Welcome to the Terrible Tuesdays edition of MusicREDEF, featuring TERRIFYING and OUTRAGEOUS content intended to piss off your parents, your children, your local record company exec, your mayor, your cat, someone, anyone. For starters: The word "content." Which pisses off ME. Artists do not make content. They make music. If you must insist on calling it content, please keep your tie tied and your shirt tucked in and please do not stray from the executive suites on the 50th floor. I make content. SOLANGE and KACEY MUSGRAVES make music. Which I sometimes make content about. Actually that's not even true. I write. Go away... For firestarters: KEITH FLINT was the '90s version of the SHOCK-ROCK frontman with the too-loud face and the not-quite-right voice and the snotty attitude all conspiring to produce a sound that legitimately did terrify some upstanding citizens of the 1990s, who were sure the sometime lead singer of the PRODIGY would lead their children down a candy-colored, drug-fueled highway to rave hell. Others were terrified and/or outraged because he didn't make what they considered to be proper rock music and because he did make what they considered to be improper, electronically generated dance music. Also, sometimes he just danced wildly onstage and didn’t do anything else. I've no doubt already used the word "rock" to much in this item, for Flint, who took his life at age 49, was one of the key figures in electronic music's advance toward arena stages and mainstream TV and radio in the Big Beat dance-music era. He was "an absolutely iconic figure for the late '90s" who "physically embodied the anarchic spirit of the rave." I mean, hell, this vocal. And he meant the world to millions of people whom he did not terrify, because he was, as is often the case in these situations, not in fact terrifying. Just a cultural firestarter. RIP... And then there are BOOTLEGS. Which have been around longer than you have, in every format that has been available to be bootlegged, and will continue to be around long after you're gone and the music business has miraculously solved all its other problems. RIHANNA hit #67 on the ITUNES albums chart this past weekend with an unauthorized album of demos and unreleased songs, which, yes, says a little about how easy it seems to be for anybody to upload pretty much anything to a streaming music service (hello, internet!) and a little about how easy it is for anyone else to find it, inasmuch as all one has to do is type "Rihanna" in a search box. Or, if you're a few years older, perhaps you'll type "STEELY DAN" in that box, and if you're on SPOTIFY the first thing you'll see is this, which has been around in various forms for years and which—educated guess here—neither DONALD FAGEN nor UNIVERSAL MUSIC has ever signed off on. Forty or 50 years ago, you could walk into a record store and find something similar on vinyl, and 40 or 50 years from now all you'll have to do is think the word "bootleg" to yourself and all the rare and unreleased SKY FERREIRA your grandmother ever wanted will immediately start playing on your internal hard drive. And the problem won't be the format then any more than the problem is the format now. Don't blame APPLE or Spotify. Blame yourself. You're the one who went looking for it... How terrifying does this KANYE WEST contract sound? And is it in fact terrifying, or does it just sound that way? (That's an actual question. I have no idea)... HOWARD STERN was once terrifying, too. Now he's an ace publicist and marketer for 25-year-old rock songs... RIP also: STEVE JAMESON.