin’ my balls.” N.W.A had polished their skills. Much of Straight Outta Compton is like this, concerned with the physical world and what to do with your body for safety and pleasure. But one of the highlights of the album shows the group in a more philosophical light. “Express Yourself” was written by Ice Cube and performed solo by Dr. Dre (a neat bit of substitution that would become a trademark of Dre’s on his solo albums.) The music is built off a Charles Wright song of the same name; the way a single phrase is used as the backbone of the beat has been copied many times since, such as on Kanye and Jay Z’s “Otis”. The song contains no expletives, but it does reflect on the use of swear words in music. “Some musicians curse at home/ But scared to use profanity up on the microphone/ Yeah, they want reality, but you won’t hear none/ They rather exaggerate a fiction.” The song is also notable for a claim made by Dr. Dre. “I don’t smoke weed,” he says, only a few years before releasing The Chronic, an album-length ode to that singular herb. Perhaps Dr. Dre was himself exaggerating a fiction; even purveyors of “reality rap” can’t afford to let reality get in the way of a good line. With singles like “Express Yourself”, you might have expected N.W.A to build a career off the radio. That didn’t quite happen, but the lack of radio support wasn’t a problem. They were helped along by one of the most controversial songs on this or any album, a howl of rage that caught the attention of everyone who heard it. Ice Cube: “Fuck the police! Comin’ straight from the underground/ A young nigga got it bad ‘cause I’m brown/ And not the other color, so police think/ They have the authority to kill a minority!” It’s a masterful protest song written by a pair of rappers, Ice Cube and MC Ren, who weren’t old enough to legally drink. At this point in 1988, the relationship between the police and the black community had become strained, plagued by complaints about racial profiling and police brutality. (“Searchin’ my car, lookin’ for product/ Thinkin’ every nigga is sellin’ narcotics.”) This would reach a boiling point in 1991 when race riots followed the videotaped beating of black motorist Rodney King. “Fuck Tha Police” tapped into black anger in a way that was either exhilarating or uncomfortable, depending on the perspective of the listener. Most concerning to critics were Ice Cube’s threat to “Swarm/ On any motherfucker in a blue uniform,” and MC Ren’s boast, “I’m a sniper with a hell of a scope/ Taking out a cop or two, they can’t cope with me.” It got to the point where an assistant director at the FBI sent a scolding letter to N.W.A., accusing them of “advocating violence and assault…” and actions “discouraging and degrading to these brave, dedicated officers.” The letter was meant to shame N.W.A, but its mere existence led to more breathless newspaper articles, such as the LA Times piece linked to above. Because of that letter, N.W.A received priceless publicity in the form of news coverage. The letter is now enshrined, along with N.W.A, in the Canton Rock’n’Roll Hall of Fame. From this point forward, rappers would use controversy to sell records. It’s a trick Dr. Dre pulled several times, most famously with Snoop Doggy Dogg and Eminem. The question is, did N.W.A do it on purpose with “Fuck Tha Police”? Or was the resulting publicity merely a happy accident? I think there’s evidence that N.W.A knew exactly what they were doing, and that’s their own song, “Parental Discretion Iz Advised”. The title is a reference to a campaign by the Parents Music Resource Center, led by Tipper Gore, wife of senator and later Vice President Al Gore, to restrict children’s access to music containing violence, sex, and curse words. In the fall of 1985, the PMRC testified before the Senate, calling witnesses as diverse as Dee Snider, Frank Zappa, and John Denver. Eventually the Recording Industry Association of America agreed to place Parental Advisory stickers on certain albums; these were nicknamed “Tipper Stickers.” But the Senate hearings didn’t do what Tipper had hoped they would do; rather, many Americans seemed glad to know where to look for some nice, dirty lyrics. Tipper Stickers were good for business. “Parental Discretion Iz Advised”, which boasts an Isley Brothers sample, features N.W.A gloating about their transgressions. Swearing, sex, and violence — everything the Parents Music Resource Center couldn’t stand. With help from collaborator and occasional ghostwriter The D.O.C., Dr. Dre sneers, “Lyrics for the adults, children have been barred.” It’s a combination: a stunt track and a direct challenge to the censors of the world. Straight Outta Compton was the first true N.W.A record and the last to boast Ice Cube. What followed — the successes experienced by Cube and Dr. Dre and the tragedy of Eazy-E — have been written about enough at this point. It’s hard not to wonder about the music that might have been, but the little that we have is more than enough. N.W.A claimed a tiny corner of the map: the city of Compton in Los Angeles County, California. They were able to hold up their hometown as a broken mirror to the world. Crack and gangs and Compton. Police brutality and Compton. Censorship, race, language, controversy, vicious violence, sly jokes, the joys of getting drunk and getting laid, and Compton. It’s a world in miniature, which is how it manages to contain everything. Source

In an age where four on the floor is often lost in the drop, it's refreshing to hear producers taking a jagged hook on fast-paced UK house. Toronto duo Rainer and Grimm have all the right experience of a wold class production team. With a proper background linking together radio hits, these young studio legends are well versed on the points that put a top dance track together. The boys are in the midst of launching their very own imprint eloquently titled Bleeding Hearts Club. Promising a steady flow of funk synths and party cuts, the two Canadian producers are just getting geared up. Hows 2017 going for ya? You just dropped a jackin new single, what else is in the works for Summer? 2017 has been great thus far, we did a 13 date USA tour with the homie Viceroy which was super fun, and released our EP, The Bridge through our imprint Bleeding Hearts Club. On top of that we’ve actually been producing a few RnB EP’s for other artists, and making a stack of original work. You can expect another release from us in the next couple of months for sure, and a lot more BHC content. We understand you’ve worked with some big names from behind the scenes. What introduced you to music and specifically production? Ya we’ve both worked on the behind the scenes stuff before starting to release as Rainer + Grimm, as producers, engineers, and vocally, working on projects from Drake and the Weeknd to Allan Rayman and Jazz Cartier. Rainer was originally in bands as a Guitarist and was big into all kinds of music at a young age, and same with Grimm from singing in choir to building a name in the Drum and Bass scene. we both met at school and when it was done started writing music together, stemming from Rnb/Hiphop and then eventually going more electronic. As producers, you started off in the studio with influences of R&B. This is definitely evident in your vocal work and original sound. In your work, how did that impact and integrate with house production? We actually use that as a basis or jump off point. We try and write songs from a “Song” point of view instead of a typical EDM top line. We both have a strong belief that a song has to touch you or mean something to you in order to truly connect, not saying that you can’t have a hit with just a catchy hook, but its just not the way we work. Lyrics and Melody are very important to us. House and techno have evolved since their humble beginnings in Chi and Detroit. What is the the Rainer + Grimm definition of the house sound today? Well, we know there will always be the mega pop version of house, but i think the UK sound has a strong grasp on the original house sound now, a little bit dirty, but with soul. As the EDM world is going a little more Half Time again, we think its giving the deep house world the opportunity to get a little more in touch with its roots. We’ve been hearing a lot more dark nastiness and less cleanliness popping up in bigger artists releases as of late, and thats what we like to hear and play TBH. As producers in a dance scene that’s overwhelmed with emerging artists, how do you stay ahead of the curve? What do you do in the studio to stay fresh? Well like we said before, its about songs to us and not necessarily huge drops. We try not to be too worried about the curve at all, its all about just trying to be ourselves and sway away from sounding like whats hot now, and try to make whats next. As club-ready house vibes continue to make their way into the commercial/radio world, how do you think dance music and the nightlife aspect will change? A lot of people think the bubble will pop, be we think its just going to grow. we find the radio/pop version of EDM is usually a few months (years sometimes lol) behind the current sound trends. as for night life, that will never really die, but we see the HUGE festivals not being what its about, but more a lot more smaller niche festivals and club nights to serve all of the ever changing trends and genres in electronic music. Tell us a bit more about Bleeding Hearts Club, seems like a label but more. What’s the plan? We’ve been using BHC as an outlet for our own music, but its not necessarily just a Label as y’all have suspected. In the future we see it as an umbrella for everything Rainer + Grimm (Clothing, Club Nights, Radio Show etc…) and also we may use it to release other peoples music that we’re working on, not just electronic music. BHC is still young, but expect some cool stuff Any singles or remixes that we can expect in the back end of 2017? We’ve done remixes for our homies Fabich and Viceroy, and have another single ready to be unleashed, as well as a plethora of original music in the works. The rest of the year will be busy for R+G, which is how we like it lol Facebook Soundcloud Source

It's been on shaky ground recently, but it seems SoundCloud may have just copped the clutch save in the final hour. According to Music Business Worldwide, a pair of investors have bought into the streaming service for a total of $150,000,000USD. A reliable source told MBW that the investors are The Raine Group and Singapore state investment company Temasek Holdings, who now jointly own upwards of 50% of SoundCloud's equity. The news comes just a week after SoundCloud's Sydney office closed it's doors, joining the likes of it's UK and San Fran offices that were closed last month after SoundCloud stripped down nearly 40% of it's total staff. Despite reports it only has a matter of weeks to survive, SC's co-founder Alex Ljung said the rumours were "just noise". With that said, a 300-million dollar investment certainly looks like they needed some help. After 18 rough months for the German streaming service, here's hoping this investment brings SoundCloud back to what it used to be. For now though, artists can relax. Your music isn't going anywhere just yet. - (Source: MBW) Source

I put a weird little status update thing on the right column on the homepage. You can drop little msgs in there and they end up on your profile feed on ADJF. Also obv the shop stuff at the top seeing as I think everyone forgot this was a thing.

Words by Patrick Marshal Pioneer DJ are bringing us the goods in the form of the new DJM -750MK2. The gist of the machine is that it is an upgrade from the DJM-900NXS2 made for mixing at home with laptop and compatibility with a lot of software such as Rekordbox DJ and more. The new and improved DJM is looking at upping the bit game to 64 bit digital signal processor and a 32-bit A/D converter and 32 D/A converter, a frequency isolator to pull apart your favourite tracks with its smooth EQ's and channel faders, a very intuitive interface inherited from the DJM-900NXS2, textured effects that you can apply to any one of the frequencies you choose, two headphone outputs, an XLR output and an independent Mic section plus more! Not bad for a boost from its predecessor the DJM-750. The official release date will be September and its looking to be setting you back around $1,162 which includes licences for the Rekordbox DJ and Rekordbox DVS. Get your clammy fingers keen for a few spins when it releases in under a month and check out their website for more details here. - (Source: FACT Mag) Source

Fuck yeah ADJF 4 life boiiii

Dude I am so down if I'm invited

Any melb cunts wanna start a Rotorcraft fanclub and head to gigs? LMK

Not just Soundcloud getting raped http://mashable.com/2017/06/27/twitter-suspends-the-fader-account/ Twitter has suspended accounts of music lifestyle/news publication The Fader along with several other music-centric blogs. On Tuesday morning, Twitter users began posting the hashtag #FreeFader to show support for the publication and confusion about the account's absence on the social platform. As the day went on, other sites such as 2DOPEBOYZ, Hip Hop N More, and Pigeons and Planes — a publication owned by Complex — also revealed their accounts had been suspended.