Photo Release — Broadcast Music, Inc. (BMI) Partners With Entertainment One Music to Release the BMI Trailblazers of Gospel Music Live 2013 CD
Now, Smule is connecting all its users and their content through a new Web-based system. The play screen for Smule’s Ocarina 2. (Credit: Smule) Every day, users of Smule’s Sing Karaoke sing 480,000 songs, and users of its Magic Piano play 1.2 million songs. And until now, all those songs have only been available to hear and interact with via the hit apps. But Smule wants the content its users generate to be available to everyone, not just those who have the apps, and today, the San Francisco startup launched a Web-based social network that it says is the largest social network of music makers in the world. Smule’s giant network of music makers and fans has been around for years. With Ocarina , Smule had one of the first major iPhone hit apps, a tool that let anyone create music using a digital tool meant to mimic a traditional wind instrument. Those songs could instantly be shared with a worldwide audience, and users could also simply listen to others playing with the app. Using apps like Ocarina, Ocarina 2 , or I am T-Pain, users have been able to create and share music with others around the world, regardless of whether they were friends or strangers. And through the apps, others have been able to listen to that music, and often, interact with it. With the new Web-based system, however, anyone with access to the Internet will be able to listen in, or interact, a system that Smule hopes will open up its network to a much larger audience, and ideally create much more music sharing and creation. Users will now be able to access the music — a terrabyte of which is added to Smule’s network every two days — via Facebook, Twitter, the company’s many apps, and the Web. It will also be easier for music fans to find the kind of songs they like, and make playlists based on creators whose work they enjoy. And Smule is hopeful that the Web platform will encourage more people to add layers to others’ songs, something that happens frequently on its system, with as many as 600 people contributing to a single piece of music.
Why Classical Music Is Imperiled—Sort of
Markets close in 1 hr 46 mins Stock Watch Photo Release — Broadcast Music, Inc. (BMI) Partners With Entertainment One Music to Release the BMI Trailblazers of Gospel Music Live 2013 CD Marks First Time a Performing Rights Organization Releases an Album for Retail and Worldwide Distribution Press Release: Broadcast Music, Inc. (BMI) 1 hour 19 minutes ago Print NEW YORK, Oct. 1, 2013 (GLOBE NEWSWIRE) — Broadcast Music, Inc.(R) (BMI(R)), a global leader in music rights management, in partnership with Entertainment One Music (eOne Music), is set to release the BMI Trailblazers of Gospel Music Live 2013 album on October 22. Recorded live on January 18 at the 14th annual BMI Trailblazers of Gospel Music Awards Luncheon in Nashville, the album features performances from Pastor Shirley Caesar, Le’Andria Johnson, Donald Lawrence & Company, Yolanda Adams, Kierra Sheard and many more. Each performer – including Anaysha Figueroa whose interpretation of “Holy One” leads the release of the album – delivered a rousing tribute to gospel leaders Edwin Hawkins, Lady Tramaine Hawkins and Kurt Carr, who were honored at the fete. The album can be pre-ordered now at iTunes and Amazon . A photo accompanying this release is available at http://www.globenewswire.com/newsroom/prs/?pkgid=21297 The release of the BMI Trailblazers of Gospel Music Live 2013 album marks the first-ever recording from the performing rights organization. This new initiative is a milestone among performing rights organizations and signals BMI’s continued dynamic growth. In celebration of the accomplishment, BMI will host an invitation-only album release party with performances by Anaysha Figueroa, Jason Nelson, Jonathan Nelson and Lisa Knowles on October 22 in Atlanta. “Releasing a live recording of the performances from the BMI Trailblazers of Gospel Music Awards Luncheon allows a wider audience to experience our salute to the legends of gospel music,” said Catherine Brewton, BMI Vice President, Writer/Publisher Relations, Atlanta, and Executive Producer of the album. “This project pairs some of the brightest stars in gospel music with iconic songs written and performed by trailblazers of the genre.” “eOne Music is proud to partner with BMI to release a monumental project that captures so many award-winning and beloved artists on one album,” said Phil Thornton, eOne Music Vice President of Marketing & New Business Development. “From the pairings of award-winning icons Pastor Shirley Caesar and Bishop Paul Morton, to the sounds of Donald Lawrence & Company, this one-of-a-kind album is filled with legendary performances and the distinctive voices that they are known for, which continue to inspire and command gospel today.” “Having served as musical director for the BMI Trailblazers event for the past several years, with the help of my singers The Company, I cannot express how excited I am that this once-a-year experience will now be shared with the public,” commented songwriter Donald Lawrence. ” This year’s event was a special one, where some of today’s best artists, such as Yolanda Adams, CeCe Winans, Kierra Sheard, Le’Andria Johnson and others, paid tribute to some of gospel music’s legends, who happen to be personal favorites of mine, Edwin and Tramaine Hawkins and Kurt Carr.
It took seven years for him to follow-up the Grammy-winning masterpiece that was FutureSex/LoveSounds, and when he did in March with The 20/20 Experience, the pop prince helped fill a void in our musical lives, thanks to his slick R&B sound jelled with dance beats. Looking for things to do? Select one or more criteria to search Kid-friendly Get ideas Now, we may be getting too much of Timberlake. The 20/20 Experience 2 of 2 uses the same formula thats becoming his musical trademark the trance-inducing grooves and futuristic electronic beats helmed by Timbaland and Timberlake, who co-wrote each song. Unfortunately it doesnt feel new. Like FutureSex and the first 20/20 album, the songs on 2 of 2 are long, but they arent as entertaining or as cohesive as his first effort. Some tracks sound like leftovers from past recording sessions, and dare we say it actually drag on. The album starts on the wrong note with Gimme What I Dont Know (I Want) and the nine-minute True Blood, both up-tempo songs that lack that Timberlake-esque spark and swag. The lead single, the disco number Take Back the Night, might be good for mere mortal pop stars, but compared to Timberlakes own lofty standards, disappoints. A better choice would have been the Drake-assisted Cabaret, which is smooth and has an addictive hook. Not all of 2 of 2 should be dismissed: You Got It On is soft slow jam listen and youll feel like youre on a cloud. And the midtempo Drink You Away is the discs most adventurous offering. It doesnt sound like anything else on the album: Its guitar driven with a strong backbeat, with a raw quality that makes it a bit indescribable and exhilarating. The multitalented Timberlake, one of a few who could get away with releasing two albums in a year (were still mad at One Direction for trying that that), is releasing dense music when most Top 40 listeners have short attention spans. The album runs 74 minutes, and the average song is six minutes.
September 17: Jason Aldean tells Zac Brown nobody gives a shit what u think on Instagram September 25: Jason Aldean says artists shouldnt bash other artists Theres certain artists I really like what they do and certain artists Im not that big of a fan, he told The Province . But Im not publicly going to go out and trash em. I know Zac, I dont have anything against the guy, hes always been cool to me, but I didnt like that. And of course Lukes one of my best friends and it rubbed me wrong. You dont have to go out and say those things. I dont agree with any artist bashing another artist. September 26: Scotty McCreery criticizes truck songs on new album The American Idol winners new disc will include a song called Something More, which, according to MJs Big Blog , contains the lyric: By now I think Ive heard every line there is to hear about a truck. When 20-year-olds start speaking out about the quality of bro country songs, then you know the backlash is brewing in earnest. September 28: Sheryl Crow laments the lack of women on country radio Though the singer, whos making a transition into country, told The Hollywood Reporter s Chris WIllman, I cant really be critical of the country format, because Im the newbie there, she did express frustration that country radio doesnt support more women . Id just like to see more than three women get played at radio. And thats not just because Im a woman. I just feel like, gosh, theres a huge population of record buyers are women. Why arent there women getting played at radio. Why arent there more female program directors? Theres, like, two!
How country music went crazy: A comprehensive timeline of the genre’s identity crisis
The NEA survey notes that 18 percent of adults listened to classical music on TV, radio, and the Internetmore than heard Latin music, Spanish music, Salsa music, or jazz. While writing this column, I listened to Bachs Brandenburg concertos playing in the backgroundthe version by the Academy of St. Martin in the Fields, conducted by Neville Marrinerone of more than 180 such albums available for download on iTunes ( AAPL ). (A Brandenburg Concerto search in the music section of Amazon.com ( AMZN ) came up with 1,510 possibilities.) Classical music lovers can get their Chopin, Sibelius, and Beethoven on public radio in most markets. Fact is, if the Minnesota Orchestra never plays another note, there will be no shortage of competitive offerings locally. I could cross the Mississippi to listen to the nearby St. Paul Chamber Orchestra (recently back from its own strike), attend any number of concerts in Minneapolis by visiting musicians, or download favorite recordings. Classical music shares a problem afflicting all entertainment these days: fierce competition for eyes, seats, and dollars. The video-game industry has evolved in recent decades into a multibillion dollar industry far removed from its early Pac-Man days. On Sunday, Americans could choose to spend their evening at a concert, a book reading, a lecture, or watching the much-anticipated final episode of Breaking Bad (let alone Sunday Night Football.) By this light, the take-away is how healthy an historic art form is in the 21st century. Classical music isnt in trouble because its a dying industry destined to join the buggy-whip in the dustbin of history.