Praise Seth Everman for two things” His great talent, and for accurately titling this video simply as: “When you try all the sounds and beats on your synth (while only playing coldplay – viva la vida).”
Ice Cube’s Positive Affirmations
Jimmy Fallon takes a suggestion from the audience asking to hear positive affirmations from Ice Cube.
If Steve Reich Wrote The iPhone Marimba Ringtone
Steve’s Reich’s style of composition influenced many composers and groups. His innovations include using tape loops to create phasing patterns and the use of simple, audible processes to explore musical concepts (for instance, Pendulum Music and Four Organs). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music.
Writing in The Guardian, music critic Andrew Clements suggested that Reich is one of “a handful of living composers who can legitimately claim to have altered the direction of musical history”.[6] The American composer and critic Kyle Gann has said that Reich “may … be considered, by general acclamation, America’s greatest living composer”
“Steve Reich is calling” creates the iPhone’s Marimba ringtone as if it was created by the musical genius.
Miguel Finds a Magical Guitar and Dreams Of Being A Musician In Pixar’s “Coco”
Despite his family’s baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history. Directed by Lee Unkrich (“Toy Story 3”), co-directed by Adrian Molina (story artist “Monsters University”) and produced by Darla K. Anderson (“Toy Story 3”), Disney•Pixar’s “Coco” opens in theatres on November 22, 2017.
Former U2 Manager Paul McGuinness On The Cost Of Their 360° Tour
Former U2 manager Paul McGuinness shared stories from his illustrious career during a wide-ranging interview at last week’s International Live Music Conference (ILMC).
McGuinness, who was grilled by raconteur Ed Bicknell of Damage Management for ILMC’s traditional Breakfast Meeting, recalled U2’s ground-breaking 360° tour of 2009-11, which remains the highest-grossing tour of all time ($736.42 million).
“The name of that tour was my little joke in a way because the record companies at that time were pursuing these immoral [360°] deals where having failed to exploit digital distribution, the only thing they could think of to make more money was to take it off the artists who were going out doing gigs. It was shameful, I thought,” said McGuinness.
“So when we put together that production – which was playing in the round in stadiums – it was extraordinarily expensive to do. We were $30-40 million into pre-production before the tour started. That tour grossed three quarters of a billion – 110 shows – the net of course was rather less.”
Famous for its four-legged structure dubbed The Claw, 360° was attended by 7.2m people across the globe. Elaborating on the astonishing scale of the presentation, McGuinness revealed that days off effectively cost $300,000. “There were 200 trucks. There were 400 people travelling – but 200 of them were drivers,” he said. “It was great fun in a way but it was a bit of strain waking up each day thinking, Oh god, even though we’re not playing today, we’re spending $300,000.”
This Rock Band Is Literally A Rock Band
Neil Mendoza created this rock band/machine, which uses a number of mechanisms which make music using rocks. This is the next stage of industrial music.
Tom Petty and Garry Shandling Have a Great Talk About Life
I still really can’t believe that both Tom Petty and Garry Shandling are gone, both unexpectedly passing away at the age 66. I stumbled across this clip, which lead to Petty’s tribute in Billboard to his friend back in 2016. It reveals the close friendship they had, and I hope they’re making each other laugh up there.
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As the man behind the incredibly influential TV series The Larry Sanders Show and It’s Garry Shandling’s Show, Shandling made an enormous impression upon many of the musicians he crossed paths with. One such artist is Tom Petty, who worked with him multiple times and shares his thoughts on Shandling with Billboard.
I’ve known Garry for a long time. We go back to the mid-80’s. I just want people to remember what great work he gave us. The Larry Sanders Show just stands as some of the best TV work ever done. He was always quiet about his talent and just a really decent guy.
We first met when my daughter was acting. At that time and she was down reading for another show, and they asked her if I would be interested in coming on Garry’s first show, It’s Garry Shandling’s Show. She told them that I loved that show. So Garry phoned me and we talked a while. I wound up going on his show four or five times. And it was lots of fun and we remained friends from then on out.
We had a very strong friendship: we kept in touch all that time. You know, he’d come to our shows, and he’d hang out with us. I went to his house many times. And he would come to my house. It was a comfortable friendship where if he came over I didn’t feel like I had to entertain him, and it was the same way back.
He had an incredibly original talent, and as a man I can’t say enough about him.
He was more than a showbiz acquaintance to me, he was a dear friend, and I will miss him.
Half Of Us Check Facebook Several Times A Day
Analysis by AudienceProject has revealed the social media apps which are used most often. Top of the list is Facebook, with 53 percent of the 1,757 U.S. respondents saying that they access the mobile app several times a day – pretty far ahead of its competitors. In second place is Facebook-owned messaging service WhatsApp with 44 percent. The rivalry between Snapchat and Instagram is too close to call in this regard, with Snap’s app claiming a slight edge.
You will find more statistics at Statista
Tom Petty In 2000 on His Problem With Radio
What’s your theory behind what’s happening with radio today, why the masses aren’t interested in rock ’n’ roll?
Well, I don’t think that [the music business] is really exposing it to a new audience. It’s very bizarre. I think it has a lot to do with how corporate the people running the music industry have become—they’re not music lovers. I remember a time when the people running the record companies were people who came up through loving music, and that’s how they got involved in it. And now, it’s people that don’t even listen to it or give a f—. That attitude is never going to bring about great art. It’s all about money—how much dough you can bring in. I mean, look at the movies—that’s all about how much dough you can bring in that first week. And if you do, then you’ve got a viable thing that people are going to hear about. If you don’t, no one’s ever going to know it even happened. So the music business has become very much like that. Echo was a top ten record the first week out, and people were amazed that a rock ’n’ roll record had come into the top ten. But it didn’t have the support of radio, and another thing that didn’t help was that I didn’t make a video.
You had so much success with that medium in the past. How come you decided not to?
I just couldn’t do it. I just can’t stomach it. It’s just too silly now. I think it’s a dead art form [laughs]. I don’t think there’s anywhere to go with it. If they would allow us to give them one of us performing. . . but they’ll even tell you, “We won’t play it unless it’s from the studio.’’ I felt kind of bad about it. I take a lot of flack because I didn’t promote that record, because I didn’t get out there and do the three thousand interviews that they expect of you—they really do expect hundreds and hundreds of interviews and sound-bite TV shows and things that I just can’t. . . if I do that, I fall to pieces—and it’s just not worth it to suddenly feel like I’m a pitchman. And I don’t even know what I’m saying after a while, I’ve said it so much. I don’t mind doing a few interviews with someone who’s intelligent, but I can’t go out and spend more time hawking the product than I did making it. These new artists are completely content to do all the photo shoots, videos, and interviews. I’m just not. . . my brain is too delicate. Maybe it’s from too many years of having it rattled around, but I just don’t want to do anything that I can’t feel like I’m doing honestly. It’s caused me to retreat a great deal from the whole music business.