October 13, 2005
Nashville Star Season 4 Auditions Begin
Nashville Star Season 4 auditions are underway, with the first of many scheduled auditions to start October 21, 2005.
(PRWEB) October 12, 2005 -- Nashville Star, USA Network’s grassroots talent search for the next Country Music Superstar, is now underway with auditions beginning on October 21, 2005 in Los Angeles, CA. Other audition venues are scheduled across the United States throughout the months of October and November. Check USA Network’s website for more details.
The Season 4 hopefuls are wasting no time this year in getting their voices heard and reaching out to the public for their support. David Broom, a Nashville Star hopeful himself, is showcasing many of the contestants that will be auditioning in this years Nashville Star competition.
NashvilleStarTalent.com is showcasing many of the contestants that will be auditioning this year. The website lets you preview the contestant’s photo, two of their songs and chat with each contestant via their own bulletin board. “It is a great opportunity for Nashville Star fans to meet and greet those that are auditioning this year, as well as providing a venue for the Independent Artist to share his/her music and talent with the fans”, according to David.
NashvilleStarTalent.com takes showcasing this year’s contestant’s one step further by letting those that are not chosen to compete on the Nashville Star TV show, compete in the NashvilleStarTalent.com competition. Ten contestants that are showcased on the website will compete for first place by letting the Internet audience vote weekly. According to David, “It’s not always the best singer that makes the show. This gives the Artist a chance to compete, even though they were not what the Producers were looking for. Many of the current Country Artist you see on the charts today was rejected for talent contest. A television series like Nashville Star has certain types of individuals that they would like to appear on the show. If you do not fit that profile, you simply don’t make the show. I hope that in someway, I can give something back to the Artist that has great talent and deserves to be heard by the public.”
The current featured Artist are David Broom, Levi Webb, Traci Kennedy, Valorie Jayne, Taya Lear, Michael Scott, Waylon Henley and Tina McReynolds, with new Artist being added daily.
If you are auditioning this year for the hit series, Nashville Star, and would like to showcase your talent, David invites you to visit NashvilleStarTalent.com and let the world see what you have to offer.
Posted by BIGBAER at 02:58 PM | Comments (0)
September 29, 2005
International Conductors Forum
Opera Music Theater International, under the direction of James K. McCully, hosts the International Conductors Forum with distinquished Maestros Eve Queler, Heinz Fricke, Peter Mark, John Keenan, Cal Stewart Kellogg and Willie Anthony Waters.
WASHINGTON DC (PRWEB) September 29, 2005 -- Opera Music Theater International, under the direction of James K. McCully, presents highlights from the International Conductors Forum with distinquished Maestros Eve Queler, Heinz Fricke, Peter Mark, John Keenan, Cal Stewart Kellogg and Willie Anthony Waters.
Maestra EVE QUELER
Opera Orchestra of New York, New York City, Teatro Liceu Barcelona, Australian, Kessel, Hamburg, Kirov & Bonn Operas
I'm going to introduce this forum of distinguished conductors, maestros. What I am suggesting to look at, as conductors, what are we looking for from other components, mainly the singers that we work with. As conductors, we are the people left holding the bag after the stage director has finished, and all of the scenic things have been put in place. With some backup, we're really translating it all into what we hope will be a great performance serving the composer. What do we need from these people, what can we give to them? And particularly, what are we looking for in the singers after they have been hired? What do we look for from them when they arrive for rehearsals? What are we willing to do for them? What are we willing to give? What would we like them to ask of us in order to help them help us with a wonderful performance?
Maestro CAL STEWART KELLOGG
New York City, Washington, Rome, Montreal, Edinburgh, Florence, Genoa, Naples & Parma Operas
From my own point of view, when working with singers, I have developed a system of my own, to try to calm the waters, so that the person working with me is not on edge. I sense when people come in for the first contact, they are very apprehensive about what they are expected to do, how their reactions will be, whether they will be liked, or whatever. I have indoctrinated a system of three things that I do. I try to listen, evaluate, and then suggest, how to better the performance that I am hearing. I usually do this, in an ideal world, by having a one-on-one rehearsal, with myself at the piano, and the singer. Basically, I say to them, "sing your ideal perfect performance," and I will accompany them, and listen very carefully to what they are doing. If I hear something that needs to be corrected, then I will go back over it, and try to suggest that they try something different. If that person catches on, and finds that it is a benefit to them, then I will go after everything I can get. If I am dealing with a singer who, shall we say, is a little more insecure, or incapable of moving in a different direction, then I have to mold the performance the best I can around what that person has brought, because there is not much point in tearing down a wall, to build a new one, if that new one is not going to be as convincing as the one that was brought originally, even if it is not the way that I thought the piece might go. One thing to keep in mind, of course, is that all these operas can be done in thousands of different ways. There is really not one set way to do anything. A singer who is insecure, and can't change, is someone you don't work with in the future. But while you are working with them, you might as well make them feel as comfortable as possible, and get done what needs to get done, and then get on with your life. After I have done a rehearsal at the piano with this person, then I would add a rehearsal pianist, and I will conduct the rehearsal with the singer, as we had done with my listening. What decisions we had made to change, I will show them immediately that I am right on what we reproduced at the piano, with a pianist playing, and myself conducting. When we have gotten through that barrier, so that the singer sees, that I am reproducing exactly what we did before, regardless of whether it is an improvement on, or it is the same thing that we started with, I will add another singer, scenes, duets, trios, and keep adding people, until we have like a sing through of the opera. Then we go into what would be the production aspects of the process. And of course, later on, we add the orchestra.
Maestra EVE QUELER
Opera Orchestra of New York, New York City, Teatro Liceu Barcelona, Australian, Kessel, Hamburg, Kirov & Bonn Operas
I actually concur with everything that has been said on this panel, and I work very similarly to Maestro Kellogg, in that I like to work alone, even without a pianist, the first time I work with someone. I try to make them comfortable, and then see how much I can get, then go for broke, if I can get what I am looking for. What I wanted to add to this, as something that I had learned as a student. I have been privileged to work with many great singers, and I have learned a lot from this, so that I can bring this to a newer singer. Some great singers have asked me specifically, from their experience, from this point, they need this, and at this point, they need that. This is helpful, and useful, and once we get past the comfortable stage with a younger singer at rehearsal, now you have already been hired for the job, so you have some kind of confidence that you are going to do the job, and that the people in charge want you. It is useful if you would say, "I really need to take a breath here," or, "I need to move this phrase here or I won't make it to the top." This is no disgrace; this is helpful to us, and we can analyze, or make another suggestion, so that our idea of the phrase can concur with yours. I don't know if others agree with me, but I think it is useful in the beginning, if you know what you need in the role. It is no disgrace to ask for such assistance. My passion is young singers. My passion is finding them, and combing the world, as I go to conduct, and seeing what the traditions are in the various countries, and the education is very different wherever you go. The Americans are generally among the best educated, but stylistically, I would say they are among the weakest. I think that is what we need to work on.
Maestro PETER MARK
Virginia, Covent Garden, Torre del Lago Puccini Festival, New York City, Mexico, Teatro Colón in Buenos Aires & Shanghai Operas
Eve, you have done a wonderful job with your passion, and with all the singers you have really discovered, and worked with. I guess I feel as a conductor, we are responsible for the art form of opera. When you come down to it, it's our job to coordinate the music and the drama. We all know that we are living in the era of the singer. We have survived the era of the stage director. It is not that the stage director isn't important, he is, but my feeling is that it's the conductor's responsibility to make sure, and hopefully the opera political structure allows for this, that the drama is based on the music. We all as conductors work from a score, that's the written part of the music, where the opera exists before we bring it to the public. When you really stop to think about it, the person responsible for the interpretation of the score, has to be the conductor. What that means is, that we are responsible for coordinating, making sure that the right singers are chosen for the parts, right there with the casting, that you have the proper match of voices, and that each voice is capable of singing comfortably, the particular role, because it is in their range, and that it is the correct size voice for the house and the orchestra that you are using. Those elements come together in a disciplined way. When you see the score as printed notes on a page, it doesn't have life to those who cannot read it. Most of our audience cannot look at the score and understand what it is. So literally, the conductor has to bring the score to life, and there's much more about bringing it to life than reproducing notes. I think that it is the dramatic impulse of music, and the musical line that a trained operatic voice is capable of delivering it, that has specific requirements that are really very different from the instrumental music. If you think about an oboe going up to a high C, and a soprano going to a high C, and a mezzo going to a high C, you will see that there are maybe three different tempi you'd have to take that would be appropriate. Part of the joy of conducting opera, is that you can coordinate both the expansive capabilities of the trained operatic voice, and you have to be sure that the orchestra has the flexibility to respond to the elements of the operatic voice, that are different from the instruments. Personally, if I can't have the singers produce better having worked with me before they came, then I am not doing my job. I feel the same about the orchestra. In a real way, it is up to us to create a discipline, and work atmosphere, that goes past the notes, and really does project the drama, and the glory of our art form.
Maestro JOHN KEENAN
Metropolitan, Washington National, Bayreuth Wagner Festspiel, Los Angeles, Grand Theatre de Geneve, Norwegian National & Vancouver Operas
I grew up in New York City, and went to Juilliard half-days as a pianist, and was a horn player in the orchestra. I couldn't figure out the exact day, but it was about the third bar of the prelude of LA TRAVIATA, that I attended as a young child, the final dress rehearsal at the MET, that I thought, "This is what I want to do." Because it was the most glorious sound, sitting in a dark theater, to hear that prelude come out of the pit. At that point, I decided what I wanted to do. I knew that I needed to get as accomplished on an instrument as possible. It's just the most important thing as a conductor, and I continued my piano studies, and my horn studies. Through some fortunate auditions, I was able to get to a theater in Europe, in Milan for a year, basically due to the fact that I was an English speaker, and spoke German, and they needed a pianist who could deal with the German side of the theater there. I made it back to New York, because when I was in Italy, I learned Italian. The man who brought me back to the MET made it very clear to me, that if you didn't speak Italian, he had no interest in you as one of his assistants. So, I got back to the MET through a six-hour audition, and a follow-up audition with him. My friends tease me, because I have done everything in theater, except move sets. I have played harpsichord in millions of piano rehearsals, conducted backstage, assistant chorus master, and eventually chorus master, which was such an incredible experience. I recommend it for any young conductor. They say being branded a chorus master is a curse. Be branded. Believe me, ignore what people say, you just have to do it. So that was just an old-fashioned theater education. I highly recommend it. Of course, you need to not just get up, and sort of say, "Well I can conduct." You really need to study with someone who is a real technician. I got to watch some of the greatest, and the worst of my life, and that's also the way to do it. As my other colleagues brought up, I feel that being a conductor can be a complicated thing in today's time of music. But I think that the focus actually, as a conductor, and as a musician, is very clear and very fine. That we are there as an instrument of the composer, and of the score. One who should not reproduce, but to interpret as the composer envisioned his piece. I think that we certainly in doing that, encompass being an inspirer, a teacher, a cheerleader, certainly a therapist, and also a student. The combination of those facets, makes conducting what it is, and what it should be. The most important thing is to be an instrument of the composer, and it is a very clear focus.
Maestro HEINZ FRICKE
Berlin Staatsoper, Washington National, Hamburg, Brussels, Munich, Düsseldorf, Cologne & Vienna Operas
It is difficult, all my colleagues have talked about conductors, and young singers. I think this is a great problem for young conductors to learn. We can bring to young singers, what is the line, what is the air, what is the phrase, and so on. This is important for the opera also. Between a symphony orchestra, and an opera orchestra. And when we work with young singers, we can learn this. Young conductors should play an orchestral instrument, not only piano. With young conductors, it is important that they not only conduct with the piano player, but with the orchestra also. They have to learn about the violin, and the other instruments. This is important for the singers also. A singer is like an orchestral instrument -- a violin or clarinet. It is all the same. When we play Puccini or Verdi, we have so much rubato. Conductors have two hands, and in performance we cannot talk to the singers. We must say and show. Each performance is not the same. We must show with the hands to the singers what we want. The singers show me also. It is a combination of singers, orchestra, and conductor. I was with the Berlin Staatsoper for 32 years. We had a great repertory of 60 operas. Language was very important. We even had in Russian, THE MAGIC FLUTE. But most often, I conducted in German, but have also conducted in Norwegian. One time my general manager said, "Can we bring in a Don Carlos? He will also bring in his wife. The problem is that he sings in Italian, and she sings in Russian. If that wasn't enough. The next day, Filippo was sick. We got another singer who sang in Bulgarian. The baritone was also sick. We got another singer who sang in Romanian. The day of the performance, Eboli was also sick. We got another singer from Hungary, and she sang in Hungarian. My director says, "Do we need orchestra rehearsal? No! We have a very good orchestra and they can play without rehearsal." So, the performance -- one performance-in seven different languages. It was one of the best performances musically. But after the performance, I couldn't sleep for days. I thought - English, Russian, Hungarian. But it was incredible and probably the best performance of DON CARLO that I've ever had.
Maestro WILLIE ANTHONY WATERS
Connecticut, Miami, San Francisco, Cologne, Montreal, Australian & South Africa Operas
I'm spending a lot of time in South Africa, working with young singers, orchestras, and companies there, and its is a real eye-opener, because as you know, South Africa has been closed off to the rest of the world for so many years. It's very interesting, and edifying, to see the level of vocal training there, which is also, rather high. To see the level of orchestra playing, which is also, rather high. As a matter of fact, most of the orchestra's principal conductors are European, and there are two Americans, who work with orchestras there. The level of accomplishment there is very, very good, and it gives me an opportunity to work with these singers, on what we might consider to be, a rudimentary level. Even though many of them are well trained, they don't have the stylistic advantages. I had to understand as an American conductor, speaking American English, that it's quite different from speaking South African English, and working with them from that point of view, and stylistic points of view, was extremely edifying. This is preaching to the converted. I wish there were more young singers here, because an important part of what we do, as it pertains to working with young singers, and primarily training young singers, responding to, and with young singers, as to how a conductor actually works. I do a lot of work with young singers, and realize more and more everyday, that young singers are not told, and are not trained, and are not experienced with, working with conductors, or what a conductor really does. A lot of them think we wave our arms. In terms of dealing with a conductor, in a rehearsal situation, with a piano, with an orchestra, or in a coaching, what is it that we expect in terms of preparation, in terms of following our beat, in terms of responding to recitivi. How a singer deals with a conductor, in figuring out what this is all about. I think a conductor's job, is to a great extent, collaborative. We have a lot of egos on the podium, serving only their purposes, and from their point of view, trying to serve the composers purpose. But I think, we need to be a little more collaborative, in working with our colleagues, in getting it all together. Yes, I do believe the conductor has the final word, but in getting to that point, we have to deal with all the other elements, that are involved to make this one unified whole. So, I hope you will pass on the word with what we say. What we have discussed here, and from these professionals, as to how to translate this into this thing, we call opera, into a unified force.
On the 13th of August 1991, James K. McCully founded Opera Music Theater International (OMTI) as a nonprofit organization to help international emerging singers bridge the opera and music theater gap through international competitions, international performances, international master classes, international conferences, international symposia, and international forums.
Opera Music Theater International (OMTI) positioned itself at the monumental International Trade Center at the prestigious address 1300 Pennsylvania Avenue across from "The Theatre of the Presidents", The National Theatre, on the "Avenue of the Presidents" at Federal Triangle, propitiously laid out in the center of a stellar triangle connecting The White House, The Capitol, and The Washington Monument.
Opera Music Theater International (OMTI) was the host of the 43rd National Opera Association Convention in Washington DC sponsored by Musical America with a Welcome by Placido Domingo at Kennedy Center; and the Marjorie Lawrence International Vocal Competition with International Honorary Chairs Maestro Richard Bonynge and Dame Joan Sutherland at the National Museum of Women in the Arts in Washington, DC.
World Leader of Contemporary Opera Honored in Washington DC
http://www.OMTI.org/works.html
International Singers Forum
http://www.prweb.com/releases/2004/11/prweb190513.php
International Arts Management Awards
http://www.prweb.com/releases/2005/8/prweb271812.htm
American Contemporary Opera Composers Honored in Washington DC
http;//www.OMTI.org/ACO.html
American Musicals A Gift To World Theater
http://www.prweb.com/releases/2005/9/prweb283043.htm
Evelyn Lear and Thomas Stewart Master Class
http://www.prweb.com/releases/2004/12/prweb186924.php
Ryan Edwards Master Class
http://www.prweb.com/releases/2004/12/prweb187573.php
Marjorie Lawrence International Vocal Competition Was Clearly A Success
http://www.prweb.com/releases/2004/12/prweb186734.php
Marjorie Lawrence Centennial Celebration Commission Memorializes 100th Anniversary of Metropolitan Opera Star in 2007
http://www.prweb.com/releases/2004/11/prweb173754.php
Concert Memorializes the Ghost of the National Theatre in Washington DC
http://www.prweb.com/releases/2004/11/prweb198744.php
The Belmont Mansion Grand Ball Great Performances
http://www.prweb.com/releases/2004/10/prweb166602.php
National Endowment for the Arts director of former Opera-Musical Theater Program elected President of Opera Music Theater International Board of Trustees in Washington DC
http://www.prweb.com/releases/2004/8/prweb150638.php
Governor's Awards for the Arts Honors Nominee James K. McCully
http://www.OMTI.org/GD.html
Posted by BIGBAER at 03:41 AM | Comments (0) | TrackBack
Evil Boy Records is Here--The U.K's Top Internet Record Company Evilboyrecords.com--Seeking the Most Killing Bands in the Universe
The cream of the U.K will be signed and released online Worldwide by Evil Boy records. Send us your stuff.
(PRWEB) September 29, 2005 -- Evil Boy Records is a newly launched online record label which aims to represent talented UK bands by delivering their music to fans that want to hear it. We promote and sell our artists music via our worldwide digital distribution network offering new opportunities to unsigned bands.
We are Signing:
We are looking for 10 quality, UK bands. From shit kickin' rock 'n roll to rockabilly ska and punk. From retro to new rock. From screaming indie to alternative metal. If it's loud we'll listen.
Evil Boy Records require 10 bands to form a premier artist roster.
Our first signing shows our intent. We have captured the very wonderful Gypsy Pistoleros for Worldwide online release.
GYPSY PISTOLEROS have recorded their debut album 'Wild, Beautiful y los Damned' produced by guitarist Neil Phillips (Ex-Yo Yo's, The Wildhearts) and mastered by Terry Thomas (Bad Company, Tesla, 3 Colours Red). Worldwide online release of the double A-side 'Loco Loquito' and 'Bandido' is set for November 5th with the Album released February 2006 to coincide with a Spanish Tour including support slots with Thin Lizzy and Skid Row.
Learn more about GYPSY PISTOLEROS and listen to sample tracks. www.evilboyrecords.com.
Posted by BIGBAER at 03:35 AM | Comments (0) | TrackBack
April 29, 2005
Billboard Latin Music Awards 2005
Colombian rocker Juanes
Juanes'"Mi Sangre
Juan Luis Guerra
" 15 years ago, won two awards for his album "Para Ti
("For You") - male tropical album of the year and Latin Christian or gospel album of the year. He also won the Spirit of Hope award for the work of his foundation, which raises money for medical care for children.
View the complete list of the Billboard Latin Music Awards winners.
Posted by BIGBAER at 10:54 AM | Comments (0) | TrackBack
February 11, 2005
JENNIFER CUTTING WINS FIVE WAMMY AWARDS FOR OCEAN CD
Ocean: Songs for the Night Sea Journey
(Washington DC; Thursday, February 11, 2005) - Jennifer Cutting
swept the 19th annual Washington Area Music Awards, (the
"WAMMIES") held at the new Strathmore Music Center on Feb. 7.
The Celtic-folk composer-producer took home five Wammies for
OCEAN: Songs for the Night Sea Journey, including Album of the
Year, Songwriter of the Year, New Artist of the Year, Musician
of the Year, and Best Contemporary Folk Recording.
For this album, Cutting returned to her English and Irish
heritage to create a collage of sea-inspired pieces showcasing a
global orchestra of Celtic, pop, symphonic and electronic
musicians, including internationally acclaimed artists like
Maddy Prior and Peter Knight (Steeleye Span), the late Tony
Cuffe (Ossian), Gabriel Yacoub, Dave Mattacks (Fairport
Convention, Paul McCartney), Troy Donockley (Iona) and
Washington D.C.-area luminaries Grace Griffith, John Jennings
(Mary Chapin Carpenter Band), Sue Richards and Zan McLeod.
Cutting's 13 nominations seemingly came out of nowhere, given
that this ethnomusiciologist employed at the Library of Congress
Archive of Folk Culture had been out of the limelight for seven
years. But the five wins were no surprise to anyone familiar
with her last band project, the British folk-rock group The New
St. George, whose recordings are enduringly popular on NPR and
college radio.
"Cutting is all about art and personal excellence, and stayed
underground until she was ready to emerge on her own terms," the
Washington Post observed in its awards night coverage.
Indeed, OCEAN: Songs for the Night Sea Journey was seven years
and five transatlantic crossings in the making, and has been
described as Celtic music for ancient moderns.
OCEAN: Songs for the Night Sea Journey is in its third month on
NAR's Top 20 National Radio Airplay Chart. Tracks have aired on
syndicated shows such as National Public Radio's "Atlantic
Crossing," the Canadian Broadcasting Corporation's "Celebration
Starsong," Netscape Radio, XM and Sirius Satellite Radio.
OCEAN: Songs for the Night Sea Journey (Sunsign Records) is
available at major retailers, independent music stores and
on-line. For sound clips, visit www.jennifercutting.com
JENNIFER CUTTING RELEASES NEW CD OCEAN: Songs for the Night Sea Journey
Ocean: Songs for the Night Sea Journey
- Call of the Siren
- Out on the Ocean/Rolling Waves
- Gladdest Breeze
- My Grief on the Sea
- Dissolving/King Neptune
- Sands of Time
- Sleep (On the Deep)
- Song for the Night Sea Journey
- Forgiveness
- Neptune Reel/Woman of the House
- If You Are Near
- Siren's Farewell
Posted by BIGBAER at 10:43 AM | Comments (0) | TrackBack
February 09, 2005
Pavlo's Fantasia on Billboard!
Pavlo's album "Fantasia" moves up to #6 on Billboard this week, (from #11) joining International Artists' Yanni and Jim Brickman."Fantasia" has become the best selling album in the New Age category for the Anderson Merchandiser company that distributes music to the Wal-mart Chain in the U.S.
Could it be that Pavlo and Wal-Mart get it? [Pavlo, Wal-Mart and the New World Order | Pressing Issues in the Music Industry Today (or How I Learned to Adapt and Make Lots of Money!)]
Posted by BIGBAER at 03:10 PM | Comments (0) | TrackBack
February 08, 2005
It's Online Gold For Three RCA Label Group-Nashville Artists, As Kenny Chesney, Alan Jackson, And Brad Paisley Earn Gold Digital Singles
RLG Has Three of the First Five Country Singles to Hit the 100,000 Download ThresholdFans continue to speak to the amazing popularity of music from the RCA Label Group-Nashville's artist roster, as three of its airplay chartbusters become Internet chartbusters, earning RIAA certification as Gold Digital Singles, signifying 100,000 purchased downloads. Alan Jackson's "Remember When," Kenny Chesney's "When the Sun Goes Down," and Brad Paisley's duet with Alison Krauss, "Whiskey Lullaby," are among the first five country singles to be recognized with this distinction.
These certifications are all the more impressive since the albums from which these digital singles originated have already been certified for collective sales of eight million units, with Paisley's Mud on the Tires currently Double-Platinum, while Jackson's Greatest Hits Volume II and Chesney's When the Sun Goes Down are both 3x Platinum.
Posted by BIGBAER at 04:05 AM | Comments (1) | TrackBack
Amsterdam's Experimental Recordings Inspire Artistry
Asbury Park, NJ (PRWEB) February 7, 2005 -- AERIA Records is pleased to announce the signing of NJ teen rock sensation Brian Amsterdam to its roster. According to AERIA Records CEO (Chief Entertainment Officer) Coleman R. Brice:"By age 15, Brian had already recorded his first album, jammed with members of the E Street Band, Phish, Les Paul, and Jimi Hendrix's Band of Gypsies, among many others. He's just turned 18, and we feel that the timing is right for Brian's cutting edge sound to be unleashed. Combined with his serious knowledge and reverence for past musical masters, Mr. Amsterdam is uniquely prepared and positioned to take his place among New Jersey's brightest stars! I'm confident that Amsterdam's The Sore Score (Soundtrack to a Foreign Film No.1) will go down as one of the most pertinent pop debuts of the 21st Century..."
For additional information visit:
http://aeriarecords.com
http://brianamsterdam.com
E-mail: colie.brice@aeriarecords.comAbout AERIA: Aeria Records is a based in Asbury Park, NJ, Aeria Records is led by Coleman R. Brice (a.k.a. Colie Brice) a recording artist and music industry veteran. Current releases include debut efforts by New Machine, Chris Corley, and Mark Prescott.
[link: AERIA Records Discography]
Posted by BIGBAER at 03:53 AM | Comments (0) | TrackBack
February 07, 2005
John Conlee's "They Also Serve" Music Video Added To Armed Forces Network
Country music legend John Conlee will soon be seen in U-S military establishments across the world via the Armed Forces Network. Conlee's latest music video, "They Also Serve", has been added to the network and will begin airing the week following Super Bowl XXXIX. The Armed Forces Network, which can be viewed in nearly 200 countries, provides information to all U-S military personnel on the bases.Conlee is honored by the opportunity, "We did this video for all the members of the military and their families. I hope they all find it uplifting as they serve their country."
"They Also Serve" is Conlee's first video in 20 years. It serves as a tribute to the family and friends of those serving the U-S in the armed forces, and it portrays a unique look into the lives of the families and friends dealing with loved ones affected by the current U-S military action.
Segments of the music video were shot on location at Ft. Campbell, KY featuring the 1st Brigade Combat Team from the 101st Airborne Division, Ft. Campbell. According to Colonel Gray of the 101st Airborne Division, "This video shows what most people don't think about. The families of soldiers are doing the United States a service that is not seen by the public. This video really captures the essence of the sacrifice that is made, not only by the soldier, but by the family."
The latest in-studio project from John Conlee is Turn Your Eyes Upon Jesus, featuring "They Also Serve", available in stores nationwide. [http://www.johnconlee.com/]
Posted by BIGBAER at 11:14 AM | Comments (0) | TrackBack
October 30, 2004
Jay-Z, R. Kelly, Best of Both Worlds Tour Over?
Unfinished Business for Jay-Z & R. Kelly?
Temper tantrums and pepper spray don't mix: R. Kelly, Jay-Z & Pepper Spray: Un-Finished Business "The Best of Both Worlds" Tour over? [news article]
Artist: Jay-Z & R. Kelly
Album: Unfinished Business
Label: Def Jam
Audio CD (October 26, 2004)
Posted by BIGBAER at 11:03 PM | Comments (0) | TrackBack
October 25, 2004
Winter Music Conference 20th Anniversary
Winter Music Conference
March 22-26, 2005
Wyndham Resort
Miami Beach, FL
Winter Music Conference, in its 20th anniversary year, is regarded as the singular networking event in the dance music industry, attracting professionals from over 60 different countries. With its high concentration of top international artists, DJs and industry professionals, WMC permeates the international press and is thereby one of the most publicized events in the business. Every aspect of the industry is represented including the top technological innovators, artists, DJs, producers, radio and video programmers, retailers, distributors, audio manufacturers and many more.Industry Development
Currently, the music industry is engaged in a profound structural metamorphosis. CDR's, MP3's, download streams and other new technologies are forever changing the ways in which people create, buy, sell and listen to music. Such matters are among the many debated at Winter Music Conference. The WMC program brings together informed professionals to present new ideas, discuss industry issues, and build new inroads for business development. Meetings and seminars focus on topics such as market strategies, artist development, copyrighting, publishing, writing contracts, artist management, distribution, radio, promotion, internet retailing, and the media, just to name a few. With more than 30 important meetings and seminars on the agenda, WMC will continue its mission to provide a decisive global platform for resolving the current challenges and stimulating new industry growth and revenue.Artists, DJs and Events
One of the most exciting aspects of Winter Music Conference is the convergence of industry executives, press and A&R reps, as well as artists and DJs of all levels bumping heads on the dance floors and rubbing elbows at the bar, while enjoying their favorite DJs spinning on the decks. The level of exposure WMC provides for artists and DJs is invaluable. WMC offers endless opportunities for DJs and artists to network and have their music heard by A&R reps, labels, and an international audience of music industry professionals. The Demo Listening Workshops, CD compilation, poolside performance stage, DJ Spin Off and a host of other performance events, showcases and release parties throughout the week provide limitless opportunities for innovative DJs and artists to break out of the box. Venues throughout Miami feature a non-stop schedule of nighttime events showcasing legendary artists and DJs from all over the world. WMC also presents the International Dance Music Awards, revered as the premier annual awards event for the dance and electronic music industry. Ultra Music Festival, the largest music festival of its kind in the U.S., is the official closing event for WMC. Nowhere other than WMC will you experience such diverse and unique talents gathered together to share one week of exclusive music industry events.
International Marketplace
The leading products, sounds and services from all over the globe are showcased at the WMC marketplace. See the latest innovations and breakthroughs in technology. In the WMC Exhibit Hall, you may also discover distributors, record labels, instruments, DJ hardware, sound equipment, music publications, internet and software technology, apparel, CD duplicators and much more. Because the Exhibit Hall is entirely hands-on, you ultimately become an intrinsic part of the whole experience. If you are looking for exposure, the WMC Marketplace is a prime opportunity to present your product or service directly to your market.
Posted by BIGBAER at 08:33 AM | Comments (0) | TrackBack
October 20, 2004
Flogging Molly - Seven Deadly Sins mp3, e-card & audio stream
Flogging Molly "Within a Mile of Home" is the highly anticipated — long-awaited follow-up to 2002's Drunken Lullabies. Flogging Molly is a blend and breed, of traditional Irish folk-music and incendiary, raging punk rock. Does the combination work? Hell yeah! Just listen to the Real Audio Stream Seven Deadly Sins and see if you don't feel like drinkin' beer, kicking something, dancing wildly and thinking of dear Old Mum! all at the same time. That's Irish PUNK!
While Flogging Molly and Irish Punk/Folk/Rock may not be for everyone, those who appreciate unique presentation with regards for tradition will love the band's driving Celtic musical mayhem. Give a listen to Seven Deadly Sins, download the mp3 and send the e-card to your mates. What are ya? A bunch o' bloody hooligans? Wot!
Album: Within a Mile of Home
Real Audio Stream: Seven Deadly Sins
Mp3 Download: Seven Dealy Sins
E-Card Player: Seven Deadly Sins
Posted by BIGBAER at 01:44 PM | Comments (0) | TrackBack
October 04, 2004
Sony & copy-protected CDs
Sony JAPAN has announced that it is abandoning production of copy-protected CDs.
The story was first reported on September 30th and has since been covered by the Associated Press, as well as many other news outlets including this BBC News article: Sony abandons copy-protected CDs.
Sony makes the claim that it is dropping the cd-copy-protected format because it believes that the public at large now understands the wrongness of "burned cds" and copyright infringement. Could it be possible that the growing number of complaints regarding end-user problems related to Sony's copy-protected format have anything to do with the decision? The Net is a-buzz with possibilities.
It seems that the growth of MP3 players and the difficulties inherrent with the Sony copy-protected cds helped prod the decision.
CD sales are rebounding. Could cd-copying-capability now be recognized as an asset? I'm certain angst is building in the music industry boardrooms…
Posted by BIGBAER at 12:38 PM | Comments (0) | TrackBack