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Tag: B-52s

  • Houston Concert Watch 10/29: Devo, B-52s and More – Houston Press

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    Back in the ‘70s, Las Vegas was about as unhip as things could get.  Well, that is, unless you went all Hunter Thompson, driving into town with a head full of acid in a Cadillac land yacht with the idea of causing as much confusion and destruction as possible.

    By the early part of Richard Nixon’s second term, the glory days of the Rat Pack were long gone, and Las Vegas had lost any sense of “ring-a-ding-ding.”  No, fifty some-odd years ago, Las Vegas was a place that catered to bourgeois conventioneers and tourists.  Folks who were thrilled to see acts like Wayne “Mr. Las Vegas” Newton, Liberace, Neil Diamond, Tony Orlando and Dawn, Donny and Marie Osmond, Barry Manilow and Paul Anka.  Not to mention Sigfried and Roy, in their salad days before the latter became an hors d’oeuvre.

    But these days, we seem to be experiencing a similar paradigm, i.e. Las Vegas being populated by relatively well-heeled sixty-ish and seventy-ish vacationers who are willing to shell out big bucks to see the big bands of yesteryear.  Recently announced acts booked for Vegas residencies in 2026 include the Eagles, Styx, Santana, Def Leppard, Foreigner and Chicago.

    It was bound to happen, but somehow it seems sad to see the wild-ass hell raisers of our (well, at least my) youth playing in such safe and conventional venues.  I am reminded of Joan Cusack’s line from the film Grosse Pointe Blank.  When asked what it was like attending her high school reunion, she answered, “It was just as if everyone had swelled.”  Indeed.

    Ticket Alert

    A passel of shows at Toyota Center has just been announced.  On Saturday, April 4, it’s ‘80s hitmakers New Edition headlining a bill that includes Boys II Men and Toni Braxton.  Meet and greet / photo opportunity packages are on sale now along with various presales, and the general sale is set for Friday.  Demi Lovato’s “It’s Not That Deep” tour – her first in three years – rolls into Houston on Monday, May 25.  Curiously, no presales are listed, but you can get to clicking Friday morning at 10 a.m.

    Florence + The Machine (Really?  We can’t just say “and”?) is booked at Toyota Center on Tuesday, May 5, as part of the band’s “Everybody Scream” tour in support of the album of the same name, which drops on Friday.  Tickets go on sale next Wednesday, November 5.  The “R&B Lovers” tour, which boasts a lineup including Keith Sweat, Joe, Dru Hill and Ginuwine, will be at Toyota Center on Saturday, June 6, and tickets are on sale this Friday.

    As for other venues in town, the White Oak Music Hall will host Echo and the Bunnymen on Wednesday, May 27.  The lads from Liverpool have gone through a bunch of band members since the group’s formation in 1978, and these days it’s only original members Will Sergeant and Ian McCulloch leading the charge, backed by various touring musicians.  Tickets for the Houston installment of the “More Songs to Learn and Sing” tour are on sale as we speak.

    Concerts This Week

    YouTube video

    In recent years, appearance on a talent-based reality show has become a pathway to stardom.  In the case of Canadian performer Tate McRae, it was “So You Think You Can Dance” (produced by the same folks as “American Idol”) that pushed her into the popular consciousness in 2016.  McRae embarked on a singing career soon after, releasing a number of singles and a couple of EP’s, followed by three albums.  Her most recent effort, So Close to What, reached No. 1 in the U.S. and in several other countries around the world.  You can see what all the fuss is about on Saturday at Toyota Center.

    YouTube video

    Lainey Wilson canceled her scheduled appearance at the Cynthia Woods Mitchell Pavilion last month, citing the recommendation of her vocal coach.  Evidently, all is now well with the country chanteuse’s vocal cords, and the postponed show will commence on Saturday. 

    YouTube video

    Fans of a certain age and a certain bent will be excited to know that the B-52s (no apostrophe, dammit!)  and Devo will co-headline a show on Sunday at the Cynthia Woods Mitchell Pavilion.  The billing makes perfect sense, in that both bands emerged and about the same time (around 1980) with material that was nothing like anything else on the radio.  Lene Lovich, who was also freaking people out around then, will open.

    YouTube video

    It would seem that Leon Thomas’ “Mutts Don’t Heel” tour is selling well, since the R&B artist’s gig scheduled for Tuesday at the House of Blues has been moved to the Bayou Music Center.  All tickets for the House of Blues show will be honored at the new venue.  ‘Cause Knowledge is Power: Thomas began his performing career on Broadway, appearing in “The Lion King” and “The Color Purple.”

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    Tom Richards

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  • As Jimmy Carter nears his 100th birthday, a musical gala celebrates the ‘rock-and roll president’

    As Jimmy Carter nears his 100th birthday, a musical gala celebrates the ‘rock-and roll president’

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    A range of stars from the stage, screen and sport paid tribute Tuesday to former President Jimmy Carter ahead of his 100th birthday, the eclectic lineup meant to highlight the 39th president’s emphasis on human rights and his love of music as a universal language.”Everyone here is making history,” Jason Carter, the former president’s grandson, told more than 4,000 people who filled Atlanta’s Fox Theatre to toast the longest-lived U.S. executive in history. “This is the first time people have come together to celebrate the 100th birthday of American president.”The benefit concert, with ticket sales funding international programs of The Carter Center that Jimmy and Rosalynn Carter founded in 1982 after leaving the White House, brought together artists that crossed generations and genres that traced back to his 1976 campaign. The concert will be aired in full on Georgia Public Broadcasting on Oct. 1, Carter’s birthday. Carter remains in hospice care at his home in Plains, Georgia. “He really was the rock-and-roll president,” said Chuck Leavell, whose Georgia-based Allman Brothers Band campaigned with Carter in 1976. But more than that, Leavell said, Carter always understood music as something “that brings people together.”Indeed, Tuesday’s run of show assembled artists as varied as India Arie singing R&B and soul draped in a resplendent purple gown; the B-52s, formed in Athens, Georgia, singing “Love Shack” and projecting psychedelic imagery across the concert hall; and the Atlanta Symphony Chamber Chorus bringing a classical and patriotic repertoire.Former President Barack Obama, known for releasing his summer playlists on social media, marveled at the range.”Now I have another reason to respect you,” Obama said in a video message. “He has got great taste in music. … I’ve never thrown a concert that features pop, rock, gospel, country, jazz, classical and hip-hop.”Of course, Obama noted, “Jimmy never passes up the opportunity to send a message,” and several artists referenced one of Carter’s widely circulated quotes about music: “One of the things that has held America together has been the music that we share and love.”Leavell took the stage multiple times Tuesday, reprising music he played and sang almost 50 years ago when Carter, then an underdog former Georgia governor, outpaced better-known Democrats to win his party’s nomination and the presidency in the wake of the Vietnam War and the Watergate scandal.”Music was such an important part of his political legacy,” Jason Carter told The Associated Press. “The Allman Brothers helped get him elected. Willie Nelson helped get him elected. He truly believed that.”When he was coming out of the South, running for president of the United States, the Allman Brothers and some of these other folks were really announcing this New South that was turning the page on the days of segregation – their lyrics, their whole vibe,” the younger Carter continued. “He used that to connect across generations.”Leavell traced Carter’s love of music to his upbringing in church; the former president has written about his early church experiences, including visiting a Black congregation near his home just outside Plains. Carter recalled being more captivated by the music there than what he heard in his all-white congregation. At the Naval Academy, Leavell noted, Carter and one of his friends would buy classical recordings of the same pieces to study how music can be interpreted differently. Part of the evening involved recounting Carter’s legacy as president and with The Carter Center, which advocates democracy, resolves conflict and fights disease across the world. Hannah Hooper, a lead singer of the alternative rock band Grouplove, praised Carter for dramatically expanding nationally protected park lands, most of it in Alaska. Actress Renee Zellweger narrated the lifelong relationship between the former president and his wife, whom he first met when she was just days old and who died last November after 77 years of marriage. Two former Atlanta Braves baseball stars, Terry Pendleton and Dale Murphy, celebrated Carter as the team’s No. 1 fan. They recalled what it was like to play with the Carters sitting in a field-level box, and they presented the former president’s great-grandsons with a Braves jersey to give their great-grandfather. The jersey number: 100. Bernice King, the daughter of slain civil rights icon Martin Luther King Jr., recounted Carter’s relationship with her family — he was close to her mother, and her grandfather was instrumental in Carter’s 1976 election. Though Carter was not actively involved in King Jr.’s work, Bernice King thanked the former president for publicly crediting her father for his indirect role in Carter’s political rise. Without the successes of the Civil Rights Movement, she recalled Carter saying, the nation never would have elevated a Southern governor who came of age in the era of Jim Crow segregation. The night was mostly void of partisan politics. But there were signs of Democratic allegiances to Carter and shadows of the 2024 election.Patterson Hood of Drive-By Truckers praised Carter as being ahead of his time and added that the country would have been better off if he had gotten to “finish the job” — an obvious reference to Carter’s landslide defeat to Republican Ronald Reagan in 1980. The list of former presidents paying tribute was bipartisan: Democrat Bill Clinton and Republican George W. Bush were packaged with Obama. President Joe Biden added his greetings, recalling that he was the first U.S. senator to endorse Carter’s White House bid. “I admire you so darn much,” Biden said, calling Carter, “Mr. President.” But there was a notable omission: former President Donald Trump. The 2024 Republican nominee has this year repeatedly cast Carter as a failed president as he tries to make a comeback bid. After the 2016 election, Carter questioned Trump’s legitimacy. Arie’s selections, meanwhile, included “What If,” the lyrics of which include first names of Black women who have broken barriers. Among them: Kamala. That reference to the vice president and Democratic nominee, Kamala Harris, drew roars from the crowd. Jason Carter, for his part, said his grandfather has been captivated by Biden’s decision to end his reelection bid and the possibility that Harris could become the first woman in the Oval Office. The younger Carter, who now chairs The Carter Center board, said Jimmy Carter struggled in the months after Rosalynn Carter’s death but now is excited by another campaign.”He’s ready to turn the page on Trump,” Jason Carter said, but more driven by the opportunity to vote for Harris. “When Kamala came onto the scene, it really galvanized the party, and it really energized him as well.”

    A range of stars from the stage, screen and sport paid tribute Tuesday to former President Jimmy Carter ahead of his 100th birthday, the eclectic lineup meant to highlight the 39th president’s emphasis on human rights and his love of music as a universal language.

    “Everyone here is making history,” Jason Carter, the former president’s grandson, told more than 4,000 people who filled Atlanta’s Fox Theatre to toast the longest-lived U.S. executive in history. “This is the first time people have come together to celebrate the 100th birthday of American president.”

    The benefit concert, with ticket sales funding international programs of The Carter Center that Jimmy and Rosalynn Carter founded in 1982 after leaving the White House, brought together artists that crossed generations and genres that traced back to his 1976 campaign. The concert will be aired in full on Georgia Public Broadcasting on Oct. 1, Carter’s birthday. Carter remains in hospice care at his home in Plains, Georgia.

    “He really was the rock-and-roll president,” said Chuck Leavell, whose Georgia-based Allman Brothers Band campaigned with Carter in 1976. But more than that, Leavell said, Carter always understood music as something “that brings people together.”

    Indeed, Tuesday’s run of show assembled artists as varied as India Arie singing R&B and soul draped in a resplendent purple gown; the B-52s, formed in Athens, Georgia, singing “Love Shack” and projecting psychedelic imagery across the concert hall; and the Atlanta Symphony Chamber Chorus bringing a classical and patriotic repertoire.

    Paras Griffin

    (L-R) Charlie Carter, Josh Carter, Jonathan Carter, Sarah Jane Opp Carter and guests attend Jimmy Carter 100: A Celebration in Song at The Fox Theatre on September 17, 2024 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)

    Former President Barack Obama, known for releasing his summer playlists on social media, marveled at the range.

    ATLANTA, GEORGIA - SEPTEMBER 17: A view of the atmosphere at Jimmy Carter 100: A Celebration in Song at The Fox Theatre on September 17, 2024 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)

    Paras Griffin

    A view of the atmosphere at Jimmy Carter 100: A Celebration in Song at The Fox Theatre on September 17, 2024 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)

    “Now I have another reason to respect you,” Obama said in a video message. “He has got great taste in music. … I’ve never thrown a concert that features pop, rock, gospel, country, jazz, classical and hip-hop.”

    Of course, Obama noted, “Jimmy never passes up the opportunity to send a message,” and several artists referenced one of Carter’s widely circulated quotes about music: “One of the things that has held America together has been the music that we share and love.”

    Leavell took the stage multiple times Tuesday, reprising music he played and sang almost 50 years ago when Carter, then an underdog former Georgia governor, outpaced better-known Democrats to win his party’s nomination and the presidency in the wake of the Vietnam War and the Watergate scandal.

    “Music was such an important part of his political legacy,” Jason Carter told The Associated Press. “The Allman Brothers helped get him elected. Willie Nelson helped get him elected. He truly believed that.

    Jason Carter, center, grandson of President Jimmy Carter, with his sons, Henry Lewis Carter, right, and Thomas Clyde Carter, left, attends the "Jimmy Carter 100: A Celebration in Song," concert at the Fox Theatre, Tuesday, Sept. 17, 2024, in Atlanta. Former President Carter turns 100-years old on Oct. 1. (AP Photo/Mike Stewart)

    Mike Stewart

    Jason Carter, center, grandson of President Jimmy Carter, with his sons, Henry Lewis Carter, right, and Thomas Clyde Carter, left, attends the “Jimmy Carter 100: A Celebration in Song,” concert at the Fox Theatre, Tuesday, Sept. 17, 2024, in Atlanta. Former President Carter turns 100-years old on Oct. 1. (AP Photo/Mike Stewart)

    “When he was coming out of the South, running for president of the United States, the Allman Brothers and some of these other folks were really announcing this New South that was turning the page on the days of segregation – their lyrics, their whole vibe,” the younger Carter continued. “He used that to connect across generations.”

    Leavell traced Carter’s love of music to his upbringing in church; the former president has written about his early church experiences, including visiting a Black congregation near his home just outside Plains. Carter recalled being more captivated by the music there than what he heard in his all-white congregation. At the Naval Academy, Leavell noted, Carter and one of his friends would buy classical recordings of the same pieces to study how music can be interpreted differently.

    Part of the evening involved recounting Carter’s legacy as president and with The Carter Center, which advocates democracy, resolves conflict and fights disease across the world.

    Hannah Hooper, a lead singer of the alternative rock band Grouplove, praised Carter for dramatically expanding nationally protected park lands, most of it in Alaska. Actress Renee Zellweger narrated the lifelong relationship between the former president and his wife, whom he first met when she was just days old and who died last November after 77 years of marriage.

    Two former Atlanta Braves baseball stars, Terry Pendleton and Dale Murphy, celebrated Carter as the team’s No. 1 fan. They recalled what it was like to play with the Carters sitting in a field-level box, and they presented the former president’s great-grandsons with a Braves jersey to give their great-grandfather. The jersey number: 100.

    Bernice King, the daughter of slain civil rights icon Martin Luther King Jr., recounted Carter’s relationship with her family — he was close to her mother, and her grandfather was instrumental in Carter’s 1976 election. Though Carter was not actively involved in King Jr.’s work, Bernice King thanked the former president for publicly crediting her father for his indirect role in Carter’s political rise. Without the successes of the Civil Rights Movement, she recalled Carter saying, the nation never would have elevated a Southern governor who came of age in the era of Jim Crow segregation.

    The night was mostly void of partisan politics. But there were signs of Democratic allegiances to Carter and shadows of the 2024 election.

    Patterson Hood of Drive-By Truckers praised Carter as being ahead of his time and added that the country would have been better off if he had gotten to “finish the job” — an obvious reference to Carter’s landslide defeat to Republican Ronald Reagan in 1980.

    The list of former presidents paying tribute was bipartisan: Democrat Bill Clinton and Republican George W. Bush were packaged with Obama. President Joe Biden added his greetings, recalling that he was the first U.S. senator to endorse Carter’s White House bid. “I admire you so darn much,” Biden said, calling Carter, “Mr. President.”

    But there was a notable omission: former President Donald Trump. The 2024 Republican nominee has this year repeatedly cast Carter as a failed president as he tries to make a comeback bid. After the 2016 election, Carter questioned Trump’s legitimacy.

    Arie’s selections, meanwhile, included “What If,” the lyrics of which include first names of Black women who have broken barriers. Among them: Kamala. That reference to the vice president and Democratic nominee, Kamala Harris, drew roars from the crowd.

    Jason Carter, for his part, said his grandfather has been captivated by Biden’s decision to end his reelection bid and the possibility that Harris could become the first woman in the Oval Office. The younger Carter, who now chairs The Carter Center board, said Jimmy Carter struggled in the months after Rosalynn Carter’s death but now is excited by another campaign.

    “He’s ready to turn the page on Trump,” Jason Carter said, but more driven by the opportunity to vote for Harris. “When Kamala came onto the scene, it really galvanized the party, and it really energized him as well.”

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  • A new look at high fidelity music: The rise of Dolby ATMOS and Spatial Audio – National | Globalnews.ca

    A new look at high fidelity music: The rise of Dolby ATMOS and Spatial Audio – National | Globalnews.ca

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    VAN NUYS, CALIFORNIA — Just off the freeway in the Valley is the Sound City Complex, a horseshoe-shaped building in the middle of an industrial zone. The site once featured the famed Sound City recording studios where everyone from Fleetwood Mac to Nirvana to Johnny Cash made some of the world’s famous records. Across the parking lot is another studio, but it’s devoted to something entirely different.

    I’m here at the invitation of Will Kennedy and Mike Wallace, a couple of audio alchemists whose current job is turning stereo mixes into something bigger and grander. Why have just two channels of audio when you can have 13?

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    The main room of the studio is covered in carpets on the floor and walls. A small console sits near the middle, surrounded by a tall metal structure that holds four speakers at the top pointing down at the floor. The console, which features little more than a keyboard and a couple of monitors, is totally surrounded by more speakers. Everything operates from a wild computer interface. This is where Will and Matt work on Dolby ATMOS and Spatial Audio versions of songs.

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    “Listen to this,” says Will, poking at the keyboard. “We completely dismantled Love Shack by The B52’s and rebuilt it into an ATMOS mix. I know you’ve heard it a million times, but just listen.”

    The song starts — and it sounds nothing like I expected. Fred Schneider’s lead vocal comes from somewhere in the centre. The close harmonies of Cindy Wilson and Kate Pierson are clean and slightly to the left. The bassline has a definition that I’d never noticed before. A guitar line, buried in the stereo mix suddenly appears and adds melodic heft to the midrange. And it turns out that the party sounds that we hear in various places in the song actually run through the entire song. With sound coming at all angles, I felt completely immersed in the music. It was … wild.

    “That’s something, huh?” Mike is smiling. “Now try this.” He puts on an ATMOS version of Faith No More’s Epic, a song Mike knows very well because he produced the original for the band back in 1989.

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    The guitar assault is spectacular, eclipsed only by the bassline, which reveals itself to be more intricate and heavy than the standard stereo mix allowed. Vocals come from all directions. It’s like I’m in the studio with the arranged around me. I’m enveloped in music from all directions.

    Will and Matt take me through more of their work. A 20-year-old Jason Mraz song. An impossibly tight group playing modern big-band music. A track metal band with layers and layers of guitars and vocals completely engulfs the listener in waves of glorious noise. When the last note dies out, I can only sit there in amazement. I’ve become a believer.

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    Before today, I’d been very skeptical about this new technology. Why try to improve on songs that are already classics? Wouldn’t this be like trying to make the Mona Lisa more high-res? Aren’t you messing with the artists’ original vision? Are you creating new standards for this music when we’ve been fine with what we’ve had all these years? And who can afford a home audio system with 13 speakers, all specifically arranged and powered by amps that require their own modular reactor?

    Detractors will point to the failure of quadraphonic sound in the early 1970s. Super Audio CDs and DVD-Audio didn’t work, either. Yeah, there are some great 5.1, 6.1, 7.1, and beyond mixes of classic albums available in box sets that sound great on a home theatre, but those are for obsessives and audiophiles. What makes anyone think that this latest attempt to bring extra high fidelity to the masses is going to work? (Sony also has something called 360 Reality Audio which follows different specs. I’m told Sony is struggling to get this adopted by the industry.)

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    Will is patient with me. “If you look at the size of these files, they’re huge. That B-52’s file is more than two gigabytes. Compare that to around 70 megabytes for the original .wav of song and maybe eight megs for an MP3 version. That’s because this file contains lots and lots of information, including metadata that will allow the file to be ‘folded down’ into both a 5.1 mix and a stereo mix. In fact, what we’re really going for is an immersive listening experience on headphones. Any headphones — although like with anything, the better the hardware, the better the software — the music — will sound.”

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    Headphones, it turns out, are the main target of those promoting the new technology. In fact, you may have already experienced Spatial Audio if you’ve got Apple Music or have downloaded specially encoded songs from iTunes. Instead of “oh, that sound is coming from the left and those sounds are coming from the right,” Spatial Audio tracks suck you in a little deeper. I still haven’t found a recording that brings the sound forward so it seems to be coming from in front (headphone listening often gives you the send that much of the music is coming from behind), but it’s certainly an improvement.

    Another advantage? The ATMOS standards demand far less compression on the finish files. The amount of dynamic range that’s preserved in the recording is insane. Unlike “loudness wars” casualties like the Red Hot Chili Peppers’ Californication and St. Anger from Metallica — two albums I find unlistenable because they’re compressed to the point of distortion — these ATMOS mixes breathe to the point where you can hear the space between the notes. It is utterly three-dimensional, just like when you see a live concert. The music seems to come from everywhere all at once.

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    Glancing at the folder filled with mixes in progress, I see some very big names, including a couple with unreleased albums that are in the process of getting ATMOS-ized. Those were off-limits to me, of course.

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    Will ATMOS and Spatial Audio become the new standard?  Maybe, especially since so many people consume music through headphones. Will they notice after two decades of listening to horrible MP3-quality audio? Will they even care?

    Skeptics will say that this is just an attempt to get us to buy more audio gear. Yes, it is, but we haven’t had a mainstream revolution in audio fidelity since the compact disc. Others point out that the people with an interest in these new mixes are driven by profit. Of course, they are! That’s how it works. And unless I’m mistaken, creating new mixes like these also means you’re creating new master recordings, thereby resetting the countdown clock on copyright back to zero. That means these songs will stay out of the public domain longer.

    And there are more applications beyond music. We’re heading into the era of the metaverse. Entirely immersive 3D sound is going to be a big deal. Maybe, just maybe, this is the new tech we’ve been waiting for.

    On the drive back to Hollywood, I couldn’t get that B-52’s mix out of my head. It left me with such a good feeling that didn’t even mind the bump-and-grind on the 405.

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    Alan Cross is a broadcaster with Q107 and 102.1 the Edge and a commentator for Global News.

    Subscribe to Alan’s Ongoing History of New Music Podcast now on Apple Podcast or Google Play

    &copy 2023 Global News, a division of Corus Entertainment Inc.

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    Alan Cross

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