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Mark Cohon Appointed Chairman of the Board for CARAS, The JUNO Awards and MusiCounts

Music

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Sep 1, 2015

Mark Cohon Appointed Chairman of the Board for CARAS, The JUNO Awards and MusiCounts

The Canadian Academy of Recording Arts and Sciences (CARAS)/The JUNO Awards and MusiCounts announce the appointment of Mark Cohon as the new Chairman of the Board of Directors. The former CFL Commissioner will begin his tenure on September 29, 2015 succeeding Ed Robinson. Cohon is the 11th Chairman of the Board of Directors for CARAS/The JUNO Awards and MusiCounts.

“I am extremely pleased that the Board has appointed Mark as its Chairman,” said Allan Reid, President & CEO, CARAS/The JUNO Awards & MusiCounts. “He has extensive experience and passion for raising the profile of brands and delivering successful results. Mark will bring a fresh perspective, and we look forward to his contributions to growing the CARAS, JUNO Awards and MusiCounts brands.”

“We have much to be proud of in our Canadian music industry,” said Cohon. “It is going to be exciting working with the Board, the CARAS leadership team and corporate, media and governmental partners to celebrate our remarkable artists and performers with Canadians across our nation.”

Cohon is best known for his leadership in turning-around and driving the renaissance of the Canadian Football League. His eight-year stewardship of the CFL was a remarkable run that saw the CFL’s business model transformed and its brand elevated. Strong attendance, record television ratings, $2 billion in new stadiums, strengthened corporate partnerships, a national celebration of the 100th Grey Cup and a return to the nation’s capital were all part of the league’s stronger foundation under Cohon’s leadership.

Cohon is a graduate of Upper Canada College and Northwestern University with a Bachelor of Science majoring in communication studies. He has held positions with the NBA and the MLB as Head of International Marketing and Head of Corporate Development respectively, before becoming President and Chief Executive Officer of AudienceView Ticketing, a company that sells ticketing systems and services to sports, arts and entertainment events.

In 2003, he was appointed to the Board of Trustees of the Ontario Science Centre and then named Chair in 2006.

A proud Canadian, in 2013 he was made a Member of the Order of Ontario.

The Canadian Academy of Recording Arts and Sciences/L’académie canadienne des arts et des sciences de l’enregistrement (CARAS) is a not-for-profit organization created to preserve and enhance the Canadian music industry and to contribute toward higher artistic and industry standards. The main focus of CARAS is the exploration and development of ongoing opportunities to showcase and promote Canadian artists and music through vehicles such as The JUNO Awards and other year-round initiatives. For more information on the 45th Annual JUNO Awards or The Canadian Academy of Recording Arts and Sciences (CARAS) please visit www.junoawards.ca or www.carasonline.ca.

MusiCounts, Canada’s music education charity associated with The Canadian Academy of Recording Arts and Sciences (CARAS) and the Canadian Country Music Association (CCMA) is helping to keep music alive in schools and communities across Canada by putting musical instruments into the hands of children that need them most. MusiCounts’ mission is to ensure that children in Canada, regardless of socio-economic circumstances or cultural background, have access to music programs through their schools and communities. MusiCounts achieves its mission through its Band Aid Program, the MusiCounts TD Community Music Program, the MusiCounts Teacher of the Year Award, Scholarships and other music education initiatives. MusiCounts is funded by many of Canada’s most dedicated corporate citizens including and especially Bell Media, TD Bank Group, SiriusXM Canada, the Slaight Family Foundation, Music Canada, Vista Radio, and Morningstar Canada. MusiCounts has been supported since inception by Sony Music Entertainment Canada Inc., Universal Music Canada, Warner Music Canada Ltd., JUNO Songwriters’ Circle and JUNO Cup. Since MusiCounts’ establishment in 1997, nearly $8,000,000 has been awarded in support of music education in Canada. These funds have benefitted over 700 schools and communities from coast to coast, supported over 300 post-secondary music program graduates and honoured 10 extraordinary music teachers through the MusiCounts Teacher of the Year Award.

Submissions for Eastlink East Coast Music Week 2016 Open This Thursday, September 3

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Sep 1, 2015

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Submissions for Eastlink East Coast Music Week 2016 Open This Thursday, September 3

The submissions for the East Coast Music Awards and Showcases will open this Thursday, September 3. As in past years, all submissions will be done online via Marcato.

To get ready for the submissions opening, check out the official 2016 Awards & Stages Manual for all rules and regulations concerning the music and industry awards, as well as showcases.

The East Coast Music Awards have made several significant changes to the eligibility criteria as well as the jurying criteria to many of our awards, including introducing a brand-new category: Dance Recording of the Year. All those details can be found at the 2016 East Coast Music Awards & Stages Manual so you don’t miss out.

You do not need to be an ECMA member to submit; however, submission fees are higher for non-members: $40 for each submission. ECMA members in good standing will receive one free submission, with all subsequent submissions being $25 each. If non-members are nominated or chosen for a showcase, they will be required to register as an ECMA member before ECMW 2016. Click here to become an ECMA member.

Deadline to submit will be Thursday, October 1, 2015 at 11:59PM AST. So, start the uploading on Thursday!

Polaris Music Prize Announces Partnership With Toronto Symphony Orchestra

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Sep 1, 2015

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Polaris Music Prize Announces Partnership With Toronto Symphony Orchestra

The Polaris Music Prize today announced a partnership with the Toronto Symphony Orchestra (TSO). This unique collaboration will see members of the TSO performing with some of the Short List nominees at the Polaris Gala, taking place September 21 at The Carlu in Toronto, with an opportunity for the winner of the 2015 Polaris Music Prize to perform their original works with the TSO at a concert at Roy Thomson Hall in 2016.

“We’re extremely flattered and honoured that an organization with such an esteemed musical history wants to partner with Polaris-recognized artists in this way,” commented Steve Jordan, Executive Director, Polaris Music Prize. “The idea of artistic collaboration is very dear to us, and we’re anticipating some musically thrilling results.”

“The TSO is proud to partner with the Polaris Music Prize, one of Canada’s most notable music organizations that recognizes the creativity of our nation’s recording artists,” said Jeff Melanson, President and CEO, Toronto Symphony Orchestra. “We’re delighted to work with like-minded, innovative arts institutions to showcase the valuable role music plays in our cultural well-being, and the diversity of this year’s Short List provides an exciting backdrop for this powerful and worthwhile conversation.”

Confirmed performers at the Polaris Gala include Alvvays, Braids, Jennifer Castle, Tobias Jesso Jr., Buffy Sainte-Marie, and Viet Cong. Fred Penner will host the Gala, which will be webcast live on Aux.tv.

Listen to all the Polaris Music Prize nominees on: http://spoti.fi/Polaris.

The eligibility period for the 2015 Polaris Music Prize runs from June 1, 2014 to May 31, 2015. An independent jury of 196 music journalists, broadcasters, and music bloggers from across Canada determines the Long List and Short List. Eleven people are selected from the larger jury pool to serve on the Grand Jury and will convene the night of the Gala to select the Polaris Music Prize winner.

The Polaris Music Prize will award $50,000 to the artist who creates the Canadian Album of the Year. Courtesy of Slaight Music, each of the nine other short-listed artists will receive $3,000. Judged solely on artistic merit, without consideration of genre or record sales, the prize’s past winners have included Tanya Tagaq (2014), Godspeed You! Black Emperor (2013), Feist (2012), Arcade Fire (2011), Karkwa (2010), Fucked Up (2009), Caribou (2008), Patrick Watson (2007), and Final Fantasy / Owen Pallett (2006).

The Byrds’ Isolated Vocals For Turn! Turn! Turn! and Mr. Tambourine Man

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Aug 30, 2015

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The Byrds’ Isolated Vocals For Turn! Turn! Turn! and Mr. Tambourine Man

“Turn! Turn! Turn! (To Everything There Is a Season)” was written by Pete Seeger in the late 1950s. The lyrics, except for the title which is repeated throughout the song, and the final verse of the song, are adapted word-for-word from Chapter 3 of the Book of Ecclesiastes, set to music and recorded in 1962. The song was originally released as “To Everything There Is a Season” on The Limeliters’ album Folk Matinee and then some months later on Seeger’s own The Bitter and the Sweet. The song became an international hit in late 1965 when it was covered by the American folk rock band The Byrds, bowing at #80 on October 23, 1965, before reaching #1 on the Hot 100 chart on December 4, 1965, #3 in Canada (Nov. 29, 1965), and also peaking at #26 on the UK Singles Chart. In the U.S., the song holds distinction as the #1 hit with the oldest lyrics (Book of Ecclesiastes), theoretically authored by King Solomon.

“Mr. Tambourine Man” was the debut single by The Byrds and was released on April 12, 1965 and was influential in originating the musical style known as folk rock, with the single becoming the first folk rock smash hit. Indeed, the term “folk rock” was first coined by the U.S music press to describe the band’s sound at around the same time as “Mr. Tambourine Man” peaked at number 1 on the Billboard chart. The single initiated the folk rock boom of 1965 and 1966, with many acts imitating the band’s hybrid of a rock beat, jangly guitar playing and poetic or socially conscious lyrics. You can hit a bit of the music before the isolated vocals come in.

Uncensored Comedy Actress Roundtable With Amy Schumer, Lena Dunham and More

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Aug 17, 2015

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Why does Amy Schumer think that women need to stop apologizing? Which of TV’s top comedy actresses have received rape and death threats? And what is a penis bag, anyway?

Six top actresses — Lena Dunham, 29 (Girls); Ellie Kemper, 35 (Unbreakable Kimmy Schmidt); Kate McKinnon, 31 (Saturday Night Live); Gina Rodriguez, 30 (Jane the Virgin); Tracee Ellis Ross, 42 (Black-ish); and Emmy nominee Schumer, 34 (Inside Amy Schumer) — recently sat down with The Hollywood Reporter for a raunchy, R-rated roundtable discussion where nothing was off limits. (At one point, one of the six women offered another oral sex.)

Stevie Wonder announces extended fall 2015 run of Songs in the Key of Life Performance Tour

Music

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Aug 17, 2015

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Stevie Wonder announces extended fall 2015 run of Songs in the Key of Life Performance Tour

Legendary singer, songwriter, musician and producer Stevie Wonder announced today an extended and final run of dates for his SONGS IN THE KEY OF LIFE PERFORMANCE Tour due to popular demand. Wonder will bring the critically-acclaimed performance, which is a live adaptation of the iconic Songs in the Key of Life album, to 20 North American cities
beginning September 30 in Montreal, QC. Produced by Wonder Productions and Live Nation and promoted by Live Nation, the tour will continue to cities such as Washington, DC, Philadelphia, St. Louis, Toronto, Chicago, Detroit and Kansas City before concluding in New York City at Madison Square Garden on November 24.

Citi® card members will have access to pre-sale tickets beginning Tuesday, August 18 at 12 p.m. local time through Citi’s Private Pass® Program in select cities. For complete pre-sale details, visit www.citiprivatepass.com. General tickets for select cities will be available beginning Friday, August 21 at 10 a.m. local time. Please see below for full details.

These 20 dates follow the tour’s initial extended run of dates in March 2015; those dates were added as a result of high demand from the tour’s initial run in the late fall of 2014. While returning to many cities, many fans will have the chance to see the show for the first time in their area.

This leg will mark the final performances in a live tour setting in the U.S. The final show at Madison Square Garden will bring the tour full circle as Stevie concludes the tour at the same venue it began on November 6, 2014.

Rolling Stone declared that “the show is possibly 2014’s greatest testament to the limitless potential of American music itself,” while Billboard stated that “the music still resonates” and that Wonder provides an “electrifying concert… and had the audience roaring and standing on its feet.”

Throughout his career, the celebrated singer has amassed 49 Top 40 singles, 32 #1 singles and worldwide album sales of more than 100 million units. He has received 25 Grammy Awards, an Oscar, and a Golden Globe; is an inductee into the Rock and Roll, Songwriters’ and NAACP Halls of Fame; and is the youngest recipient of the Kennedy Center Honors. Stevie has received the Presidential Medal of Freedom, and is a designated U.N. Messenger of Peace with special focus on persons with disabilities. He continues to be pivotal in U.S. and world events, demonstrating the activism that has made him such a vital voice for social progress and world harmony.

FALL 2015 SONGS IN THE KEY OF LIFE PERFORMANCE TOUR DATES
Date City Venue On Sale (all local time)

September 30 Montreal, QC Bell Centre Friday, August 21 @ 12 p.m.
October 3 Washington, DC Verizon Center Friday, August 21 @ 10 a.m.
October 7 Philadelphia, PA Wells Fargo Center Friday, August 21 @ 10 a.m.
October 9 Toronto, ON Air Canada Centre Friday, August 21 @ 10 a.m.
October 11 Hartford, CT XL Center Friday, August 21 @ 10 a.m.
October 14 Newark, NJ Prudential Center Friday, August 21 @ 10 a.m.
October 16 Chicago, IL United Center Saturday, August 22 @ 10 a.m.
October 19 Pittsburgh, PA Consol Energy Center Friday, August 21 @ 10 a.m.
October 23 Kansas City, MO Sprint Center Saturday, August 22 @ 10 a.m.
October 25 St. Louis, MO Scottrade Center Friday, August 21 @ 12 p.m
October 31 San Antonio, TX AT&T Center Friday, August 21 @ 10 a.m
November 3 Oklahoma City, OK Chesapeake Energy Arena Saturday, August 22 @ 10 a.m.
November 5 Little Rock, AR Verizon Arena Saturday, August 29 @ 10 a.m.
November 7 Indianapolis, IN Bankers Life Fieldhouse Friday, August 21 @ 10 a.m
November 10 Knoxville, TN Thompson-Boling Arena Friday, August 21 @ 10 a.m
November 14 Charlotte, NC Time Warner Cable Arena Friday, August 21 @ 10 a.m
November 17 Charlottesville, VA John Paul Jones Arena Friday, August 28 @ 10 a.m
November 19 Buffalo, NY First Niagara Center Friday, August 21 @ 10 a.m
November 21 Detroit, MI Joe Louis Arena Friday, August 21 @ 10 a.m
November 24 New York City Madison Square Garden Friday, August 21 @ 10 a.m

Why Marc Maron Loves Vinyl

Music

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Aug 17, 2015

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The appeal of vinyl is a mysterious thing. Even when you talk to people who make records, who know how the sound gets from the groove to the stylus into the amp and out through the speakers, it’s still kind of magical, in some weird way. The idea of analog, even with its crackle and pops, the idea of this sound being pulled off this rotating disc through these other elements, I think there’s integrity to that, as opposed to this mystifying sequence of zeroes and ones that make that digital sound. I have no idea how the hell that works. It seems detached, inhuman.

At some point in the last two years, I got a renewed interest in playing records. I’d had turntables before, and I had a box of records that I’d been carting around since high school. I always knew in the back of my head that records had more integrity than digital music. I went to interview Jack White at his place in Nashville, and he’s a real analog guy. He had these Mackintosh tube amps, and I got hung up on the idea of getting a tube amp, but the ones Jack had were $15,000. There was no way I could spend that kind of money on stereo equipment and enjoy it; I’d always be thinking, does this sound like $15,000? I don’t think so.

I’ve got around 2,000 records now, and I play music constantly. I’ve been through some hard relationships lately and music seems to fill the gap. Now I can listen to all these different bands, from all the different periods in my life, bands I’ve never heard of, new bands, old bands … If you sit down with good equipment and listen to vinyl, it’s pretty astounding. I listen to albums I’ve had my whole life and I’ve never heard them quite like this.

Via The Guardian

The Dead Weather return with ‘Dodge and Burn’ out September 25

Music

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Aug 17, 2015

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The Dead Weather return with ‘Dodge and Burn’ out September 25

Third Man recording group The Dead Weather — Jack White, Alison Mosshart, Dean Fertita and Jack Lawrence — has announced the release of their long anticipated new album. DODGE AND BURN – the band’s third album and first full-length release in five years – will be available everywhere on Friday, September 25th. The album will be available for pre-order worldwide beginning this Friday, August 21st, with digital pre-orders receiving an instant download of the album’s electrifying new single, “I Feel Love (Every Million Miles).” The new single will also be available digitally worldwide on August 21st.

Released today, the brand new single, “I Feel Love (Every Million Miles),” is streaming now exclusively via global music and entertainment platform, TIDAL. The Dead Weather has also premiered the ferociously compelling Ian & Cooper-directed video for “I Feel Love (Every Million Miles).” Watch a teaser HERE and view the entire video via TIDAL.

Recorded in Nashville during breaks in each member’s ever-busy schedules, DODGE AND BURN was heralded back in October 2013 as the band and Third Man Records announced an innovative long-term plan that would see a series of Dead Weather 7-inch singles released in the year and a half leading up the album’s release. On July 6, 2015, DODGE AND BURN was officially announced along with Third Man Records’ Vault Package #25 featuring the only limited edition version of the new album, the only physical version of new single “I Feel Love (Every Million Miles),” and more. The Dead Weather have now unveiled the complete track list for DODGE AND BURN, which features the four previously released Vault tracks remixed and remastered and eight new songs:

I Feel Love (Every Million Miles)
Buzzkill(er)
Let Me Through
Three Dollar Hat
Lose The Right
Rough Detective
Open Up
Be Still
Mile Markers
Cop and Go
Too Bad
Impossible Winner

The Dead Weather first united after Alison Mosshart’s band The Kills supported Jack White and Jack Lawrence’s band The Raconteurs on a string of North American dates. The trio followed the tour with a few informal recording sessions at White’s famed Third Man studio, soon augmented by Raconteurs collaborator/Queens of the Stone Age multi-instrumentalist Dean Fertita. The result proved extraordinary – The Dead Weather’s debut album, HOREHOUND, arrived in July 2009 to worldwide critical acclaim and a top 10 Billboard 200 chart debut. The four musicians celebrated the release with a 23-date North American tour before reconvening at Third Man in December for three further weeks of writing and recording.

Released less than a year after their debut, SEA OF COWARDS made it abundantly clear that The Dead Weather were no mere side project — White, Mosshart, Lawrence, and Fertita were now a band. Ultimately named among the top 15 on Rolling Stone’s “30 Best Albums of 2010,” SEA OF COWARDS drew rave reviews for its aggressive songcraft and overwhelming intensity, as did a worldwide tour highlighted by sold out headline dates and showstopping appearances at such legendary festivals as Coachella, Glastonbury, and the New Orleans Jazz & Heritage Festival.

Since then, The Dead Weather collective has remained busy as ever, constantly adding new milestones to their already-illustrious résumés. Born as a one-off collaboration between friends and tourmates, The Dead Weather has since evolved into one of the most vital and provocative bands in contemporary rock ‘n’ roll and DODGE AND BURN sees The Dead Weather pushing their creative line of attack to its very limits.

Guilty Simpson’s Sets “Detroit’s Son” Release on September 11

Music

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Aug 17, 2015

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Guilty Simpson’s Sets “Detroit’s Son” Release on September 11

Guilty Simpson may have worked with hip-hop production luminaries from as far afield as California, New York and the UK, but his roots are forever in his hometown of Detroit.

It was fellow Detroit native J Dilla who gave Guilty his debut, on “Strapped” from Jaylib’s Champion Sound (2003), and “As Serious as Your Life,” a Four Tet remix. At Dilla’s request, Guilty joined the Stones Throw fold, releasing his debut solo album Ode To The Ghetto in 2008, which established him as one of Stones Throw’s flagship artists.

Two years later, Guilty returned with producer Madlib for OJ Simpson (Stones Throw, 2010), which Pitchfork heralded as “cohesive, focused, and flat-out fun… one of the best hip-hop records of the year.”

After a collaboration with the late Sean Price and producer Black Milk as Random Axe, and another with producer Apollo Brown, Guilty’s next appearance on Stones Throw was shorter but no less pivotal – a guest verse on “Fitta Happier” by Geoff Barrow’s hip-hop production super-group Quakers. Time spent with Quakers co-founder Katalyst in Australia yielded an artistic chemistry between the MC and producer, and led directly to Guilty’s third album for Stones Throw.

Detroit’s Son distils the essence of what made Ode To The Ghetto an underground classic. With the subject of life in the Motor City placed front and center, Guilty’s uncompromising rhymes fit seamlessly with Katalyst’s hard-hitting beats. The raps are every bit as gritty as on Ode or OJ, but there’s also a little light relief on tracks such as “Smoking,” probably about as close as Guilty will get to a summer anthem.

This is the Detroit MC on his best form, rapping over beats perfectly tailored to his rough baritone. Guilty Simpson has always been skillful at combining hardcore rap with thought-provoking observations about the world around him, and it’s this talent that comes to the fore on Detroit’s Son.

Insomniac founder’s response to drug-related deaths at raves

Music

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Aug 16, 2015

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Insomniac founder’s response to drug-related deaths at raves

Rave culture and shows have been in the news recently, and again, for all the wrong reasons, with overdoes happening at an alarming rate. Following the death of two teenage girls at HARD Summer Music Festival in drug-related complications, Insomniac founder Pasquale Rotella, whose Electric Daisy Carnival (EDC) is one of the largest EDM events in the world, wrote a response for the culture to step back and see what the real problem is.

yI’ve been incredibly saddened by yet another loss of life that’s been attributed to our culture, and I have spent the last week reflecting on how the story has played out in the media. First and foremost, my heart goes out to the friends and family of those two young women.

We don’t condone or tolerate drug use, but the problem here isn’t raves or dance music, or even festivals in general. The health impact of drug abuse in our country extends far beyond what happens at our events.

I lost five friends to drug overdoses at a young age, none of which occurred at dance music festivals; most of them weren’t even fans of the genre. No one wrote about them.

Dance culture has survived for decades and has never been more popular. Banning these events at facilities where we are able to provide first-rate medical care and emergency services is not the answer. I hope that policymakers and the media do not turn their backs on a cultural movement that is thriving and brings so much happiness to a generation that, quite frankly, needs an environment where they can feel loved and accepted. Most just want healthy interaction with their peers. I know that if I didn’t have access to this community growing up, my life would have taken a much different turn.

I see nothing but great opportunity within large gatherings—the opportunity to promote health, happiness, individuality, and human connection.

If we’re trying to create a safe and secure environment for these passionate fans, sending them back into the unregulated underground isn’t a step in the right direction.

We all need to do our part in creating a national dialogue that educates our youth and encourages them to be accountable for their choices—especially when it comes to drugs.