People who prefer listening to rap over pop and classical music are more likely to by PSYCHOPATHS

If you're a big fan of the rapper, Eminem, there's a chance you're also a psychopath, according to a new study.

Researchers have found that people with psychopathic traits prefer listening to rap music.While the findings are yet to be published, the researchers even go far as to suggest that rap songs could be used to help predict the disorder in the future.

Researchers from New York University looked at how people's musical preferences correlate with their psychopathic tendencies.And unlike Hannibal Lecter - a psychopath portrayed in the 1991 blockbuster, Silence of the Lambs - who had a fondness for classical music, it appears that psychopaths are more likely to prefer rap.

In the study, 200 people were played 260 songs, and took tests to assess their psychopathic score.The results showed that people with the highest psychopath scores were the biggest fans of rap songs, including No Diggity by Blackstreet, and Lose Yourself by Eminem.

Public Service Broadcasting take their instrumental music to lofty, political heights

Public Service Broadcasting have made waves with their new album, Every Valley. The album is definitely not your typical adolescent trope on the vicissitudes of love and loss. Deeply empowering and phenomenally rich in storytelling, the band made its sophomore release a story about miners – specifically, miners from Wales.

　　Comprised of multi-instrumentalists J Willgoose Esq, Wrigglesworth, and JF Abraham, the band brings a curious mish-mash of genres — echoing the stylistic power of post-punk, electronica, krautrock and punk rock — together to create an intriguing narrative from start to end on Every Valley.
　　As if their musicality isn't enough to impress you, the story behind the album is interesting – and we had the changes to speak to frontman Willgoose (whom we will affectionately call J) about the bands thought process behind it, as well as about the thrills and spills of touring.
　　Instrumentation was, of course, the first questions on your mind – the band professes to have the trusty flugelhorn in their gear cabinets, among other standard instruments like the keys, guitars, and drums.
　　“Our bass player is a classically trained trumpet player by trade and he plays the flugelhorn as well," J shares, "and I think for him playing the bass and playing the keys – those are the things that he picked up just for fun."
　　"I’m self-taught and from a very different way of writing and thinking about music," J says. "The drummer, as well you know, he did a degree in drum studies so he’s not really a kind of very accomplished drummer. He’s a percussionist — he can play tuned percussion like the vibraphone on this album or the glockenspiel. It just gives you more options to work with really.”

Dillon Francis Drops Spanish-Language 'Say Less' Remix 'No Diga Mas': Listen

Luis Fonsi and Daddy Yankee have had so much success with their English-language remix of “Despacito” -- shout out to Justin Bieber -- that Dillon Francisfigured it might work in reverse for his tune “Say Less.”

That actually might have nothing to do with it, but it doesn't change the fact that Francis just released a Spanish-language version of the song called “No Diga Mas.” It features vocals from Mexican rapper Serko Fu and it's pretty damn spicy. It also follows a bogus threat by Francis to stop using social media for the rest of the year, which is pretty funny, given the theme at hand.
The lyrics here are not a straight translation from the English version, but the spirit of the song is essentially the same. It doesn't matter who you are. When it's 2 in the morning, you're either going home with someone or you're going home alone.

Classical music app to send programme notes to your phone as orchestra plays

Classical music-lovers are not famous for their tolerance of distractions during a concert.
Anyone who has been tutted at for turning the pages of their programme too loudly may be permitted a wry smile at news of the latest innovation: an app which texts notes straight to ticket-holders’phones.

The app, Octava, is intended to “assist the participant through a musical journey”, with Chris Evans, director of press and marketing at RPO, saying its tone is “specifically aimed towards new and potentially younger audiences”.

The app has already raised eyebrows in the classical community, after BBC Music magazine featured it in a review.
“I was surprised to see you endorse Octava, an app which sends texts to your phone during a performance with information about the music,” one concerned reader wrote in this month’s edition. “

Summer Classical Music Preview

Operatic productions, given their ambitions and expense, are always planned at least a year in advance. But, in making their selections for this summer, the region’s major players uncannily reflected our moment of deep political unease. One of the two productions that Francesca Zambello, who runs Glimmerglass Opera, in Cooperstown, is directing herself is the Donizetti rarity "The Siege of Calais" (July 16-Aug. 19), which takes place during the Hundred Years’ War. Zambello has moved the setting to the present day, the better to reflect on the refugee crisis in which all of Europe is currently embroiled. (Zambello will also direct "Porgy and Bess," an opera whose political dimensions are a permanent part of the American experience.) Those who prefer their bel canto straight up can always head to Caramoor, where Angela Meade, one of the Westchester festival’s artists-in-residence, will be featured in a semi-staged presentation of Bellini’s "Il Pirata"
Dvořák’s "Dimitrij," which will be mounted at Bard Summerscape (July 28-Aug. 6), also has a political thrust. The Bard Music Festival’s focus this year will be on Chopin (Aug. 11-20), a composer whose fierce love of his native Poland was wrapped in layers of personal and aesthetic contradiction. But without a Chopin opera to stage, Dvořák’s potent work, which plunges gamely into the ancient intra-Slavic conflict between Catholic Poland and Orthodox Russia which flared up after the death of the tsar Boris Godunov, makes a fine substitute.

Back in New York, Mostly Mozart has shown wisdom in bringing back the thrillingly radical production of "Don Giovanni" (Aug. 17 and Aug. 19) by the conductor Iván Fischer, one of several prominent Hungarian artists who have spoken out against that country’s increasing tolerance of anti-Semitism and homophobia. The festival’s other theatrical presentation is "The Dark Mirror," a staging of Schubert’s "Winterreise," featuring the captivating tenor Ian Bostridge (Aug. 12-13), which continues New York’s near-obsession with this most personal of composers. (Tanglewood also presents a series of Schubert concerts this summer.) Seeming to float above it all is Morton Subotnick, the electronic-music pioneer whom the Lincoln Center Festival is hosting at the Kaplan Penthouse (July 20-22). "Silver Apples of the Moon," created, in 1967, specifically for a recording on Nonesuch Records, will provide a fix of analog-era high-tech bliss. But its new companion work, "Crowds and Power," is based on Elias Canetti’s disturbing book from 1960, a volume that, sadly, remains just as relevant as ever.