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  • 2023 Grammy Nominations: Snubs and Surprises

    2023 Grammy Nominations: Snubs and Surprises

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    It is with an apprehensive and tired sigh that I announce: the 2023 Grammy nominations are out.

    The Grammy Awards are music’s most exhilarating and disheartening night of the year. Year after year, we’re all forced to sit through hours of pomp and ceremony. At the end of it, stars are disappointed by losses and audiences are disappointed by the boring spectacle the show has become.


    There was a time when The Grammys felt relevant and important. I believe that era ended in 2013 when Macklemore beat out Kendrick Lamar for Best Rap Album. Now, we’re questioning how much authority the Grammy Awards actually hold. Major stars like Drake, The Weeknd, Frank Ocean, and more have stopped submitting their tracks for consideration. And even more musicians have spoken out about being unfairly categorized or snubbed.

    This is especially true of Black Artists. While Jay Z and Beyonce now hold the record for most Grammy nominations of all time, their list of wins deserves to be higher. Sure, their trophy cabinet is already heavy with awards. Let’s not forget that their daughter, Blue Ivy, has a Grammy of her own — but the annual event often comes with major snubs. For example, Beyonce’s never won Album of the Year. Despite the fact that Lemonade exists … much to think about.

    In fact, only 11 Black artists have ever won Album of the Year. Since 2000, there have been only four Black winners: Outkast in 2004 for Speakerboxxx/The Love Below; Ray Charles, posthumously in 2005; Herbie Hancock in 2008 for a Joni Michael cover album; and, most recently, Jon Batiste in 2022.

    On Tue, November 15th the 2023 nominations were announced. Once again, they’ve prompted equal parts celebration and confusion. It’s a fool’s errand to try to guess what the Grammy voters are thinking. And this year is no exception. The disappointment starts early.

    Read the full list of nominations here.

    But here are the biggest snubs and surprises of the season:

    Snub: Taylor Swift’s Red (Taylor’s Version)

    Yesterday, Taylor Swift fans were fighting a war with Ticketmaster, virtually fighting and clawing for tickets to her upcoming The Eras Tour. And it’s a good thing they were distracted because Taylor’s Red (Taylor’s Version) was notably missing from nominations for the Album of the Year.

    Swift is one of four artists to win Album of the Year three times — along with Paul Simon, Stevie Wonder, and Frank Sinatra — but since she was shut out of album categories this season, this year will not be one of them. While the original recording of Red was nominated for AOY, the latest version was not. The 30-song tracklist consists of new songs — some of which were given nods like song of the year for “All Too Well (10 Minute Version)” and best country song for “I Bet You Think About Me. But even if Red (Taylor’s Version) wasn’t considered Album-of-the-Year-worthy, it deserves a shot at Best Country Album.

    Her most recent offering, Midnights, doesn’t qualify for this year’s Grammys, but we better see it in 2024. Next target on Taylor’s next revenge album: The Grammy voters.

    Surprise: Jack Harlow

    It seems the Grammys have fallen victim to the Jack Harlow trap, an affliction that usually befalls college girls in their Nike Air Force Ones. Harlow recieved a nomination for his sophomore album Come Home the Kids Miss You for Best Rap Album. And his single “First Class” — which samples Fergie’s “Glamorous,” went TikTok viral landed a nom for Best Melodic Rap Performance. Honestly, this is simply humiliating. It only proves that the Grammys still know nothing about rap music. And they’re starting to prioritize streaming, charts, and — heaven help us — TikTok in their considerations.

    Surprise: Gayle

    Another TikTok surprise was Gayle’s nod for “abcdfu” — nominated for Song of the Year. If the TikTok star’s already wondering how to follow up that viral hit, the bar has been raised. So, I bet you a buck, we’ll be seeing a lot of TikTok songs among future Grammy Award noms. Choose your TikTok sounds wisely.

    Snub: Megan Thee Stallion

    Megan is not just one of our favorite rappers, she’s one of the best. Indisputably. The only people who don’t understand that are Academy voting members. They awarded Megan Best New Artist in 2021 … but since then they haven’t found her albums worthy of nomination. Her striking debut only received one nomination in 2022. And despite the acclaim for her sophomore album, Megan was ignored this year. Traumazine was poignant and electric, and deserves better.

    Snub: The R&B girlies

    Other neglected Black female artists include Summer Walker and Tems. Summer Walker is now on her second album, but it seems the Grammys haven’t heard. They’ve never even whispered her name, despite her established place as an R&B mainstay.

    Tems is one of the most fantastic artists to emerge over the past few years. We all expected her to earn a Best New Artist nom at the very least. She wrote Rihanna’s smash-hit for Black Panther: Wakanda Forever. And worked with artists like Drake, Future, and Beyonce on chart-topping tracks. So what does it take?

    Snub: Charli XCX and Florence and the Machine

    Other industry mainstays include Charli XCX and Florence and the Machine, and Mitski. All are veterans of the indie/alternative scenes, and all released career-defining projects this year.

    Charli is one of the hottest names in the industry, not just as a performer but also as a writer. Yet, the Grammys love to ignore her — despite her “considerable impact on the music landscape” and her own genre-bending, soaring work. She was nominated for Iggy Azalea’s “Fancy” in 2016 but since then, silence.

    Florence is an indie darling, and her most recent album is a stunner — which is saying a lot. Yet, this indie-alt triumph got scarcely any love from the Grammys. Astounding.

    Snub: Where are the Indie girls at?

    A number of our favorite indie/alt albums of the year were nowhere to be found in the nominations list. Artists like Maggie Rogers and Lizzie McAlpine dominated the indie scene but when it came to the nominations? Crickets.

    Another major snub? Mitskian — an indie-alt favorite foreverrr. But after touring with Harry Styles, she certainly “achieved a ‘breakthrough’ into public consciousness and impacted the musical landscape” this year reaching a thrilling new fanbase. So she should be a shoo-in for the Best New Artist category. Justice for Mitski.

    Snub: Blackpink

    Arguably the most famous girl group performing right now, Blackpink deserved some kind of recognition. C’mon. They’re selling out global stadiums and they can’t even get a stinkin Grammy nomination? Someone introduce the Grammy voters to KPOP, stat.

    Surprise: Viola Davis

    This Grammy season, the actress is on the precipice of an EGOT. She’s nominated for Best Audio Book, Narration, and Storytelling Recording for her memoir, Finding Me. Hopefully, we’ll have something to celebrate come the 65th Grammy Awards.

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    LKC

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  • Bad Bunny Makes Grammy History With First Spanish-Language Album Of The Year Nomination For ‘Un Verano Sin Ti’

    Bad Bunny Makes Grammy History With First Spanish-Language Album Of The Year Nomination For ‘Un Verano Sin Ti’

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    By Meredith B. Kile, ETOnline.com.

    Bad Bunny just made Grammys history. On Tuesday, the Puerto Rican superstar earned an Album of the Year nomination for the 2023 Grammy Awards for his 2022 album, Un Verano Sin Ti, the first-ever all-Spanish album to earn the honour in the Grammys 65-year history.

    Only two Latin artists have previously contended in the Album of the Year category: Santana, who won in 2000 with Supernatural, and Cardi B, who was nominated in 2019 for Invasion of Privacy, but was beat out by Kacey Musgraves’ Golden Hour.

    Bad Bunny was conspicuously snubbed from the Grammys other Big 4 categories, but his album also earned a nod for Best Música Urbana Album.

    The performer is, however, the top-nominated artist at the 2023 Latin GRAMMYs, where he earned 10 nominations this year, including Album of the Year and Record of the Year. That also makes Un Verano Sin Ti the first-ever album to be nominated for Album of the Year at both the Grammys and the Latin Grammys.


    The 65th Annual Grammy Awards will take place on Sunday, Feb. 5, 2023, at 8 p.m. ET / 5 p.m. PT and will broadcast and stream live on CBS and Paramount+. Follow along at ETonline.com for everything you need to get ready for music’s biggest night, including how to watch, Grammy performers and more.

    MORE FROM ET:

    GRAMMY Awards Add Five New Categories

    Latin GRAMMYs 2022: Christina Aguilera, John Legend to Perform

    Bruno Mars Declines to Submit Silk Sonic for GRAMMYs Consideration

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    Brent Furdyk

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  • Demand for Taylor Swift tickets crashes Ticketmaster

    Demand for Taylor Swift tickets crashes Ticketmaster

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    Demand for Taylor Swift tickets crashes Ticketmaster – CBS News


    Watch CBS News



    Fans of Taylor Swift crashed the Ticketmaster website as presale tickets to her first tour in five years went on sale. Tickets go on sale to the general public Friday.

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  • Morrissey upsets crowd after ending concert 30 minutes in | CNN

    Morrissey upsets crowd after ending concert 30 minutes in | CNN

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    CNN
     — 

    Morrissey abruptly ended his concert at the Greek Theatre in Los Angeles just 30 minutes in.

    The singer left fans upset on Saturday after he left the stage after performing only a few songs.

    The former Smiths front man did not explain his departure. Instead, a bandmate of his told the crowd, “Sorry, but due to unforeseen circumstances, the show is not going to continue. Very sorry. We’ll see you next time. Apologies.”

    Fans took to Twitter to try to figure out what the “unforeseen circumstance” was, with one speculating it was too cold outside. Earlier on, the singer had commented on the weather, saying it was chilly.

    “So, #Morrissey just walked off the stage at @Greek_Theatre after 30 min. Apparently, he was too cold. Meanwhile, it’s in the 50s,” the fan wrote.

    Morrissey’s Instagram account had a post after the incident, but did not apologize for his early departure.

    “Thank you for coming out last night, L.A. We love you and are grateful for your support,” the post read. “Please stand by for further announcements coming shortly.”

    Morrissey is currently on a North American tour, which started Nov. 11.

    His next stop is on Nov. 14 at The Magnolia in El Cajon, California.

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  • Montreal composer Yannick Nézet-Séguin among top Canadian Grammy nominees  | Globalnews.ca

    Montreal composer Yannick Nézet-Séguin among top Canadian Grammy nominees | Globalnews.ca

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    Classical composer Yannick Nézet-Séguin is among the leading Canadian Grammy nominees this year with a strong showing coming from an array of other homegrown talents.

    The Montreal native picked up five nominations across four classical music categories, which put him neck-and-neck with Serban Ghenea, who is up for record of the year for his mixing work on Mary J. Blige’s Good Morning Gorgeous.

    Ghenea was born in Romania before he moved to Canada as a youngster, going on to build his name in the music industry where he’s scored 19 Grammy wins over his career.

    Nézet-Séguin’s nominations include best classical compendium for A Concert For Ukraine, and two in the opera recording category — for Aucoin: Eurydice and Blanchard: Fire Shut Up in My Bones.

    Read more:

    2023 Grammy Awards nominations: See the list of music contenders

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    Other big nominees this year included Toronto producer Boi-1da, born Matthew Samuels, who trailed closely behind with four nominations, including two in the album of the year category for Beyonce’s Renaissance and Kendrick Lamar’s Mr. Morale & The Big Steppers.

    The music hitmaker, who built his name crafting songs with Eminem, Drake and Kardinal Offishall, also earned nods for producer of the year, non-classical, and best rap song for work on the track Churchill Downs by Jack Harlow.

    Drake has three nods, even though he’s boycotted the Grammys in recent years by not submitting his own work. He still managed to pick up a mention in the album of the year category for his contributions to the song Heated on Beyonce’s nominated album.

    The Toronto rapper also held two nominations for best rap song, one which he shared with Samuels for Harlow’s track and another for his appearance on Future’s single Wait For U.

    Four-time Grammy winner Michael Buble’s latest effort Higher is among contenders for traditional pop vocal album, while DJ and producer Kaytranada’s Intimidated, featuring H.E.R., is up for dance/electronic recording. The rising Montreal star, who recently opened for the Weeknd, already holds two Grammy wins from 2021.

    And Bryan Adams pocketed a nomination for So Happy It Hurtsin the best rock performance category.

    Arcade Fire’s We landed recognition for best alternative music album, a vote of support from the music industry at a troubled time for the Montreal band as they push forward with a tour. Lead singer Win Butler is facing multiple allegations of sexual misconduct which he has denied, saying all encounters took place between consenting adults.

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    Read more:

    Feist leaves Arcade Fire tour over multiple sexual misconduct allegations against Win Butler

    Winnipeg-born mixing engineer Jesse Ray Ernster is in the running in the record of the year category for his work on Doja Cat’s Woman.

    In the album of the year category, Adele’s nominated 30 includes mixers Ghenea and Shawn Everett from Bragg Creek, Alta. as well as Vancouver producer Tobias Jesso Jr.

    Meanwhile, Adele’s Easy On Me gave prolific Montreal film director Xavier Dolan and Quebec producer Nancy Grant nominations for best music video.

    In the best music film category Justin Bieber grabbed a nomination alongside the team behind his Our World feature-length concert film, while Neil Young became a contender for A Band A Brotherhood A Barn, a documentary that traces the recording of the Neil Young & Crazy Horse album Barn.

    And the creators who put together a project celebrating late legendary Toronto pianist Glenn Gould earned Grammy recognition. The Goldberg Variations – The Complete Unreleased 1981 Studio Sessions is up for best historical album.

    The 65th Grammy Awards will hosted by Trevor Noah and broadcast Feb. 5 on Citytv and CBS.

    &copy 2022 The Canadian Press

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  • Bad Bunny scores a Grammys first with his Spanish-language album | CNN

    Bad Bunny scores a Grammys first with his Spanish-language album | CNN

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    CNN
     — 

    Bad Bunny’s Spanish-language album, “Un Verano Sin Ti,” has made Grammys history.

    The artist, who scored three nominations on Tuesday for the 65th Annual Grammy Awards, has become the first to score an album of the year nomination for an album completely in Spanish.

    “Un Verano Sin Ti,” which translates to “A Summer Without You,” is also the first album to receive an album of the year nomination at both the Grammys and the Latin Grammys, the latter of which will be held on Thursday.

    In addition to his album of the year nod, Bad Bunny scored nominations in the best pop solo performance and best música urbana album categories.

    The Puerto Rican artist has previously been nominated for six Grammys and won two of them. Last year, he won for best música urbana album for “El Último Tour Del Mundo,” and in 2020, he won best latin pop or urban album for his second solo studio album “YHLQMDLG”

    The 2023 Grammy Awards will air live on Sunday, February 5, 2023 at 8 p.m. ET/5 p.m. PT on CBS and Paramount+.

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  • Partial list of nominees for the 65th Grammy Awards

    Partial list of nominees for the 65th Grammy Awards

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    LOS ANGELES — A partial list of nominees in the top categories at the 65th annual Grammy Awards, announced Tuesday by The Recording Academy.

    — Album of the year: “Voyage,” ABBA; “30,” Adele; “Un Verano Sin Ti,” Bad Bunny; “Renaissance,” Beyoncé; “Good Morning Gorgeous” (Deluxe), Mary J. Blige; “In These Silent Days,” Brandi Carlile; “Music of the Spheres,” Coldplay; “Mr. Morale & the Big Steppers,” Kendrick Lamar; “Special,” Lizzo; “Harry’s House,” Harry Styles.

    — Record of the year: “Don’t Shut Me Down,” ABBA; “Easy on Me,” Adele; “Break My Soul,” Beyoncé; “Good Morning Gorgeous,” Mary J. Blige; “You and Me on the Rock,” Brandi Carlile featuring Lucius; “Woman,” Doja Cat; “Bad Habit,” Steve Lacy; “The Heart Part 5,” Kendrick Lamar; “About Damn Time,” Lizzo; “As It Was,” Harry Styles.

    Song of the year (songwriter’s award): “abcdefu,” Sara Davis, GAYLE and Dave Pittenger; “About Damn Time,” Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin and Theron Makiel Thomas; “All Too Well (10 Minute Version – The Short Film),” Liz Rose and Taylor Swift; “As It Was,” Tyler Johnson, Kid Harpoon and Harry Styles; “Bad Habit,” Matthew Castellanos, Brittany Fousheé, Diana Gordon, John Carroll Kirby and Steve Lacy; “Break My Soul,” Beyoncé, S. Carter, Terius “The Dream” Gesteelde-Diamant and Christopher A. Stewart; “Easy on Me,” Adele Adkins and Greg Kurstin; “God Did,” Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts and Nicholas Warwar; “The Heart Part 5,” Jake Kosich, Johnny Kosich, Kendrick Lamar and Matt Schaeffer; “Just Like That,” Bonnie Raitt.

    — Best new artist: Best new artist: Anitta; Omar Apollo; DOMi & JD Beck; Muni Long; Samara Joy; Latto; Månekskin; Tobe Nwigwe; Molly Tuttle; Wet Leg.

    — Songwriter of the Year: Amy Allen; Nija Charles; Tobia Jesso Jr.; The-Dream; Laura Veltz

    — Best pop solo performance: “Easy on Me,” Adele; “Moscow Mule,” Bad Bunny; “Woman,” Doja Cat; “Bad Habit,” Steve Lacy; “About Damn Time,” Lizzo; “As It Was,” Harry Styles.

    — Best pop duo/group performance: “Don’t Shut Me Down,” ABBA; “Bam Bam,” Camila Cabello featuring Ed Sheeran; “My Universe,” Coldplay and BTS; “I Like You (A Happier Song),” Post Malone and Doja Cat; “Unholy,” Sam Smith and Kim Petras.

    — Best pop vocal album: “Voyage,” ABBA; “30,” Adele; “Music of the Spheres,” Coldplay; “Special,” Lizzo; “Harry’s House,” Harry Styles.

    — Best traditional pop vocal album: “Higher,” Michael Bublé; “When Christmas Comes Around…,” Kelly Clarkson; “I Dream of Christmas” (Extended), Norah Jones; “Evergreen,” Pentatonix; “Thank You,” Diana Ross.

    — Best dance/electronic album: “Renaissance,” Beyoncé; “Fragments,” Bonobo; “Diplo,” Diplo; “The Last Goodbye,” ODESZA; “Surrender, Rufus Du Sol.

    — Best rock album: “Dropout Boogei,” The Black Keys; “The Boy Named If,” Elvis Costello and the Imposters; “Crawler,” Idles; “Mainstream Sellout,” Machine Gun Kelly; “Patient Number 9,” Ozzy Osbourne; “Lucifer on the Sofa,” Spoon.

    — Best alternative music album: “WE,” Arcade Fire; “Dragon New Warm Mountain I Believe You,” Big Thief; “Fossora,” Björk; “Wet Leg,” Wet Leg; “Cool It Down,” Yeah Yeah Yeahs.

    — Best progressive R&B album: “Operation Funk,” Cory Henry; “Gemini Rights,” Steve Lacy”; “Drones,” Terrace Martin; “Starfruit,” Moonchild; “Red Ballon,” Tank and the Bangas.

    — Best R&B album: “Good Morning Gorgeous” (Deluxe, Mary J. Blige; “Breezy” (Deluxe), Chris Brown; “Black Radio III,” Robert Glasper; “Candydrip,” Lucky Daye; “Watch the Sun,” PJ Morton.

    — Best rap album: “God Did,” DJ Khaled; “I Never Liked You,” Future; “Come Home the Kids Miss You,” Jack Harlow; “Mr. Morale & the Big Steppers,” Kendrick Lamar; “It’s Almost Dry,” Pusha T.

    — Best country album: “Growing Up,” Luke Combs; “Palomino,” Miranda Lambert; “Ashley McBryde Presents: Lindeville,” Ashley McBryde; “Humble Quest,” Maren Morris; “A Beautiful Time,” Willie Nelson.

    — Best jazz vocal album: “The Evening: Live at Apparatus,” The Baylor Project; “Linger Awhile,” Samara Joy; “Fade to Black,” Carmen Lundy; “Fifty,” The Manhattan Transfer with the WDR Funkhausorchester; “Ghost Song,” Cécile McLorin Salvant.

    — Best jazz instrumental album: “New Standards Vol. 1,” Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton and Matthew Stevens; “Live in Italy,” Peter Erskine Trio; “LongGone,” Joshua Redman, Brad Mehidau, Christian McBride and Brian Blade; “Live at the Detroit Jazz Festival,” Wayne Shorter, Terri Lyne Carrington, Leo Genovese and Esperanza Spalding; “Parallel Motion,” Yellowjackets.

    — Best gospel album: “Die to Live,” Maranda Curtis; “Breakthrough: The Exodus (Live),” Ricky Dillard; “Clarity,” DOE; “Kingdom Book One Deluxe,” Maverick City Music and Kirk Franklin; “All things New,” Tye Tribbett

    — Best contemporary Christian music album: “Lion,” Elevation Worship; “Breathe,” Maverick City Music; “Life After Death,” TobyMac; “Always,” Chris Tomlin; “My Jesus,” Anne Wilson.

    — Best Latin pop album: “Aguilera,” Christina Aguilera; “Pasieros,” Rubén Blades and Boca Livre; “De Adentro Pa Afuera,” Camilo; “Viajante,” Fonseca; “Dharma +,” Sebastián Yatra.

    — Best Latin urban album: “Trap Cake, Vol. 2,” Rauw Alejandro; “Un Verano Sin Ti,” Bad Bunny; “Legendaddy,” Daddy Yankee; “La 167,” Farruko; “The Love & Sex Tape,” Maluma.

    — Best Latin rock or alternative album: “El Alimento,” Cimafunk; “Tinta y Tiempo,” Jorge Drexler; “1940 Carmen,” Mon Laferte; “Alegoria,” Gaby Moreno; “Los Años Salvajes,” Fito Paez; “MOTOMAMI,” Rosalía.

    — Best reggae album: “The Kalling,” Kabaka Pyramid; “Gifted,” Koffee; “Scorcha,” Sean Paul; “Third Time’s the Charm,” Protoje; “Come Fly Wid Mi,” Shaggy.

    — Best spoken word poetry album: “Black Men Are Precious,” Ethelbert Miller; “Call Us What We Carry: Poems,” Amanda Gorman; “Hiding in Plain View,” Malcolm-Jamal Warner; “The Poet Who Sat By the Door,” J. Ivy; “You Will be Someone’s Ancestor. Act Accordingly.,” Amir Sulaiman.

    — Best comedy album: “The Closer,” Dave Chappelle; “Comedy Monster,” Jim Gaffigan; “A Little Brains, a Little Talent,” Randy Rainbow; “Sorry,” Louis CK; “We All Scream,” Patton Oswalt.

    — Best compilation soundtrack for visual media: “Elvis”; “Encanto”; “Stranger Things: Soundtrack from the Netflix Series, Season 4 (Vol 2); “Top Gun: Maverick”; West Side Story.”

    — Best song written for visual media: “Be Alive” from “King Richard,” Beyoncé and Darius Scott Dixson; “Carolina” from “Where the Crawdads Sing,” Taylor Swift; “Hold My Hand” from “Top Gun: Maverick,” Bloodpop and Stefani Germanotta; “Keep Rising” from “The Woman King,” Angelique Kidjo, Jeremy Lutito and Jessy Wilson; “Nobody Like U” from “Turning Red,” Billie Eilish and Finneas O’Connell; “We Don’t Talk About Bruno” from “Encanto,” Lin-Manuel Miranda.

    — Best score soundtrack for visual media: “The Batman,” Michael Giacchino; “Encanto,” Germaine Franco; “No Time to Die,” Hans Zimmer; “The Power of the Dog,” Jonny Greenwood; “Succession: Season 3,” Nicholas Britell.

    — Producer of the year, non-classical: Jack Antonoff; Dan Auerbach; Boi-1da; Dahi; Dernst “D’mile” Emile II.

    — Best music video: “Easy on Me,” Adele; “Yet to Come,” BTS; “Woman,” Doja Cat; “The Heart Part 5,” Kendrick Lamar; “As It Was,” Harry Styles; “All Too Well: The Short Film,” Taylor Swift.

    — Best music film: “Adele One Night Only”; “Our World”; “Billie Eilish Live at the O2”; “Motomami (Rosalía Tiktok Live Performance)”; “Jazz Fest: A New Orleans Story” “A Band A Brotherhood A Barn.”

    — Best score soundtrack for video games and other interactive media: “Aliens: Fireteam Elite,” Austin Wintory; “Assasin’s Creed Valhalla: Dawn of Ragnarok,” Stephanie Economou; “Call of Duty: Vanguard,” Bear McCreary; “Marvel’s Guardians of the Galaxy,” Richard Jacques; “Old World,” Christopher Tin.

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  • R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

    R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

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    NEW YORK (AP) — Bryan Adams, R.E.M., Blondie, Snoop Dogg, Gloria Estefan, Heart and The Doobie Brothers are among the nominees for the 2023 Songwriters Hall of Fame, part of a dazzling list of talented acts who left their mark on country, pop, rap, Broadway, post-punk, Latin and New Jack Swing.

    The ballot includes the musical theater duo of Lynn Ahrens and Stephen Flaherty, who wrote “Ragtime” and “Anastasia,” as well as soul-jazz vocalist Sade, whose 1980s soft rock hits include “Smooth Operator” and “The Sweetest Taboo.”

    Two veteran rock stars are also nominees: Patti Smith — whose songs include “Because the Night” and “Dancing Barefoot” — and Steve Winwood, whose hits include “Higher Love” and “Roll With It.” Vince Gill is once again a nominee, having first made the ballot in 2018.

    Eligible voting members have until Dec. 28 to turn in ballots with their choices of three nominees from the songwriter category and three from the performing-songwriter category. The Associated Press got an early copy of the list.

    Jeff Lynne of ELO, who penned “Mr. Blue Sky” and “Evil Woman,” faces off against the “Losing My Religion” R.E.M. quartet led by Michael Stipe, as well as sisters Ann and Nancy Wilson of Heart, who showed women could rock hard with songs like “Barracuda” and “Crazy On You.”

    Debbie Harry, Chris Stein and Clem Burke are eligible for the hall as Blondie, who gave us the New Wave hits “Call Me” and “Rapture,” and Snoop Dogg would join such rappers as Missy Elliott and Jay-Z should he make the cut. Estefan is credited for popularizing Latin rhythms with such crossover smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”

    Two classic rock icons compete as Adams — with radio staples like “Summer of ’69” and “Have You Ever Really Loved a Woman?” — contends with The Doobie Brothers and their always-in-rotation “Listen to the Music” and “Long Train Running.”

    Nominees who work behind the scenes include Glen Ballard, who helped write Alanis Morissette’s monster 1995 album “Jagged Little Pill” and was involved in the recording and writing of Michael Jackson’s albums “Thriller,” “Bad” and “Dangerous.”

    Veteran songwriter Tom Snow, who worked with Olivia Newton-John, Barbra Streisand, Cher, The Pointer Sisters and co-wrote “Let’s Hear It for the Boy” from the movie “Footloose,” is also eligible. “Footloose” connects another nominee, Dean Pitchford, who collaborated on the score, which went to No. 1 on the Billboard album charts, knocking off “Thriller” in 1984.

    The nominee list includes Teddy Riley, the singer, songwriter, and producer credited with creating New Jack Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith Sweat’s “I Want Her,” and Liz Rose, who co-wrote many songs with Taylor Swift, including “You Belong with Me,” “Teardrops on My Guitar” and “White Horse.”

    There’s also country songwriter Dean Dillon, who wrote songs with Toby Keith, George Strait and Lee Ann Womack; pop songwriter Franne Golde, behind such hits as Jody Watley’s “Don’t You Want Me” and “Nightshift” by the Commodores; and the duo of Bobby Hart and Tommy Boyce, who penned many of The Monkees’ hits.

    The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

    Some already in the hall include Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel Richie, Bill Withers, Neil Diamond and Phil Collins.

    ___

    Online: http://www.songhall.org

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Grammy nominations to be announced, with 5 new categories

    Grammy nominations to be announced, with 5 new categories

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    LOS ANGELES — The Recording Academy will announce nominees for the 65th Grammy Awards on Tuesday with some significant additions.

    The academy earlier this year five new categories including songwriter of the year to honor music’s best composer and a special song for social change award.

    The non-classical songwriter category will recognize one individual who was the “most prolific” non-performing and non-producing songwriter for a body of new work. It will take a different approach than song of the year, which awards the songwriters who wrote the lyrics or melodies to one song.

    This year’s announcement will be made on a livestream beginning at noon Eastern, 9 a.m. Pacific at https://live.grammy.com/. Among those announcing the nominees this year will be Olivia Rodrigo, John Legend, Machine Gun Kelly and Smokey Robinson.

    Possible nominees include Beyoncé, Kendrick Lamar, Harry Styles and Adele. Some other hopefuls include Lizzo and Steve Lacy, who both had two of the biggest songs this year.

    The Grammy Awards will be handed out Feb. 5 in Los Angeles.

    The new category for songwriters is a huge step forward. Last year, a rule update allowed that any songwriter, producer, engineer or featured artist on an album nominated for album of the year could ultimately earn a nomination.

    The four other categories include best spoken word poetry album, alternative music performance, Americana music performance and score soundtrack for video games and other interactive media.

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  • Singer Roberta Flack has ALS and can no longer sing, rep confirms

    Singer Roberta Flack has ALS and can no longer sing, rep confirms

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    A representative for Roberta Flack announced Monday that the Grammy-winning musician has ALS, commonly known as Lou Gehrig’s disease, and can no longer sing.

    The progressive disease “has made it impossible to sing and not easy to speak,” Flack’s manager Suzanne Koga said in a release. “But it will take a lot more than ALS to silence this icon.”

    The announcement of the amyotrophic lateral sclerosis diagnosis comes just ahead of the premiere of “Roberta,” a feature-length documentary debuting Thursday at the DOCNYC film festival.

    Flack is known for hits like “Killing Me Softly With His Song” and “The First Time I Ever Saw Your Face,” the latter of which catapulted her into stardom after Clint Eastwood used it as the soundtrack for a love scene in his 1971 movie “Play Misty for Me.”

    The release says that the Grammy-winning singer and pianist, now 85, “plans to stay active in her musical and creative pursuits” through her eponymous foundation and other avenues.

    The Antonino D’Ambrosio-directed documentary will be in competition at the festival and available via DOCNYC’s website for a week after, before airing on television Jan. 24 as part of PBS’ “American Masters” series.

    Flack also plans to publish a children’s book co-written with Tonya Bolden, “The Green Piano: How Little Me Found Music,” that month. The North Carolina-born, Virginia-raised Flack is the daughter of pianists and classically trained herself — her talent won her a full ride to Howard University at just 15.

    “I have long dreamed of telling my story to children about that first green piano that my father got for me from the junkyard in the hope that they would be inspired to reach for their dreams,” Flack was quoted in the release. “I want them to know that dreams can come true with persistence, encouragement from family and friends, and most of all belief in yourself.”

    The documentary’s television debut and book’s publication kick off 2023, which also will see the commemoration of the 50th anniversary of her fourth album, “Killing Me Softly,” with a reissue. Her label for the first three decades of her career, Atlantic Records, is also celebrating its 75th anniversary.

    Flack had a stroke in 2016 and spoke to The Associated Press a little over two years later about returning to performing. When asked if she’d sing one of her old hits at a then-upcoming event, she quickly retorted: “There’s no such thing as an old hit,” preferring the term “classic” instead.

    “I could sing any number of songs that I’ve recorded through the years, easily, I could sing them, but I’m going to pick those songs that move me,” Flack said. “Now that’s hard to do. To be moved, to be moved constantly by your own songs.”

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  • R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

    R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

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    NEW YORK — Bryan Adams, R.E.M., Blondie, Snoop Dogg, Gloria Estefan, Heart and The Doobie Brothers are among the nominees for the 2023 Songwriters Hall of Fame, part of a dazzling list of talented acts who left their mark on country, pop, rap, Broadway, post-punk, Latin and New Jack Swing.

    The ballot includes the musical theater duo of Lynn Ahrens and Stephen Flaherty, who wrote “Ragtime” and “Anastasia,” as well as soul-jazz vocalist Sade, whose 1980s soft rock hits include “Smooth Operator” and “The Sweetest Taboo.”

    Two veteran rock stars are also nominees: Patti Smith — whose songs include “Because the Night” and “Dancing Barefoot” — and Steve Winwood, whose hits include “Higher Love” and “Roll With It.” Vince Gill is once again a nominee, having first made the ballot in 2018.

    Eligible voting members have until Dec. 28 to turn in ballots with their choices of three nominees from the songwriter category and three from the performing-songwriter category. The Associated Press got an early copy of the list.

    Jeff Lynne of ELO, who penned “Mr. Blue Sky” and “Evil Woman,” faces off against the “Losing My Religion” R.E.M. quartet led by Michael Stipe, as well as sisters Ann and Nancy Wilson of Heart, who showed women could rock hard with songs like “Barracuda” and “Crazy On You.”

    Debbie Harry, Chris Stein and Clem Burke are eligible for the hall as Blondie, who gave us the New Wave hits “Call Me” and “Rapture,” and Snoop Dogg would join such rappers as Missy Elliott and Jay-Z should he make the cut. Estefan is credited for popularizing Latin rhythms with such crossover smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”

    Two classic rock icons compete as Adams — with radio staples like “Summer of ’69” and “Have You Ever Really Loved a Woman?” — contends with The Doobie Brothers and their always-in-rotation “Listen to the Music” and “Long Train Running.”

    Nominees who work behind the scenes include Glen Ballard, who helped write Alanis Morissette’s monster 1995 album “Jagged Little Pill” and was involved in the recording and writing of Michael Jackson’s albums “Thriller,” “Bad” and “Dangerous.”

    Veteran songwriter Tom Snow, who worked with Olivia Newton-John, Barbra Streisand, Cher, The Pointer Sisters and co-wrote “Let’s Hear It for the Boy” from the movie “Footloose,” is also eligible. “Footloose” connects another nominee, Dean Pitchford, who collaborated on the score, which went to No. 1 on the Billboard album charts, knocking off “Thriller” in 1984.

    The nominee list includes Teddy Riley, the singer, songwriter, and producer credited with creating New Jack Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith Sweat’s “I Want Her,” and Liz Rose, who co-wrote many songs with Taylor Swift, including “You Belong with Me,” “Teardrops on My Guitar” and “White Horse.”

    There’s also country songwriter Dean Dillon, who wrote songs with Toby Keith, George Strait and Lee Ann Womack; pop songwriter Franne Golde, behind such hits as Jody Watley’s “Don’t You Want Me” and “Nightshift” by the Commodores; and the duo of Bobby Hart and Tommy Boyce, who penned many of The Monkees’ hits.

    The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

    Some already in the hall include Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel Richie, Bill Withers, Neil Diamond and Phil Collins.

    ———

    Online: http://www.songhall.org

    ———

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • The Neighbourhood drops drummer Brandon Fried after groping allegation | CNN

    The Neighbourhood drops drummer Brandon Fried after groping allegation | CNN

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    CNN
     — 

    The Neighbourhood have ousted drummer Brandon Fried after he was accused of groping a woman and apologized for it.

    María Zardoya, of the band The Marías, shared her account of the incident on the Instagram Stories portion of the band’s verified account.

    “I was at a bar last night, and I was groped under the table by brandon fried, the drummer of the neighbourhood. It was one of the most uncomfortable things I’ve ever experienced,” she wrote. “I felt an invasion of my space, privacy and body. @thenbhd y’all need a new drummer, this guy is a complete creep.”

    “We are grateful to Maria for coming forward,” The Neighbourhood wrote in a statement shared on their verified social media.

    “We have zero tolerance for any kind of inappropriate behavior towards women,” the statement continued. “As a result of Brandon’s actions, he will no longer be a member of The Neighbourhood.”

    Fried also released a statement on social media.

    “I am so terribly sorry to María. My actions were inexcusable and intolerable,” he wrote in a statement posted on his Instagram stories. “They are not reflective of who I am as a person, but clearly a reflection of who I become under the influence.”

    “It is evident that I must address my problems with alcohol and substance abuse, which I am now seeking help for,” he added.

    “I want to apologize to women who have been victims of any behavior that has left them feeling uncomfortable or violated,” Fried concluded his statement. “I am also sorry to The Neighbourhood and our fans for letting them down.”

    The band is best known for its hit song “Sweater Weather.”

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  • Hong Kong protest song plays instead of China anthem in rugby final mix-up | CNN

    Hong Kong protest song plays instead of China anthem in rugby final mix-up | CNN

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    Hong Kong
    CNN
     — 

    The Hong Kong government on Monday demanded an investigation after a song associated with the city’s pro-democracy movement was played instead of the Chinese national anthem before a rugby sevens match between Hong Kong and South Korea.

    Event organizers played an instrumental version of “Glory to Hong Kong” as the teams lined up for the men’s final of the Asia Rugby Sevens Series in Incheon, South Korea on Sunday. The song, an unofficial anthem of the city’s 2019 pro-democracy protests, includes lyrics that a Hong Kong court has previously ruled could incite secession – a national security offense.

    Clips of the incident, in which the team is shown standing to attention on the field as the song plays, circulated widely on social media Monday, threatening to overshadow the Hong Kong team’s 19-12 victory.

    In a statement, the Hong Kong government said it “strongly deplores and opposes” the playing of the song, which it said was “closely associated with violent protests and the ‘independence’ movement in 2019.”

    “We have already written to the Hong Kong Rugby Union last evening demanding them to deal with this matter seriously, launch a full and in-depth investigation and submit a detailed report, and convey our strong objection to Asia Rugby, who is the organizer of the Series,” a government spokesperson said, according to the statement.

    The match’s local organizer, Korea Rugby Union (KRU), told CNN the mistake occurred when a worker searched online for a Hong Kong anthem and added the top result to a folder labeled “Hong Kong.” The broadcasting room staff played the music file in the Hong Kong folder instead of one labeled “China,” the organization said.

    The organizer apologized through the stadium speaker and played the Chinese national anthem at the end of the match, according to KRU.

    “Korea Rugby Union will take all measures to prevent a repeat of such an occurrence in future matches,” the organization said, adding that its “Hong Kong” folder has now been erased.

    In a statement, the Hong Kong Rugby Union (HKRU) said it “expressed its extreme dissatisfaction” over the incident to the organizers. “Whilst we accept this was a case of human error it was nevertheless not acceptable,” the statement said.

    Last week, a woman who waved a British colonial-era flag to celebrate Hong Kong claiming Olympic gold became the first person in the city to be jailed on a charge of insulting the Chinese national anthem.

    Hong Kong, a former British colony handed over to Beijing’s rule in 1997, sends its own representative teams separate from mainland China to a wide range of sporting events, including the Olympics.

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  • Taylor Swift wins big in Germany at the MTV EMAs

    Taylor Swift wins big in Germany at the MTV EMAs

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    DUSSELDORF, Germany — Taylor Swift won big at Sunday’s MTV EMAs. Swift who led the nominations along with Harry Styles with seven a piece, walked away with four wins for ‘Best Artist,’ ‘Best Video,’ ‘Best Pop’ and ‘Best Longform Video.’

    Currently topping the charts with ‘Anti-Hero’ from her record breaking new album ‘Midnights,’ Swift made a surprise appearance at the awards in Dusseldorf to collect her haul, the latest in a long line of accolades for the singer-songwriter. Accepting her first award of the night she said “the fans are the only reason any of this happens for me.”

    David Guetta and Bebe Rexha opened the show with their hit collaboration ‘I’m Good (Blue),’ a track that nearly didn’t get released.

    Rexha explained on the carpet “we had no idea that it was gonna blow up and be so viral on TikTok. And here we are performing it and nominated for ‘Best Collab.’”

    Hot on their toes were Muse who returned to the EMAs for a fiery performance of ‘Will of the People,’ later winning ‘Best Rock’ act. They dedicated their award to the people of Ukraine and the women of Iran.

    This year’s show was hosted by newlyweds Rita Ora and Taika Waititi. Ora didn’t disappoint with a host of outfit changes and Waititi joked he was channeling his inner popstar.

    An absent Nicki Minaj also came out on top with a trio of prizes for ‘Best Song,’ ‘Super Freaky Girl’ and ‘Best Hip Hop’. Styles, who is currently touring in the US, won ‘Best Live’.

    Following their Eurovision win in May, Ukrainian band Kalush Orchestra gave one of the most powerful and moving performances of the night, turning the auditorium blue and yellow in support of Ukraine. Talking on the red carpet frontman Oleg Psyuk explained that with their new found fame they could support and spread awareness of the plight of the Ukrainian people

    “It’s important for us to be a voice of Ukraine, to have opportunity to be all over the world, to perform and to say about Ukraine, to say about war, to say about our culture, culture that fights against war.”

    British rapper Stormzy performed ballad ‘Fire Babe,’ released this week from his highly anticipated third album ‘This is What I Mean.’

    OneRepublic performed their ‘Top Gun: Maverick’ tune ‘I Ain’t Worried,’ with a special video intro from the man himself, Tom Cruise, which they said wasn’t easy to get.

    Other performers on the night included Ava Max who sparkled in a giant diamond singing ‘Million Dollar Baby’ and Tate McRae who performed a medley of her hits, ‘she’s all i wanna be’ and ‘uh oh.’

    Voted for by the fans 17 gender-neutral categories were announced during the evening. The show, broadcast from the PSD Bank Dome will be shown in more than 170 countries.

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  • Taylor Swift wins big in Germany at the MTV EMAs

    Taylor Swift wins big in Germany at the MTV EMAs

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    DUSSELDORF, Germany — Taylor Swift won big at Sunday’s MTV EMAs. Swift who led the nominations along with Harry Styles with seven a piece, walked away with four wins for ‘Best Artist,’ ‘Best Video,’ ‘Best Pop’ and ‘Best Longform Video.’

    Currently topping the charts with ‘Anti-Hero’ from her record breaking new album ‘Midnights,’ Swift made a surprise appearance at the awards in Dusseldorf to collect her haul, the latest in a long line of accolades for the singer-songwriter. Accepting her first award of the night she said “the fans are the only reason any of this happens for me.”

    David Guetta and Bebe Rexha opened the show with their hit collaboration ‘I’m Good (Blue),’ a track that nearly didn’t get released.

    Rexha explained on the carpet “we had no idea that it was gonna blow up and be so viral on TikTok. And here we are performing it and nominated for ‘Best Collab.’”

    Hot on their toes were Muse who returned to the EMAs for a fiery performance of ‘Will of the People,’ later winning ‘Best Rock’ act. They dedicated their award to the people of Ukraine and the women of Iran.

    This year’s show was hosted by newlyweds Rita Ora and Taika Waititi. Ora didn’t disappoint with a host of outfit changes and Waititi joked he was channeling his inner popstar.

    An absent Nicki Minaj also came out on top with a trio of prizes for ‘Best Song,’ ‘Super Freaky Girl’ and ‘Best Hip Hop’. Styles, who is currently touring in the US, won ‘Best Live’.

    Following their Eurovision win in May, Ukrainian band Kalush Orchestra gave one of the most powerful and moving performances of the night, turning the auditorium blue and yellow in support of Ukraine. Talking on the red carpet frontman Oleg Psyuk explained that with their new found fame they could support and spread awareness of the plight of the Ukrainian people

    “It’s important for us to be a voice of Ukraine, to have opportunity to be all over the world, to perform and to say about Ukraine, to say about war, to say about our culture, culture that fights against war.”

    British rapper Stormzy performed ballad ‘Fire Babe,’ released this week from his highly anticipated third album ‘This is What I Mean.’

    OneRepublic performed their ‘Top Gun: Maverick’ tune ‘I Ain’t Worried,’ with a special video intro from the man himself, Tom Cruise, which they said wasn’t easy to get.

    Other performers on the night included Ava Max who sparkled in a giant diamond singing ‘Million Dollar Baby’ and Tate McRae who performed a medley of her hits, ‘she’s all i wanna be’ and ‘uh oh.’

    Voted for by the fans 17 gender-neutral categories were announced during the evening. The show, broadcast from the PSD Bank Dome will be shown in more than 170 countries.

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  • How much more can the streaming music business grow? Not much, it turns out – National | Globalnews.ca

    How much more can the streaming music business grow? Not much, it turns out – National | Globalnews.ca

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    Back in September at a music conference in Singapore, Sir Lucian Grainge, the CEO of Universal Music Group, stated that 100,000 new songs were being uploaded to streaming music platforms every day. That figure was confirmed at the same conference by Steve Cooper, the departing CEO of Warner Music Group.

    The audience was shocked. Numbers like 25,000 or even 60,000 have been tossed around. But 100,000?

    To be fair, neither man was talking about 100,000 unique and different songs. This number includes all the remixes, edits, alternate versions, live performances, special mixes (Dolby ATMOS/high-res/Spatial Audio, etc.), and the odd duplicate. But it’s still a lot. Apple Music, Amazon Prime Music, and YouTube Music all say they have at least 100 million tracks available. Spotify could be at that level, too, but the most recent official number I’ve seen for their library is 82 million.

    To put that into perspective, even the biggest record store back in the olden days (i.e. pre-Internet) stocked 100,000 titles at most. If we assume that each album has an average of 12 tracks, that’s a mere 1.2 million songs.

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    We’ve long passed the point of Too Much Music. Our choices are endless, practically infinite. And this isn’t a good thing. Let me count the ways.

    Let’s look at it from the perspective of the artist. Making your songs available for worldwide distribution has never been easier. But when you upload a track, it has to fight for attention with the other 99,999 tracks that were uploaded that day, not to mention the other 100 million already sitting in the library. Your brand new unknown track has to compete with practically every other song written in history.

    Read more:

    The live music industry is in big trouble. Here’s why

    No wonder it’s estimated that around 20 per cent of the songs in Spotify’s library haven’t been streamed even once. If we accept Spotify’s estimate of 82 million songs in its library, that means there are 16,400,000 tracks that remain unheard of by anyone, ever.

    We’re starting to hear about fan fatigue, too. This once-wonderous all-you-can-eat buffet is beginning to make people queasy. All this choice has people flicking through song after song after song, looking for something perfect for the moment. This has become a grind as music is being used as a tool for our day-to-day activities rather than something that we can sink into and experience. We’re not listening; we’re merely soundtracking.

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    So much choice has led to confusion. Sure, this song is good, but there’s gotta be something even better out there. What’s everyone else listening to? What am I missing? I’m falling behind! Some even throw up their hands in despair: “I DON’T EVEN KNOW WHAT I LIKE ANYMORE!”

    For many, selecting something to listen to has become an interminable chore. Discovering new music has paradoxically become more difficult.

    Our attention spans have shrunk. If we don’t like something immediately — usually within five to 10 seconds — we hit the skip button. The algorithms then remove that song from what it recommends to us and we never have the opportunity to learn to like something that requires repeated listening.

    New music is increasingly dismissed, especially something different or experimental that has the potential to be groundbreaking and/or transformative if just given the time. The more choice we have, the more disposable songs become.

    Find a song. Make a judgment after 10-15 seconds. Skip. Next song. Skip. Repeat over and over and over again.

    What’s the solution? Some people are weaning themselves from constant streaming, opting instead to stick with a smaller, manageable selection of playlists that they’ve created themselves. Others have returned to physical media like CDs, vinyl, and even cassettes. An actual physical object that contains music invites far more investigation, which can lead to greater engagement.

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    Some of those folks have cancelled their streaming music accounts, concerned about how little they hear artists are making from streaming. Others are even discovering the pleasures of old-fashioned radio where they don’t have to worry about choice.

    Read more:

    Music generated by artificial intelligence is coming to the radio sooner than you think

    Meanwhile, the streamers have problems of their own. Ingesting thousands and thousands of new songs every day requires server space. Servers cost money. It takes electricity to run those servers. More customers mean more bandwidth is required to distribute all these digital files. That costs money and consumes energy.

    It’s to the point where digital music is less environmentally friendly than selling music on pieces of plastic. Add in the economics of the streamers’ business models — all their costs rise in lockstep with revenues — and you have a bunch of platforms that are very concerned for their financial futures.

    While record labels, especially the majors, are making billions from streaming, a figure that’s growing every quarter, they’re concerned that the market share for new music is shrinking as people opt to listen to more and more familiar music from years gone by. The gold rush that is “catalogue music” (material more than two years old) comes at the expense of new songs, which are supposed to be the catalogue music of the future.

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    Something has to change. The tsunami of new music is unsustainable in so many ways. Do streamers cap the number of songs they ingest? Do they restrict the size of their accessible libraries to their customers? Do they cull the songs that aren’t getting any attention from their libraries? Will we see streamers start to discourage musicians from uploading music by limiting royalties for songs that stream more than, say, a thousand times?

    Think about Mickey Mouse in The Sorcerer’s Apprentice. If someone doesn’t do something, we risk drowning in music that we will never hear.


    Click to play video: 'Spotify grapples with artist backlash over COVID-19 misinformation on platform'


    Spotify grapples with artist backlash over COVID-19 misinformation on platform


    &copy 2022 Global News, a division of Corus Entertainment Inc.

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  • Saturday Sessions: Bret McKenzie performs

    Saturday Sessions: Bret McKenzie performs

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    Saturday Sessions: Bret McKenzie performs “A Little Tune” – CBS News


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    New Zealand’s Bret McKenzie first received widespread attention on the HBO series “Flight of the Conchords” and has appeared in the “Lord of the Rings” movies. Most of his work has been in comedy but the artist’s recently released album, “Songs Without Jokes,” is different. For Saturday Sessions, McKenzie performs “A Little Tune.”

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  • Saturday Sessions: Bret McKenzie performs

    Saturday Sessions: Bret McKenzie performs

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    Saturday Sessions: Bret McKenzie performs “If You Wanna Go” – CBS News


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    New Zealand’s Bret McKenzie first received widespread attention on the HBO series “Flight of the Conchords” and has appeared in the “Lord of the Rings” movies. Most of his work has been in comedy but the artist’s recently released album, “Songs Without Jokes,” is different. For Saturday Sessions, McKenzie performs “If You Wanna Go”.

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    Get browser notifications for breaking news, live events, and exclusive reporting.


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  • Drake and Justin Bieber among VIPs celebrating the life of rapper Takeoff | CNN

    Drake and Justin Bieber among VIPs celebrating the life of rapper Takeoff | CNN

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    Atlanta
    CNN
     — 

    State Farm Arena was transformed into a church Friday as family and fans gathered to celebrate the earthly departure of Takeoff from Migos.

    The three-hour sendoff was a superstar affair, featuring performances from Justin Bieber, Chloe Bailey and Yolanda Adams, as well as a poem by Drake, and words of remembrance from Atlanta Mayor Andre Dickens and the founders of Migos’ label, Quality Control Music.

    Cousin Offset, who along with Takeoff’s uncle, Quavo, formed the platinum hit factory known as Migos, struggled to compose himself remembering his bandmate, who he grew up with and considered a brother. His head down, dreadlocks obscuring his face, he repeatedly apologized.

    “I love you, dog. I love you,” he said.

    Offset hasn’t been able to sleep or eat following the November 1 killing, he told the several thousand people in attendance, most of them dressed in black. Every time he dozes off, he said, he wakes up hoping news of his 28-year-old cousin’s fatal shooting in Houston was a terrible dream.

    “I wish we could laugh again,” he said. “I wish I could smoke one with you.”

    He closed saying how Migos changed the future of music – “You did that, Take” – and called for more brotherhood and fellowship in the world before asking the crowd to pray with him.

    The ceremony opened with about an hour of gospel music. White roses covered the stage and Takeoff’s casket sat at the foot of stairs made to resemble mother of pearl. Acrobats in angel outfits danced in the back corners, suspended from white ribbons as a choir sang. An infinity symbol with Takeoff’s signature rocket emblem at its center ringed the arena, a nod not only to his latest productions but also to how he’ll be remembered – forever.

    Bieber took the stage in a dark toboggan, as box candles on the stadium screens bathed the arena floor in a soft glow. Perched on a stool with only a piano backing him, the two-time Grammy winner performed “Ghost.”

    “And if you can’t be next to me/Your memory is ecstasy/I miss you more than life,” he crooned.

    Drake, who in 2013 catapulted the rising stars into an altogether other universe when he remixed and added a verse to their hit, “Versace,” leaned on British entertainer Joyce Grenfell and writer Maya Angelou in his eulogy.

    He quoted from Grenfell: “If I should go before the rest of you/Break not a flower nor inscribe a stone/Nor when I’m gone speak in a Sunday voice/But be the usual selves that I have known.”

    He then paraphrased Angelou’s “When Great Trees Fall,” a poem on how it’s understandable to be sad when great trees are felled, or when great souls pass, but it’s wise to remember, “They existed. They existed/We can be. Be and be better/For they existed.”

    The hip-hop superstar who just released an album with Atlanta’s 21 Savage then recited his own poem, “We Should Do That More,” remembering how he got to know Migos on their 54-city tour in 2018. He teared up recalling the Swiss wristwatch, an Audemars Piguet, that Takeoff gave him as a gift

    “I miss performing with my brothers,” he said. “We should do that more.”

    Takeoff will always be remembered as the quiet Migo. But several speakers cautioned the crowd not to mistake his silence for a lack of things to say. He is regarded by many as the best rhymesmith of the trio, and Jesse Curney III, pastor of the Lilburn church Takeoff’s family attends, shared a story that Quavo once told him about Takeoff’s sobriquet.

    Where Quavo and Offset needed multiple takes to get their verses onto tracks, retaking and retaking until they got it right, Takeoff – the youngest of the three – would walk up to the mic and lay down his lyrics in one perfect take. “He was an introvert,” the pastor said, “but he trusted God” to not hold back.

    From left, Takeoff, Quavo and Offset of Migos perform in Los Angeles last year.

    Between Bailey’s stirring rendition of Beyonce’s “Heaven” and Adams’ performance of the gospel song, “The Battle is Not Yours,” Takeoff’s family members took the podium to offer fond memories of the humble, wise, peaceful young man who always wanted to be a rapper but never fretted over credit or the spotlight. Even as a baby, he had a unique voice, his mother, Titania Davenport-Treet, said.

    “I could tell his cry from any other child,” she said, adding that God must have given him that voice because he always knew what he wanted to be.

    He was quiet but always paid attention, family members said, and he never bothered anyone. He was the funniest guy in the room, and no matter how famous he got, he never stopped putting family first and making sure their needs were met, they said.

    “He hugged so tight, you could feel the love transferring through him,” his mother said.

    State Farm was a fitting venue for Takeoff’s farewell. The rapper was often courtside – usually with Quavo and Offset – for Atlanta Hawks games, iced out and dripping. For years, his music has bellowed through the PA system during timeouts and replay reviews.

    Though doors did not open until noon, fans began lining up outside the arena at around 8:30 a.m., despite a cool, steady drizzle. Around 10, a woman held her arm out of a passing silver Mazda and barked, “Rest in peace, Takeoff.” The fans in line waved back.

    Kalandrick Woods, 24, and girlfriend Kailey Allen, 20, of Covington were second in line. Woods took the day off as a sandblast machine operator, and they drove about 45 minutes to get downtown.

    Woods became melancholy when asked his favorite song – “Last Memory” off Takeoff’s 2018 debut solo effort – and said it’s still hard to talk about his favorite Migo. He cried when he heard the news, he said.

    “I’m still depressed about it,” he said.

    Woods likes that Takeoff was known to keep to himself, but by no means did that mean he was the lesser third of the group. With every new song, he appeared more developed as a lyricist, able to switch from rapid fire rap to deliberate four- or five-word bursts that painted vivid scenes. He put on mind-blowing displays of lyricism on 2014’s “Cross the Country” and more recently on his and Quavo’s “Integration,” staying on beat like a metronome as he flipped styles on the tracks.

    “Deadshot (brrt)/AK make that head rock (brrt)” is the beginning of Fifi Solomon’s favorite Takeoff verse, though she had to think on it for a few seconds. From Migos’ 2017 hit, “Slippery,” Takeoff goes last – following Quavo, Offset and fellow ATLien Gucci Mane – and brings his band’s Quentin Tarantinoesque cartel personae into graphic focus.

    “He said a lot in just a few words,” Solomon said. “He was the quietest, but I think he was the deepest lyrically.”

    Solomon, 25, and her friend, Nani Kidane, 28, traveled from Migos’ onetime home base of Gwinnett County for the funeral. The band’s impact reached well beyond Atlanta, they said. They were trendsetters in fashion and influenced the way rappers inject ad-libs into their music.

    They also set an example with their work ethic, Kidane said. Takeoff will be dearly missed, she said.

    “I’m a big fan,” Solomon said. “He was my favorite lyrically out of the group, and he’s from where I’m from so it hit harder.”

    Added Kidane, “It hit close to home being from Gwinnett.”

    Maliyah Tindall, 22, of Riverdale, and Sequoia Thomas, 20, of Atlanta, also cited Takeoff’s “Slippery” verse as one of their favorites. The pair drove from Clayton State University in Morrow, about 30 minutes away, to pay their respects.

    “He’s huge for the culture,” Thomas said before the funeral. “They paved the way for a lot of rappers who are going to be here today.”

    “He was quiet but had a big impact,” Tindall said, spurring Thomas to add, “Like a tame lion.”

    Migos were a fixture of Tindall’s and Thomas’ adolescence, they said, and he didn’t always get the recognition he deserved, but he showed up on every track.

    “He’d even take over people’s songs outside Migos,” Thomas said of his features with other artists, including Lil Wayne, Roddy Rich and Travis Scott.

    Takeoff seemed aware of his notoriety as the subdued Migo, but the Lawrenceville-born rap star also seemed ready to shake the reputation, eerily telling the podcast, “Drink Champs,” last month, “It’s time to pop it, you know what I mean? It’s time to give me my flowers, you know what I mean? I don’t want them later on when I ain’t here. I want them right now, so …”

    After more than a dozen Migos mixtapes and four studio albums – two of them platinum – Takeoff and Quavo recently announced they’d be performing as Unc & Phew. Last month, the pair released, “Only Built for Infinity Links,” with Offset noticeably missing. Though the band had not officially broken up, there were rumors of some sort of beef among the trio.

    It was abundantly clear from Friday’s remembrance that Offset would give a lot to speak with his cousin one more time. Migos fans are hopeful that Takeoff’s tragic killing might help Quavo and Offset reconsider whatever drove them to move in different directions.

    “I hope they can set aside their differences,” Solomon told CNN. “You know, come together for Takeoff.”

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  • Saturday Sessions: Bret McKenzie performs

    Saturday Sessions: Bret McKenzie performs

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    Saturday Sessions: Bret McKenzie performs “Dave’s Place” – CBS News


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    New Zealand’s Bret McKenzie first received widespread attention on the HBO series “Flight of the Conchords” and has appeared in the “Lord of the Rings” movies. Most of his work has been in comedy but the artist’s recently released album, “Songs Without Jokes,” is different. For Saturday Sessions, McKenzie performs “Dave’s Place.”

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