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“Long May They Run” Music Documentary Podcast Series Kicks Off With Phish

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C13Originals, a division of leading premium podcast company Cadence13, today announced the launch of Long May They Run, a groundbreaking music documentary series about iconic touring bands who have a lasting impact on music culture, the industry, music streaming, touring, their fans and beyond. Season One of Long May They Run will focus on the band Phish, exploring in depth the journey that made them one of the most successful and influential touring bands of all time, and how they redefined the bond between artist and audience, created a way of life, and innovated an entire industry along the way.

Created, directed and produced by C13Originals, and hosted and written by Dean Budnick—veteran music journalist, Editor-in-Chief of Relix Magazine, author, and filmmaker—each season of Long May They Run will explore the greatest, most successful, pioneering, touring and iconic and bands of all time, whose communities and followings grow larger with each decade that passes, who have a deeply rooted and emotionally intimate connection with their fans and who do not tour simply to promote an album, but who tour for touring’s sake. Told by those immersed in the music world—from insiders to fans to musicians—each season of Long May They Run will encompass one band, with each episode focusing on a topic relevant to its culture, pioneering, history and influence. This groundbreaking documentary series will give fans and listeners unparalleled insight into the impact of carefully chosen artists.

Long May They Run, Season One: Phish—which features new interviews with band members and the music of Phish—will explore how Phish revolutionized the music industry, shedding light on all of the areas that the band has helped to pioneer, from self-produced multi-day music festivals that created a blueprint for events like Bonnaroo to ticketing initiatives that disrupted the status quo to unprecedented streaming ventures. The series will also explore the Phish’s unique relationship with its devoted audience, its lasting impact on the concert industry and the many trails they blazed. With more than seventy-five interviews—including the voices of band members—Long May They Run, Season One: Phish will give listeners a rich and textured portrait of a band who pioneered an entire industry on many impactful and important levels, on their own terms.

Long May They Run, Season One: Phish will launch on September 18, 2019 with Episodes One and Two on Apple Podcasts, RADIO.COM, Spotify and everywhere podcasts are available, with new episodes available every Wednesday throughout the season. Listen to the trailer and subscribe to the series here.
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“Our vision was to create and give music fans a franchise set apart from anything that’s been done in podcasting. We believe that Long May They Run accomplishes just that, and will provide an experience that takes Phish fans, and music fans in general, to the next level, and redefine what can be done in this space,” said Chris Corcoran, Chief Content Officer, Cadence13. “Dean is an astute and compelling storyteller and interviewer, and few bands have the musical and cultural impact of Phish, which made them the perfect choice for Season One.”

“I’m thrilled to have the opportunity to share these stories in this format,” said Dean Budnick. “Phish is such an innovative band and many of the group’s pioneering endeavors have been overlooked or nearly lost to history. It’s been a pleasure to work with the team at C13Originals to bring their far-reaching legacy to light.”

Over the course of ten-episodes in Season One, Budnick and guests will explore a wide range of topics including: the music festivals of Phish, including The Clifford Ball and Big Cypress, and the significant impact Phish’s festivals have had on Bonnaroo and other events; the personal and professional legacy of former Paradigm head of music Chip Hooper, the renowned booking agent who helped Phish secure its independence through the deals he masterminded with Ticketmaster and venues around the country; the band’s pioneering efforts in cyberspace, which has resulted in the creation of an environment where fans can now congregate and travel show to show via “Couch Tour;” the art of Phish, from their Jim Pollock-designed poster, tickets, and merchandise to fan art; why the band carries on the tradition started by the Grateful Dead of allowing tapers at their shows; the band’s activism through its Waterwheel Foundation and beyond; Phish’s famed Halloween shows, at which they don a “musical costume” and perform another artist’s album in its entirety; Phish’s ethos of taking the music but not themselves seriously, and the many gags the band is known for, from their annual stunts at their legendary New Year’s Eve shows at Madison Square Garden to the trampoline they bring on stage to the vacuum played by drummer Jon Fishman; references to Phish in pop culture including The Simpsons, The Office and Parks and Rec; the early days of the band in Vermont; and more.

Long May They Run will feature over seventy-five interviews with a wide range of key players and music industry insiders including new interviews with members of the band; Blues Traveler frontman John Popper and other artists who cite Phish as an influence; members of the Phish fan community; authors; artists; lighting designers; tour managers and others. Guests include Phish’s former longtime manager John Paluska; original co-manager Ben Hunter; legendary music promoter Ron Delsener; celebrated rock photographer Danny Clinch; Bonnaroo and Superfly co-founders Rick Farman and Kerry Black; Paradigm Agency head of music Dan Weiner; Phish “first fan” and longtime friend of the band Amy Skelton, known for hosting the legendary “Amy’s Farm” show; Gregg Perloff, CEO, APE; longtime Phish poster artist Jim Pollock; Governor’s Ball founder Tom Russell; Phish’s tour manager Richard Glasgow; and NBA legend Bill Walton. In addition to the new interviews with the band and other guests, the series will also feature exclusive archival interviews Budnick conducted with Gregg Allman and others that have not aired until now.

Considered by many to be the best live act in America, each Phish concert is a unique experience, unlike any that preceded it, or any that will follow it. Nearing forty years together, Phish remains one of the biggest draws in music. In 2017, Phish made history by playing The Baker’s Dozen: thirteen consecutive shows at Madison Square Garden, while never repeating a song. A banner commemorating the achievement permanently hangs from the rafters in the arena. From their early newsletters to the LivePhish app, the group anticipated today’s direct fan engagement, while interacting with fans at their live shows via on-stage chess matches that allowed the audience to play the band, a “secret language” of special musical cues and a “Big Ball Jam.” The group’s management and support team consist of outliers and innovators whose work continues to resonate throughout the live entertainment industry.

C13Originals is the division of Cadence13 focused on original storytelling and developing a slate of IP through a new premium level in-house production studio, and creators of top podcast series Root of Evil: The True Story of the Hodel Family and the Black Dahlia and the white-collar crime docuseries Gangster Capitalism.

Dean Budnick is the editor-in-chief of Relix, a popular music publication. Budnick has covered the live music scene for over two decades, reporting for Billboard, Variety and The Hollywood Reporter. In 2002 he created the official Bonnaroo festival newspaper and has edited it ever since, while working on similar specialty publications for Phish, Dave Matthews Band, LOCKN’ and Fare Thee Well. He is the co-author of Blues Traveler front man John Popper’s memoir Suck and Blow: And Other Stories I’m Not Supposed to Tell as well as Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped, which chronicles the previously untold story of the modern concert industry.

Want to be a Guitar Rock God? Get out there and Play!

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In a world where music fans look to the past for the music they love, now is the time to become a guitar rock god. The stage is set, the spot light is on. All you have to do is get the right equipment, perfect your licks, wear something garish, join or form a band, and get out there and play. There is a massive musical gap for a new rock star, and this is a gap that you could fill.

In this post, we look at what you need to become the next Hendrix or Frusciante.

Get the Best Guitar and Equipment

Ultimately, your musical prowess on your guitar will dictate how you sound, but a great sounding instrument and equipment will be essential if you are to dominate the world of rock. There is a wide range of products for guitars that will help you perfect your all-important signature sound. Every top guitarist you can think of from Gilmour to May to Clapton to Slash are instantly recognisable when they play. This is because they have a signature sound and perfecting your sound is what you should be aiming for.

Take the time to read reviews of equipment and garner what other players thought of it, before making a purchase. This invaluable information will help you in your rock god quest.

Here is a brief list of what you will need to get out there and play.

  • Guitar – Get a good one. Listen to your favourite guitarists and choose a similar model to what they play.
  • Hard guitar case – Keep your pride and joy and your future livelihood protected.
  • Amplifier – How can anyone hear your musical genius without one?
  • Pedalboard – Pedals are part of rock history, and you can buy a range of pedals to give you a great sound. Read reviews and buy pedalboards online from reputable stores.
  • Cables – Get ones that are not too long, to begin with and get spares. They can and do develop faults.
  • Picks – Experiment with a range of picks to suit your style.
  • Tuner – You want to keep your axe in tune, and there is some evidence that using a tuner will perfect your musical ear. Some pedalboards come with tuners built-in.
  • Spandex trousers and codpieces – This is completely optional, and it depends on how ‘old school’ you want to be.

Your band will need a PA system. The better music venues where you will delight the crowd will probably have one of these.

Now you have your guitar and related equipment it is time to get good!

Practice like it’s 1999

The key to perfecting your musical prowess is to practice. Soon the chords will come, and you’ll play licks and solos from your favourite guitarists. This is great, and you will impress your friends.

To start creating classic albums like Prince’s 1999 you have to take this a step further. You have to learn to write your own music and learn how music works in context with a band.

It is a good idea to join a band and start playing gigs as soon as you start to sound good. This will give you confidence and invaluable knowledge about how this rock god thing works.

Ultimately, to become a rock superstar, you have to forge your own path. You might be able to play a Hendrix classic, but you will never be Hendrix. He was a one-off.

If you become a one-off, you too will be considered a rock god! Peace and rock out!

Photo Gallery: Carly Rae Jepsen with Ralph at Hamilton’s FirstOntario Concert Hall

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All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com

Carly Rae Jepsen
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The 1977 Television Documentary About The Making of ‘Star Wars’ And Hosted by C-3PO and R2-D2

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On September 16, 1977, the ABC television network aired “The Making of Star Wars”, a wonderful one-hour documentary that went behind the scenes of the blockbuster new film Star Wars IV: A New Hope, which had been released in May of that year.

This TV special, the first ever Star Wars documentary, was hosted by C-3PO and R2-D2 and narrated by William Conrad, with appearances by George Lucas, Mark Hamill, Carrie Fisher and Harrison Ford.

Maintaining credibility and consistency on YouTube: Revisions to YouTube Music Charts and 24-hour record debut policy

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From “American Bandstand” to “TRL,” every generation naturally finds its own barometer to measure the hottest songs and artists of the moment. For this generation, it’s YouTube. There is simply no better current measure of the world’s music listening than YouTube. Every day, we strive to showcase and celebrate the hottest artists, songs and music videos from around the world.

Today, we’re sharing some important changes made to YouTube Music Charts, the go-to destination to see what’s popular, what’s rising and trending both locally and globally on YouTube, and updates to how we determine videos that are eligible for 24-hour record debuts on YouTube.

YouTube Music Charts have become an indispensable source for the industry and the most accurate place for measuring the popularity of music listening behavior happening on the world’s largest music platform. In an effort to provide more transparency to the industry and align with the policies of official charting companies such as Billboard and Nielsen, we are no longer counting paid advertising views on YouTube in the YouTube Music Charts calculation. Artists will now be ranked based on view counts from organic plays.

Over the last few years, fans, artists, and their teams have touted the number of views a video receives on YouTube within the first 24 hours as the definitive representation of its instant cultural impact. It’s a great honor and one we take very seriously. As we look to maintain consistency and credibility across our platform, we’ve made some necessary revisions to our methodology for reporting 24-hour record debuts.

Our goal is to ensure YouTube remains a place where all artists are accurately recognized and celebrated for achieving success and milestones. Videos eligible for YouTube’s 24-hour record debuts are those with the highest views from organic sources within the first 24 hours of the video’s public release. This includes direct links to the video, search results, external sites that embed the video and YouTube features like the homepage, watch next and Trending. Video advertising is an effective way to reach specific audiences with a song debut, but paid advertising views on YouTube will no longer be considered when looking at a 24-hour record debut. The changes will not impact YouTube’s existing 24-hour record debut holders.

Staying true to YouTube’s overall mission of giving everyone a voice and showing them the world, we want to celebrate all artist achievements on YouTube as determined by their global fans. It’s the artists and fans that have made YouTube the best and most accurate measure of the world’s listening tastes, and we intend on keeping it that way.

Additional information on how YouTube Music Charts are calculated can be found here and additional details about YouTube Views and ads can be found here.

Peter Gabriel Releases B-sides, Remixes and Rarities Album “Flotsam and Jetsam”

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Flotsam and Jetsam is a collection of B-sides, remixes and rarities from across Peter Gabriel’s solo career. Over 60 tracks are featured, mostly all of which have been previously released physically, either on 7”, 12” or CD singles, soundtrack or tribute albums, but, with a few exceptions, are being released digitally for the first time.

The collection – arranged chronologically – is split into three eras. The first, 1976-1985, covers the period from Peter first going solo to the end of his run of four self-titled solo albums. It opens with a cover version of ‘Strawberry Fields Forever’, the first time Peter featured on a release after leaving Genesis. The second, 1986-1993, are Peter’s popstar years with music released around the albums ‘So’ and ‘Us’. The third era is 1994-2016and features remixes from the ‘Up’ album, plus tracks used in various films and notable cover versions. It ends with Peter’s song ‘The Veil’, written especially for the Oliver Stone movie ‘Snowden’.

Across the collection are a handful of previously unreleased versions of songs, most notably, the extended version of ‘Slowburn’ (PG1), the full version of ‘Don’t Break This Rhythm’ (an edit featured as the B-side to Sledgehammer) and the tracks ‘Curtains (Broad Mix)’ and ‘Father, Son (Daniel Lanois and Richard Chappell Mix)’ both only previously available on the non-commercial Music Industry Trust Awards CD ‘Uscita’.

How Couples In Music Make Their Relationships Work [VIDEO]

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Music and romance go hand in hand, but making love last in the music industry can be a struggle. The history of the entertainment business is littered with failed relationships, but more and more professionals are finding a way to make love last.

On this episode of Music Biz, host James Shotwell calls on singer/songwriter Ellie Holcomb to share how she and husband Drew Holcomb maintain a strong relationship and raise a family while both remaining very active in the industry. Ellie shares advice she was given by other professionals, as well as things she has learned through her own experiences with Drew.

Richard Linklater’s “Woodshock ’85” a short doc on a punk festival in Austin, Texas

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This short documentary chronicles the chaos of the Austin, Texas music festival, “Woodshock ’85”, featuring a young Daniel Johnston promoting his “Hi, How Are You?” cassette.

Calgary’s TETRIX Release Album #17 and It Sounds Like ‘Hank Williams on Acid’

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Psych-country.

That’s it, that’s the pitch when it comes to Canada’s indie alt. outfit TETRIX and their new single, “Every House Has A Light On” — available now.

After 16 albums for the Calgary-based duo, Connor Gottfried and Neil Pockett have managed to further experiment with experimental, delivering a fresh, original sound that fuses the essence of old-time country with modern psychedelic music. And campus radio stations are responding, with their latest album debuting this very week in the Canadian Electronic Chart at #10!

“Think ‘Hank Williams on acid’ or ‘melted accordion Kraftwerk,’” Gottfried details of their release by the same name, Every House Has A Light On. “For this album, we wanted to connect vintage country chord progressions and accordion with analog drum machines and avant-garde editing.

“Each song was recorded as an extended 20 to 30-minute improv session which was then chopped and edited using Ableton Live into the final arrangement heard on the album.”

The results are as intriguing as they sound, and lands as a sonic gold star for the pair of skateboarding outsiders of sorts growing up in small-town Manitoba during the 90s. “We were surrounded by old-time country music but drawn to the punk, grunge, and electronic sounds of the outside world,” Gottfried continues. “In the early 2000’s, and after moving to Calgary, we formed TETRIX with a focus on genre-mashing improvised jazz, psychedelic, electronica, pop, noise, and punk, all run through a cutting-edge, computerized editing process.”

The concept was an easy one for Gottfried; as the main editor for TETRIX, he is also an award-winning technologist, and named one of Calgary’s Top 40 Under 40.

Between 2001 – 2018, the band released 16 albums of authentic, avant-garde experimental improv music, along with a 12” compilation LP on Belgium’s MeWe Le Disque. The band toured Europe in 2007 and their live show featured a custom LED, laser and smoke show that audience members took in through a pair of glasses specially filtered for viewing fireworks, to trippy result.

TETRIX has been featured in a number of International magazines — including Voxer, Future Music and Trax in Europe — along with an appearance of their track “Jesus Put the Purple Haze in My Veins” in a Belgium feature-length film.

Experimental by nature, Gottfried and Pockett began playing around with various analog instruments like pedal steel and sitar. It was a fateful 2015-era purchase, however, that revealed the sound you hear today: a vintage Italian accordion.

“We’ve been using a fully-improvised process throughout our time as a band and find it produces fresh interesting patterns and novel changes,” Gottfried reflects. “For this album, we primarily used that vintage Italian accordion and an Arturia Drumbrute, along with various hardware synthesizers and effects processors — including a vocoder to introduce de-pitching noise effects on the vocal tracks.

“Our aim was to try and bring the beauty of the classic country chord progressions and the rich tonality of the accordion into the context of 21st century electronic music.

“Both Neil and I were born and raised in the prairies and this album fuses that influence back into the progressive sounds we’ve been working with for the last 20 years. I’m also a visual/abstract artist and for the cover Neil and I hand-crafted sleeves from canvas, paper and acrylic using a formula I’ve developed for my large format paintings. Each cover is completely unique and this is our way of representing the elements of chance and texture that have shaped our sound.”

Every House Has A Light On is available now.

Photo Gallery: Of Monsters And Men with Lower Dens at Toronto’s Budweiser Stage

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All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com

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