Tuesday, January 22, 2019

Dig Out Songstress Jain's Latest Video - "Oh Man" (Live @MNAC Museum)

Dig out French songstress extraordinaire by unleashing the musique video for her single "Oh Man" off 2018's stellar record Souldier. In a sequence plan shot at Museum Nacional d'Art de Catalunya in Barcelona, Spain in collaboration with YouTube Music.

The upbeat and euphoric dance number will have you dipping and doing it in your boogie boots in no time. Google Arts & Culture in conjunction with production by La Blogothèque, dig out the funky-pop sassy visuals that is Jain's latest masterpiece "Oh Man".

Selena Gomez Readies New Record!

Get ready for some new Selena Gomez musique headed our way carebears!

"Selena Gomez has her eye on the Pop prize and has invited a few of her friends to help her win it with a new album.

The entertainer stepped away from music to regain her strength after facing health issues and returned to social media to thank her fans for sticking by her.

"It’s been awhile since you have heard from me, but I wanted to wish everyone a happy new year and to thank you for your love and support. Last year was definitely a year of self-reflection, challenges and growth. It’s always those challenges which show you who you are and what you are capable of overcoming. Trust me, it’s not easy, but I am proud of the person I am becoming and look forward to the year ahead. Love you all."

Breathe Heavy reports…

Producers Benny Blanco and Murda Beatz both commented on the post, leaving Selenators a breadcrumb trail to suspect they’re playing a role in the singer’s forthcoming album – something she’s been hard at work on for several years.

Blanco is responsible for crafting a handful of Selena’s hits, including “Kill Em With Kindness” and “Same Old Love.” This marks Murda Beatz’s first time publicly collaborating with Gomez. Murda is responsible for producing “MotorSport” and a bunch of Drake tracks.

Exciting news.

Gomez’ last album, ‘Revival’ opened with 85,000 units and peaked at #1 on the Billboard 200." - thatgrapejuice.net

Big Boi Makes Real Estate History Purchasing Studio Where OutKast First Commenced Their Iconic Careers!

Big Boi from Outkast makes real estate history...

"Big Boi is going back to The Dungeon. He's going back to his roots with the recent purchase of the Atlanta recording studio — legendarily dubbed The Dungeon — where he and Andre 3000 recorded their classic albums at the beginning of their OutKast career, WSB-TV reports.

The veteran rapper, born Antwan Patton, announced the news via Instagram. The studio is located in the Lakewood Heights neighborhood. The studio once served as the hub for production crew Organized Noize, creating the beats for some of OutKast’s biggest hits.

The Dungeon also served as a beacon of creativity for the group. In addition to OutKast recording their 1994 debut album Southernplayalisticadillacmuzik, they also recorded 1996’s ATLiens and 1998’s Aquemini at The Dungeon.

In buying The Dungeon, Big Boi is securing an important piece of hip-hop history, especially considering how popular Atlanta has become in the entertainment industry. However, this wasn't always the case. In an interview with Rolling Stone, he admits that Atlanta wasn't always respected in creative circles like it is now.

“When we first started, it wasn’t cool to be from Atlanta,” he said. “Now Atlanta is the place to be with music, film, and television. To have people excited about the city and the culture and the lifestyle, I’m very proud of that. We’re the pioneers of it, and we’re still at the forefront of what’s happening. There’s plenty of people over the years, hundreds if not thousands like, ‘[1994 LP] Southernplayalistic … made me move to Atlanta.’ There’s no greater place in the world to be but A-Town.”" - Vibe.com

How Top Artists Really Campaign For Grammys

In today's 61st Grammy news. Leading up to the 2019 live telecast on February 10th...

"If you live in Los Angeles, you probably know that Camila Cabello is nominated for two Grammys. Even if you didn’t notice her name on the slate of nominated artists when it came out, the info looms large above the Los Angeles skyline; Cabello has taken out a 40-foot highway-side billboard with her image and the words “For Your Grammy Consideration” – a move some industry executives say is one of the boldest campaigns for votes they’ve ever seen.

A billboard in a metro area like L.A. can cost $15,000 a month – but Cabello is not the only artist going to extreme lengths to get in front of Grammy voters. In the lead-up to the show this year, label sources say they’ve seen more furious lobbying for nominations and votes than ever before, whether that’s artists staging publicity stunts, personally dogging major executives, releasing songs at strategic points in the year (Sam Smith and Brandi Carlile dropped a surprise single together in the last week of nomination voting) or hiring third parties to hunt down emails for the awards’ elusive body of voters. While some artists are going a direct route, others are opting for more subtle campaigns, such as hosting Grammy Museum charity events or performing at high-profile industry gigs.

“It’s politics,” says one manager who’s been involved in the solicitations firsthand (Among packages he received was a Taylor Swift “VIP box,” which he suspects her team sent to thousands of industry insiders around the nomination period.) “Who’s a voter and who’s not a voter? Because the Recording Academy leaves it so opaque, there are these behind-the-scenes machinations.”

While aggressive promotion is old hat for the music business, the amount of Grammy-specific marketing has recently climbed to new heights. “The advertising is ratcheting up,” says Daniel Glass, president of Glassnote Records, which has propped up artists such as Childish Gambino, the Temper Trap and Mumford & Sons for Grammys in the past. “The amount of money being spent on ads in trade magazines, the emails with the dirty words of ‘For your Consideration’ — it used to be subtle and discreet years ago, but it seems like the gloves are off and it’s much more acceptable now to reach out. People are coming up to me and saying ‘I know you’re voting! Please vote for this!’ It’s very blatant now.”

Last year, Steve Knopper chronicled the intense artist campaigns by Harry Styles, Portugal. the Man and others – and how some executives like Monique Grimme, co-owner of the New Jersey indie label Bongo Boy Records, collect names of probable Grammy voters from networks and online forums. Grimme offers a service for indie artists to get access to that list, which has over 8,000 e-mail addresses, and blast their promotional materials during Grammy voting season. “It’s a way to let the voting community know there is a lot of talent out there that warrants their consideration,” she says. For indie artists, such services are vital to their careers.

Many Grammy contenders are also vying for the accolades by tag-teaming the song production process itself. “The amount of collaboration between writing, producing, artistry on songs — it’s like there are not enough lines for credits,” Glass says. “People are adding to the odds of making it. Sometimes there are 11 or 15 people on a song. People are thinking more collaboratively to improve their chances.”

Indeed, according to the awards’ parent group the Recording Academy, more than 21,000 submissions came in for 84 categories this year. To avoid being buried, some smaller artists pool their money and take out an ad together for increased visibility. For in-person promotion, “you also have the Grammy mixers, the social events organized by members themselves in cities with major chapters, where artists can find the voting community,” Grimme advises. Dance music veteran Lawrence Lui, who runs a marketing firm specializing in highlighting indie artists for Grammy consideration, says some trade publications become “literally all booked up” in ads placed by the deep-pocketed Big Three labels. As a result, indie artists turn more to targeted social advertising and friendly networking with well-respected hitmakers and fellow musicians. “Every little bit helps,” Lui says.

Why so much fuss in the first place? For one thing, it’s the sales lift: Some Grammy winners from last year saw their album sales swelling more than 100 percent the day after the show. In the frenetic data-obsessed age of digital music, such numbers are an opportunity simply too good to pass up.

However, as music becomes more accessible and abundant, the rigorously capped, peer-awarded Grammy also takes on a greater significance. “Radio isn’t what it used to be, and the Internet has become over-saturated, so getting a Grammy nomination or win is a more of a solid thing,” says independent artist Lili Hayden, a nominee in the new age category who says she had “no idea” of the amount of campaigning required to contend for Grammy nod before she took over her own promotion. “I know people who’ve spent $3,500 on certain influential promoters. People spend a fortune.”

So even though a big expensive marketing blitz could end up a dud, the risk is often still worth taking. “Musicians are really not sure what’s going to move the needle,” says Lui. “You’re told to maintain an online presence, get a publicist, play as many shows as possible. While most things you do to promote yourself are very incremental, getting a Grammy nomination or win is something that tangibly, majorly affects your career.”" - Rollingstone.com

Bruno Mars Tributo a Prince. Grammys2017 from BrunoM Hechos on Vimeo.

The Number Ones: The Partridge Family’s “I Think I Love You”

According to one of our musical sources:

"The Partridge Family – “I Think I Love You”

HIT #1: November 21, 1970

STAYED AT #1: 3 weeks

The Partridge Family were both a fake family band and, in a weird twist, a real family band. In the late ’60s, the TV executive Bernard Slade had the idea to make a TV show loosely based on the lives of the Cowsills, a band of six Rhode Island siblings who were making hits at the time. The first idea was to make the Cowsills the stars of the show, but the Cowsills couldn’t act. ABC somehow ended up casting Shirley Jones, a stage-musical veteran, as Partridge Family matriarch Shirley, and David Cassidy, her 19-year-old stepson, as her oldest son Keith. (The other Partridge siblings, including future LA Law star Susan Dey and future insane right-wing radio host Danny Bonaduce, were unrelated, but Jones and Cassidy were the only cast members who actually sang on Partridge Family records.)

The first season of The Partridge Family was apparently about this family out on tour. But the show ran for four years, and all the reruns I can remember seeing as a kid didn’t really have anything to do with what it’s like to be in a band with your mother or your siblings. Instead, it was just a standard-issue corny ’70s sitcom, with the added twist that every episode featured the members of this family sitting down in their garage or on some park bandshell to sing a song together.

The Partridge Family was a hit, so it ended up generating a whole lot of work for America’s pro songwriters and session musicians. The Partridge Family ended up making a lot of hits during that four-season run, but this wasn’t a Monkees situation where they became a musical entity unto themselves. (David Cassidy, in true Monkee fashion, felt uncomfortable with his teen-idol status, and he ended up posing naked on the cover of Rolling Stone and pursuing a fairly successful solo career. But he never fought for creative control the way the Monkees did.) And the Partridge Family’s biggest hit and only #1 was the first single that they ever released.

“I Think I Love You” came from Tony Romeo, a songwriter who’d written tracks for groups like the Everly Brothers and the Seekers. It’s an example of sharp, mechanistically precise early-’70s studio-pop, but it’s also, in its way, a weird song. There’s an oblique minor-key lilt to the melody, a quality that always makes me think of Russian folk music for some reason. The lead instruments are Cassidy’s chesty, hammy vocal and a sparkling harpsichord. The ba-ba-ba backing vocals make a eerie swirl, expressionless and near-robotic.

The song’s subject — having a crush but being too nervous to admit it — is a universal thing, but Romeo’s lyrics are so blunt-force obvious that they never evoke the actual feeling: “I’m sleeping, and right in the middle of a good dream / Like all at once, I wake up / From something that keeps knocking at my brain.” It doesn’t sound human. It sounds like aliens doing their best simulation of actual human emotion. And that makes it compelling.

Cassidy sang lead on the song, and Jones sang backup. The other cast members had nothing to do with the song. Instead, the members of the Wrecking Crew played on it, bringing their clean expertise, and session singers did most of the backing vocals. So here we have some of the greatest musicians in the industry lending their talents to this weird, clumsy crush-song so that America’s newest sitcom star and teen idol could burrow his way into national consciousness. Cassidy never quite escaped the shadow of “I Think I Love You,” no matter how hard he tried during his lifetime. But honestly, he could’ve done worse. It’s a pretty good song.

GRADE: 7/10

BONUS BEATS: Here’s underrated New York rap duo Nice & Smooth rapping over an “I Think I Love You” sample on their classic 1991 single “Hip Hop Junkies”:

BONUS BONUS BEATS: Here’s the “I Think I Love You” cover that the Florida ska-punk band Less Than Jake contributed to the 1997 movie Scream 2:

BONUS BONUS BONUS BEATS: Here’s audio of Paul Westerberg covering “I Think I Love You” at a 2004 show in his Minneapolis hometown:

Westerberg also covered “I Think I Love You” as part of his single-track 2008 album 49:00, but I can’t find that clip online." - Stereogum.com

Thom Browne Fall/Winter 2019

"Thom Browne unveiled his Fall/Winter 2019 collection during Paris Fashion Week." - Fuckingyoung.es

Celine Fall/Winter 2019

"Hedi Slimane showed his Fall/Winter 2019 collection for Celine, during Paris Fashion Week." - Fuckingyoung.es

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