Artist: Misirli Ahmet
Genre(s):
Other
Discography:
Oriental Dance and Percussion
Year: 1999
Tracks: 9
Bet Carries Obamas Victory Speech Without Interruption
Wednesday, 18 June 2008
Misirli Ahmet
Artist: Misirli Ahmet
Genre(s):
Other
Discography:
Oriental Dance and Percussion
Year: 1999
Tracks: 9
Bet Carries Obamas Victory Speech Without Interruption
Tuesday, 17 June 2008
Shania Twain, husband splitting up
Shania Twain and husband-producer Robert "Mutt" Lange are splitting up after 14 years of marriage. The 42-year-old Canadian country superstar and 59-year-old Lange married in 1993 and have a 6-year-old son named Eja. Her publicist provided no further details Thursday about the couple's breakup.
Lange and Twain, best known for her hits "Man! I Feel Like A Woman!" and "You're Still the One," recently opened a hiking trail on their property in New Zealand, fulfilling a pact designed to allay fears that wealthy foreigners were snapping up and sealing off the country's prime real estate.
Lange produced three of Twain's albums: 1995's "The Woman in Me," 1997's "Come on Over" and 2002's "Up!"
Lange and Twain, best known for her hits "Man! I Feel Like A Woman!" and "You're Still the One," recently opened a hiking trail on their property in New Zealand, fulfilling a pact designed to allay fears that wealthy foreigners were snapping up and sealing off the country's prime real estate.
Lange produced three of Twain's albums: 1995's "The Woman in Me," 1997's "Come on Over" and 2002's "Up!"
RoyaltyShare Appoints Catie Derryberry as Vice President Strategic Accounts
Leading Royalty Processing and Digital Content Management Service Provider
Taps Veteran Music Royalty Administrator
SAN DIEGO, June 17 -- RoyaltyShare, a premier provider of
digital royalty solutions to the entertainment industry, today announced
the appointment of Catie Derryberry to the position of Vice President,
Strategic Accounts. A twenty-year music industry veteran, Derryberry will
play an integral role in the company's support of large label and
distributor accounts including Welk Music Group, Razor & Tie, Beggars
Banquet (U.K.), Destra (Australia), Madacy (Canada), as well as the signing
and implementation of new clients. Derryberry will be based at the
company's San Diego headquarters and will report to Steve Grady, president
and COO.
Derryberry has extensive experience in royalty administration and
business processes at both major and independent record labels.
Derryberry's career has included working in administrative roles for MCA
Records, the predecessor of Universal Music Group, as well as for
BMG-distributed Private Music, as director of copyright and business
affairs, overseeing the licensing and royalties for the various sub-labels
under its charter. She later moved to BMG Latin in Miami, where she
established its royalty department.
More recently, she served as president of MusiCounts, a Los Angeles
based consulting firm providing specialized services to the music industry,
including the development and implementation of royalty administration
systems. While working at MusiCounts, her responsibilities included
managing the firm's relationships with key independent record labels,
production companies and distributors such as Six Degrees Records, Warner
Music Group, including its Rhino Records division, eMusic, and others.
"Catie Derryberry brings a wealth of experience to the RoyaltyShare
team," said Bob Kohn, Chairman and CEO, RoyaltyShare. "We look forward to
the great support and guidance she will provide our existing customers and
her help in growing our business through the addition of new strategic
accounts."
About RoyaltyShare
RoyaltyShare is the worldwide leader in Web-based royalty processing
and reporting solutions for the global entertainment industry. RoyaltyShare
provides a suite of on-demand services dedicated to simplifying the
increasingly complex and necessary task of managing sales and distribution
information, calculating royalties, and generating Web-accessible royalty
reports. RoyaltyShare's centralized revenue data processing solution
supports digital, physical, subscription, mobile and other sources of
revenue. Its state-of-the-art system and dedicated 24/7 royalty support
team enables music labels, distributors and publishers to accurately manage
royalty reporting obligations anytime, anywhere. For more information,
please visit http://www.royaltyshare.com.
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Taps Veteran Music Royalty Administrator
SAN DIEGO, June 17 -- RoyaltyShare, a premier provider of
digital royalty solutions to the entertainment industry, today announced
the appointment of Catie Derryberry to the position of Vice President,
Strategic Accounts. A twenty-year music industry veteran, Derryberry will
play an integral role in the company's support of large label and
distributor accounts including Welk Music Group, Razor & Tie, Beggars
Banquet (U.K.), Destra (Australia), Madacy (Canada), as well as the signing
and implementation of new clients. Derryberry will be based at the
company's San Diego headquarters and will report to Steve Grady, president
and COO.
Derryberry has extensive experience in royalty administration and
business processes at both major and independent record labels.
Derryberry's career has included working in administrative roles for MCA
Records, the predecessor of Universal Music Group, as well as for
BMG-distributed Private Music, as director of copyright and business
affairs, overseeing the licensing and royalties for the various sub-labels
under its charter. She later moved to BMG Latin in Miami, where she
established its royalty department.
More recently, she served as president of MusiCounts, a Los Angeles
based consulting firm providing specialized services to the music industry,
including the development and implementation of royalty administration
systems. While working at MusiCounts, her responsibilities included
managing the firm's relationships with key independent record labels,
production companies and distributors such as Six Degrees Records, Warner
Music Group, including its Rhino Records division, eMusic, and others.
"Catie Derryberry brings a wealth of experience to the RoyaltyShare
team," said Bob Kohn, Chairman and CEO, RoyaltyShare. "We look forward to
the great support and guidance she will provide our existing customers and
her help in growing our business through the addition of new strategic
accounts."
About RoyaltyShare
RoyaltyShare is the worldwide leader in Web-based royalty processing
and reporting solutions for the global entertainment industry. RoyaltyShare
provides a suite of on-demand services dedicated to simplifying the
increasingly complex and necessary task of managing sales and distribution
information, calculating royalties, and generating Web-accessible royalty
reports. RoyaltyShare's centralized revenue data processing solution
supports digital, physical, subscription, mobile and other sources of
revenue. Its state-of-the-art system and dedicated 24/7 royalty support
team enables music labels, distributors and publishers to accurately manage
royalty reporting obligations anytime, anywhere. For more information,
please visit http://www.royaltyshare.com.
See Also
McAvoy gives Jolie kissing control
Actor James McAvoy let Angelina Jolie take �control� when they filmed an on-screen kiss for new movie Wanted, imdb.com reports.
The Atonement star admits he was worried about locking lips with the gorgeous actress, but Jolie helped put him at ease by taking charge of the situation.
He says, �I was nervous but after five minutes I thought this is going to be all right, it�s cool. She was in very good shape.
�It could be anybody when you�re kissing someone on film, you have to make it look good. She�s pretty much in control of the situation.�
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Cuban To Put Sneak Previews On Dish
Magnolia Pictures, the indie film company owned by former Internet entrepreneur and
Dallas Mavericks owner Mark Cuban, plans to present a "sneak preview" of its forthcoming
movie Finding Amanda on the DISH satellite network's DISH On-Demand between June
13 and 26. The film is scheduled to be released theatrically one later later, on
June 27. It will cost subscribers $10.99 to see the movie in standard definition
and $11.99 for high definition. In a statement, Andy Karofsky, vice president of
programming for DISH, said that eventually, "our subscribers will see an even wider variety
of programming options, including movies that are available on the same day as DVDs
are released and others before they are released in theaters."
16/06/2008
See Also
Sofa Surfers
Artist: Sofa Surfers
Genre(s):
Alternative
Dance
Discography:
Sofa Surfers
Year: 2005
Tracks: 10
See The Light
Year: 2004
Tracks: 14
Constructions-Remixed and Dubbed
Year: 2000
Tracks: 1
Transit
Year:
Tracks: 16
Cargo
Year:
Tracks: 1
The trip-hop act Sofa Surfers was founded by a quartette of sound-obsessed Viennese instrumentalists: Wolfgang Schlögl, Markus Kienzl, Wolfgang Frisch, and Michael Holzgruber. The group's debut single, "Couch Rockers," earned a remix from confrere Austrian head Richard Dorfmeister, and their debut album, Transit, earned broad button through MCA. Payload and Constructions: Remixed and Dubbed followed trio old age later.
I wasn't drunk, stumbling supermodel says
Alanis Morissette continues channeling her anger
NEW YORK —
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Alanis Morissette is not the person Rob Thomas thought she was.
Matchbox Twenty and its lead singer once saw her as a Zenlike soul, Morissette told Newsweek for its issue hitting newsstands Monday.
"He kept saying that whenever I wasn't with him, his imagining was that I was levitating somewhere, meditating," the Canadian singer said.
But then, "we had the most debaucherous, entertaining, hysterical time together, so they were the first to say that their perception of me was a little off," she told the magazine. She did not elaborate on the debaucherous details.
Morissette is in the process of releasing her latest album "Flavors of Entanglement" and writing her first book, a compilation of essays, photographs and mood-boosting exercises.
She uses writing as an outlet for her anger, which she said is not directed toward ex-boyfriend Ryan Reynolds. The actor recently became engaged to actress Scarlett Johansson.
"I'm really happy for him," she said.
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Carlton Livingston
Artist: Carlton Livingston
Genre(s):
Reggae
Discography:
100 Weight Of Collie Weed
Year:
Tracks: 10
Like so many Jamaican artists, isaac M. Singer Carlton Livingston was first-class honours degree open to the joys of music in church service. Born in 1962 in St. Mary, Jamaica, Livingston sang in choirs and in an informal harmony trio (which later morphed into Knowledge) before entering the music business in heartfelt when he recorded "The Tale of Two Cities" in 1978 at Channel One. He eventually over up working with several of the top Jamaican producers, including Coxsone Dodd, Winston Riley, Sly & Robbie, Clive Jarrett, and King Jammy, among others. His signature strain, "100 Weight of Collie Weed," was a immense island strike in 1984, and was the feature song on the subsequent album Fret Dem a Fret. Livingston recorded meagrely thereafter, finally releasing Emotions in 1994. Four age later Livingston had an international hit when he recut his earlier "Rumours" lead, this time with Shabba Ranks on plank and production by Bobby Digital. Currently, Livingston makes his home in the U.S. and continues to record book and perform at his have pace.
Dean Rodell
Nigel Kennedy Quintet, A Very Nice Album
Like a performance by the violinist's darling Aston Villa, A Very Nice Album is definitely a game of two halves. Since coming out as an avowed fan of the late, great Stephan Grapelli, Kennedy's been edging towards the jazz arena. Having covered the standards on his Blue Note releases and even mixing in some Polish folk with Kroke he's now decided to give us an album of originals - split into two discs: Melody and Invention - all backed up with more of his Polish pals. To say results are variable would be an understatement.
The initial problems are twofold. Firstly the strange middle ground that blights a lot of the first half of the album; tending towards a poppy form of jazz fusion. This makes it seem as if it sprang from a mid-80s band. There's a vague worry that dilettantism plays a heavy hand here. Secondly, Kennedy's production is, at times, woefully cluttered; again, mainly on the first disc. If this were a rock album (which at times it seems to want to be) it would be more acceptable, but when dabbling in the 'J' word clarity is all. And this isn't to mention the somewhat toe-curling vocal snippets that crop up on opener Donovan, or worse, the private joke tediousness of Boo Boooz Bloooze. It's moments such as this, as well as the first disc closer, Invaders, that make AVNA so difficult to love. The latter reflects Kennedy's very public stance on the Israel/Palestine conflict, yet he shoots himself in the foot with something that comes horribly close to bad prog rock.
Whereas his previous work with klezmer troupe, Kroke, was never showy or threatened to overshadow the band's work, here he and his electric violin run rampant. And while we know him to be a classically accomplished player, he just doesn't seem to have the necessary grammar to address more contemporary technology. A delay pedal does not a radical musician make.
It's not all bad news however: If you're a fan of our Nige you'll find plenty to like (or admire) here. The genuine sense of inspiration and togetherness in evidence on disc two genuinely evokes interest. It's on this disc that the band work far more coherently as a unit. As such, the production is clearer, the rhythms more sprightly (especially on the irresistibly latin-inflected Where All Paths Meet or Out) and the cheesiness in scant evidence, even on the emotive Father And Son that features at least one borrowed tune. On the latter Tomasz Grzegorski's tenor may not be revolutionary, but it's absolutely apt.
In the end, as with an almost endless list of double albums, you can't help feeling that this may have the contents of one good single album buried within it. It's a shame - Kennedy's an undisputed master of his instrument, yet a large amount of AVNA sounds strangely out of time and out of touch, satisfying neither a fusionist's demand for rigour and flash, or a classicist's need for composure. While it was quite obviously a joy for the musicians involved, one feels that it won't be pushing Kennedy into the jazz mainstream just yet.
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