Electronic Artist – Schlammpeitziger http://schlammpeitziger.com/ Mon, 21 Nov 2022 18:12:34 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://schlammpeitziger.com/wp-content/uploads/2021/05/default.png Electronic Artist – Schlammpeitziger http://schlammpeitziger.com/ 32 32 AMA 2022: Chris Brown gets booed, Kelly Rowland defends him https://schlammpeitziger.com/ama-2022-chris-brown-gets-booed-kelly-rowland-defends-him/ Mon, 21 Nov 2022 18:12:34 +0000 https://schlammpeitziger.com/ama-2022-chris-brown-gets-booed-kelly-rowland-defends-him/ Kelly Rowland supported Chris Brown at the American Music Awards on Sunday after his win drew a mix of applause and boos from the crowd. After presenting the award for Male R&B Artist at the Microsoft Theater in Los Angeles, the “Motivation” hitmaker accepted the award on Brown’s behalf. Brown — who released his latest […]]]>

Kelly Rowland supported Chris Brown at the American Music Awards on Sunday after his win drew a mix of applause and boos from the crowd.

After presenting the award for Male R&B Artist at the Microsoft Theater in Los Angeles, the “Motivation” hitmaker accepted the award on Brown’s behalf. Brown — who released his latest album, “Breezy,” in June — was not present after the AMAs pulled him from the lineup at the last minute.

Brown was nominated for Male R&B Artist alongside Brent Faiyaz, Giveon, Lucky Daye and The Weeknd.

“Excuse me – relax,” Rowland told the booed part of the audience after announcing Brown’s victory.

“I want to say thank you so much to Chris for making great R&B music. And I want to say thank you to him for being an amazing performer. I’m going to take this award, I’m bringing it to you. I love you. Congratulations – and congratulations to all the nominees in this category.”

On Friday, Brown claimed via Instagram that her AMA performance — a tribute to Michael Jackson — was canceled “for unknown reasons.” The interpreter of “Under the Influence” shared footage from one of his AMA rehearsals, in which he dances to various Jackson hits, including “Beat It,” “Wanna Be Startin’ Somethin'” and “Thriller.”

“ARE YOU SERIOUS ?” he captioned the video on Instagram.

AMA representatives did not immediately respond to The Times’ request for comment on Monday.

In 2009, Brown pleaded guilty to the felony assault of his then-girlfriend, Rihanna. The recording artist, who served his probation sentence for the case in 2015, was accused and arrested on the charge of assaulted several times since.

Elsewhere in the AMAs broadcast, Taylor Swift broke her own record for most wins of all time; Pink and Wayne Brady paid tribute to the late Olivia Newton-John and Takeoff, respectively; and several performers mourned the victims of a Saturday shooting at a gay nightclub in Colorado Springs.

Below is a full list of this year’s AMA winners.

Artist of the Year: Taylor Swift
New Artist of the Year: Dove Cameron
Contribution of the year: “Cold Heart – PNAU Remix”, by Elton John and Dua Lipa
Touring artist: cold game
Musical clip: “Too good: the short film” by Taylor Swift
Male pop artist: Harry Styles
Female pop artist: Taylor Swift
Duo or Pop Group: BTS
pop-album: “Red (Taylor’s Version)” by Taylor Swift
pop song: “As It Was” by Harry Styles
Male country artist: Morgan Wallen
Female Country Artist: Taylor Swift
Country Duo or Group: Dan + Shay
Country Album: “Red (Taylor’s Version)” by Taylor Swift
Country song: “Wasted on You” by Morgan Wallen
Male hip-hop artist: Kendrick Lamar
Female hip-hop artist: Nicki Minaj
Hip-Hop Album: “Mr. Morale and Big Steps” by Kendrick Lamar
hip hop song: “Wait For U” by Future featuring Drake and Tems
Male R&B artist: Chris Brown
Female R&B Artist: Beyonce
R&B Albums: Beyonce’s “Rebirth”
R&B song: “Essence” by Wizkid featuring Tems
Male Latin Artist: bad bunny
Female Latin Artist: Anita
Duo or Latin group: Yahritza Y Su Esencia
Latin Album: Bad Bunny’s “Un Verano Sin Ti”
Latin song: Sebastian Yatra “Dos Oruguitas” by Sebastian Yatra
rock artist: Machine Gun Kelly
rock song: “Beggin'” by Måneskin
rock album: “Impera” by Ghost
Inspirational artist: For king and country
Gospel Artist: Tamela Mann
Dance/electronic artist: Marshmallow
Soundtrack: “Elvis”
Afrobeats Artist: Assistant
K-Pop artist: BTS

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Ken Mansfield, US Apple Records executive of The Beatles, dies at 85 https://schlammpeitziger.com/ken-mansfield-us-apple-records-executive-of-the-beatles-dies-at-85/ Sat, 19 Nov 2022 14:16:59 +0000 https://schlammpeitziger.com/ken-mansfield-us-apple-records-executive-of-the-beatles-dies-at-85/ Ken Mansfield, who was the American director of Beatles‘ Apple Records, died at the age of 85 on November 17, a former colleague has reported. Apple employee, Chris O’Dell describe Mansfield as “dear darling friend”, adding, “Now we’re just two of the rooftop audience!” It was a reference to the last concert of the Beatleswhich […]]]>

Ken Mansfield, who was the American director of Beatles‘ Apple Records, died at the age of 85 on November 17, a former colleague has reported.

Apple employee, Chris O’Dell describe Mansfield as “dear darling friend”, adding, “Now we’re just two of the rooftop audience!” It was a reference to the last concert of the Beatleswhich took place on the roof of their Apple headquarters in London on January 30, 1969.

Born in Idaho, he earned a degree in marketing at San Diego State University, which led to a job at Capitol Records in 1965. Starting out as one of the label’s youngest executives , he quickly rose through the ranks and befriended the Beatles, with the small age gap making it easy to connect. “We just got along,” he said. later. “I was a young man in his twenties with a tan, a Cadillac convertible, a house in the Hollywood Hills, everything they had read growing up in Liverpool. In a way, they were just as fascinated by me as I was by them.”

He joined Apple when it was formed, becoming head of the US label in 1968, and was personally responsible for releasing “Hey Jude” as a single. Its length meant most executives thought it couldn’t work on the radio, but Mansfield reminded: “I said I would take it to America … meet with the program directors of the radio stations and get their opinion if we should break the rules if it’s strong enough.” He added that the executives “fell to the ground when they heard it. I called Paul and said, ‘We have to deal with this.'”

Watch the Beatles on the roof in 1969

Looking back, he remembers being impressed by the professionalism of the group. “When we started Apple Records they were the most famous rock ‘n’ roll band of all time and you would expect them to be crazy,” he said. “But we had a meeting at one o’clock and they were all showing up on time. They were all prepared with notebooks in their hands. They were there to have meetings. They really liked the fact that they were going to be businessmen. and were going to start a great corporation. They were very shrewd. … They were probably easier to work with than any other group I’ve ever worked with.

He insisted he hadn’t seen many examples of rock ‘n’ roll excess. “I’m not saying it didn’t happen,” he said. “I even teased them and said, ‘You want me to think you’re such good businessmen that you’ve hidden a lot of things from me. And ringo just looked at me and laughed, and said, ‘When we were the Beatles, we didn’t really have much to do, so we would sit and think about how we were going to impress you, Ken! ‘ They were so into their music and so much into building their business. … It wasn’t all sex and drugs and rock ‘n’ roll – more rock ‘n’ roll than anything else.”

During the 1960s, Mansfield also worked with the beach boys, Roy Orbison, Glenn Campbell and many more. His talents extended to performing folk music and producing records. Later in life he became a public speaker and author, writing a series of books about his experiences, including the 2000s. The Beatles, the Bible and Bodega Bay – then the only authorized Beatles book except for Anthology.

In Memoriam: Death of 2022

A look at those we have lost.

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Zara McFarlane’s artist-in-residence role is a double delight for jazz fans https://schlammpeitziger.com/zara-mcfarlanes-artist-in-residence-role-is-a-double-delight-for-jazz-fans/ Thu, 17 Nov 2022 07:00:00 +0000 https://schlammpeitziger.com/zara-mcfarlanes-artist-in-residence-role-is-a-double-delight-for-jazz-fans/ Zara McFarlane, one of Britain’s greatest jazz singers, is the artist-in-residence at this year’s Cambridge Jazz Festival, which kicked off last Thursday (10 November) and runs until Sunday 27 November. Zara McFarlane. Photo: Ben Ridolfi As part of her residency, festival audiences will have the chance to see Zara – former winner of the Jazz […]]]>

Zara McFarlane, one of Britain’s greatest jazz singers, is the artist-in-residence at this year’s Cambridge Jazz Festival, which kicked off last Thursday (10 November) and runs until Sunday 27 November.

Zara McFarlane. Photo: Ben Ridolfi

As part of her residency, festival audiences will have the chance to see Zara – former winner of the Jazz FM Award for Female Vocalist of the Year – perform live in two very different concerts.

“Yes, that’s what I’m told!” laughs the affable singer-songwriter, when the subject of his role as artist-in-residence comes up. “It was a good thing that I was asked to do.

“It means I’m going to be a bit more in the spotlight during the festival. I will give two concerts – one with the Cambridge University Jazz Orchestra and then a duet, with voice and piano, to close the festival. It’s good to have two very different ways of showing what I am, musically.

Zara has always incorporated other styles of music into its sound and, like Courtney Pine, another performer at this year’s Cambridge Jazz Festival, started listening to reggae before branching out into jazz.

“My parents are Jamaican, so growing up I heard a lot of reggae music at home,” she recalls. “Not really jazz in particular; I think I probably came to jazz through television in some way, seeing it in movies, things like that.

Zara McFarlane.  Photo: Casey Moore
Zara McFarlane. Photo: Casey Moore

Zara was first exposed to jazz through Nina Simone — “even though she wasn’t just doing jazz,” she notes. “I knew Billie Holiday and Ella Fitzgerald on some levels, and when I started playing that at home, my mom already knew all the songs. But she wasn’t playing them for me to hear – it was more reggae that I heard.

When did Zara, clearly very talented, decide to pursue her career in music? “When I was about 11 I started writing songs,” she recalls, “or maybe before that…and then when I was about 16 I heard about a place called the BRIT School – very late in fact.

“At the time I heard about it, I had about a week or two to try to apply to get in. I didn’t officially get in at first, but then I got a reserve place, which meant that if someone could I’m not going, or they decided not to go, then I might get a good full seat.

Zara eventually received an unconditional offer for a place at the South London-based performing arts school (Amy Winehouse was also there around the same time as her, albeit briefly).

“It was really a good thing to do, I studied musical theater there,” Zara explains, “and really that’s where I probably got into jazz, but not directly because a lot of songs jazz come from musicals, when it comes to singing.

“So later when I studied for my degree and there was a jazz module, it was like, ‘I know this song, I know this song, I know this song’ but I didn’t know them not in a jazz context, I knew them as the original pieces they were musicals.

Zara, who also works as a vocal coach, has released four albums to date: Until tomorrow (2011), If you knew her (2014), Arise (2017), and Songs of an unknown language (2020). She won a Mobo Award for Best Jazz Group in 2014 and an Urban Music Award a year later, also for Best Jazz Group. She holds an MA in Jazz Studies from the Guildhall School of Music and Drama.

“Right now I’m working on a new project around Sarah Vaughan,” the hardworking musician reveals, “she’s one of my all-time favorite jazz singers. On Covid, I released an album, which was actually much more electronic.

“It wasn’t really a jazz album, but I saw it as a continuation of my third album, which explored reggae and jazz and other historical elements based on being a black Briton, Jamaican history, things like that.”

Zara McFarlane and Sam Donnison live on stage.  Photo: Casey Moore
Zara McFarlane and Sam Donnison live on stage. Photo: Casey Moore

Zara will perform at West Road Concert Hall with the Cambridge University Jazz Orchestra (CUJO) on Sunday November 20 (tickets cost £6-15 plus booking fees), and as a duo in a more intimate setting at Frankopan Hall. , Jesus College, on Saturday, November 26.

[Read more: Courtney Pine: ‘Jazz is a music of humanity – it’s as deep as we can go’, National Youth Jazz Orchestra to celebrate Amy Winehouse at the Cambridge Junction]

Tickets are priced at £15 (discounts of £12, £10 for under 25s) plus booking fee. For more information, visit cambridgejazzfestival.info/home. To learn more about the artist, visit zaramcfarlane.com.


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BMG buys Harry Nilsson publishing catalog https://schlammpeitziger.com/bmg-buys-harry-nilsson-publishing-catalog/ Mon, 14 Nov 2022 19:50:19 +0000 https://schlammpeitziger.com/bmg-buys-harry-nilsson-publishing-catalog/ GMB acquired the publishing catalog of Grammy-winning singer-songwriter Harry Nilsson, as well as the artist’s and writer’s revenue streams of his hit songs. Some of these songs include hits Without You, Everybody’s Talkin’, One and Coconut, as well as Jump Into The Fire, Gotta Get Up and Me and My Arrow, among many others. Financial […]]]>

GMB acquired the publishing catalog of Grammy-winning singer-songwriter Harry Nilsson, as well as the artist’s and writer’s revenue streams of his hit songs.

Some of these songs include hits Without You, Everybody’s Talkin’, One and Coconut, as well as Jump Into The Fire, Gotta Get Up and Me and My Arrow, among many others.

Financial terms of the deal were not disclosed.

Nilsson’s songs also include tracks co-written with John Lennon, Mucho Mungo/Mt. Elga and old dirt road; Danny Korchmar, (Thursday) Here’s why I didn’t go to work today, moonshine bandit; Dr John, Daylight caught me, and Ringo Starr, How long can the disco run.

Among the 18 studio albums released during his two-decade long recording career are his debut Spotlight on Nilsson, Harry, Nilsson Sings Newman, Nilsson Schmilssonstandards album A little touch of Schmilsson in the night, pussy cats – produced by John Lennon, What BMG Says is Nilsson’s personal favorite Knnillssonnand his latest studio album FlashHarry.

Also featured are original soundtracks from the films Skidoo, The Point!, Son of Dracula and Popeye; in addition to the collection of his latest studio recordings titled lost and found published posthumously.

BMG says it will also begin collaborating with the Nilsson family “to explore global creative opportunities for their creative assets” such as the Point! history, as well as name, likeness and likeness (NIL), including film, television, theater productions, books and other fields of activity.

Nilsson’s career began in the 1960s in Los Angeles, where he wrote hits for The Monkees and Three Dog Night.

In 1971 he published the seminal Nilsson Schmilsson, who was nominated for four Grammys. His cover topped the charts of Without you is described by BMG as “one of the most vital moments in 1970s music”.

His 1971 album and film Point is further described by BMG as “a triumph of the imagination”, while his Great American Songbook renditions of 1973 songs A little touch of Schmilsson in the night “innovated for musicians of the time”, according to BMG.

BMG notes that John Lennon and Paul McCartney have called Nilsson their “favorite American band”, and artists from Carly Rae Jepsen to Harry Styles have cited him as inspiration.

Nilsson’s team was led by John Rudolph of 1.618 Industries, Inc. (formerly Music Analytics, a leading music IP consultant) with guidance from Jason Karlov and Amanda Taber of Barnes & Thornburg.

“We are delighted to have found a partner who shares our love and respect for Harry’s legacy.”

The Nilsson family

The Nilsson family said: “We are delighted to have found a partner who shares our love and respect for Harry’s legacy.

“We look forward to a long relationship with BMG, working together to celebrate this true pop music genius.”

“We are honored that the Nilsson family have chosen BMG as guardians of their musical legacy and are proud to represent the cherished works of Harry Nilsson.”

Thomas Scherer, BMG

Thomas Scherer, BMG President, Repertoire and Marketing, Los Angeles and New York, said: “For generations, the timeless music of Harry Nilsson has captivated millions around the world.

“A brilliant songwriter with an exceptionally beautiful and unique voice, we will ensure his spirit thrives for generations to come.

“We are honored that the Nilsson family have chosen BMG as guardians of their musical legacy and are proud to represent the cherished works of Harry Nilsson.”


Other blocked offers Bertelsmann-owned by BMG in 2022 include the entire music publishing back-catalogue of the French electronic music pioneer Jean Michel Jarreand “main musical interests” of the legendary Scottish rock band Simple minds.

BMG’s latest deals follow other rights acquisitions in 2021 from artists including Mick Fleetwood, Tina Turner, High ZZand Motley Crue.The music industry around the world

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As a violethead, Ellen Kimberly finds freedom in the electronic music space https://schlammpeitziger.com/as-a-violethead-ellen-kimberly-finds-freedom-in-the-electronic-music-space/ Fri, 11 Nov 2022 19:00:23 +0000 https://schlammpeitziger.com/as-a-violethead-ellen-kimberly-finds-freedom-in-the-electronic-music-space/ Chamber pop artist violethead released “XYXYX”, a mix of synthpop and ambient electronic music in mid-October. Ellen Kimberly, who started composing under the name in 2019, shed light on her solo project, her adventure in electronic music and what she wants to do next. The three-song project blends hyperpop, chamber pop and ambient sounds with […]]]>

Chamber pop artist violethead released “XYXYX”, a mix of synthpop and ambient electronic music in mid-October. Ellen Kimberly, who started composing under the name in 2019, shed light on her solo project, her adventure in electronic music and what she wants to do next.

The three-song project blends hyperpop, chamber pop and ambient sounds with murky, shimmering sounds paired with self-tuning and sometimes glitchy vocals. XYXYX delves into Kimberly’s inner thoughts and produces a different version of herself, switching between anxiety and self-confidence. The mixture of glitter and darkness aligns the project with the characteristics of the burgeoning hyperpop genre.

Kimberly said she listened to a lot of post-rock in 2021, but found new influences in the electronic space after being fatigued by a deluge of guitar music. She said making music inspired by house, techno and dance music influences has been a liberating experience.

“I’ve been listening to a lot of guitar music in the last year, usually with more rock instrumentation, but moving closer to a post-rock sensibility of using guitars as an instrument,” Kimberly said. “I got to a point at the end of last year where, ‘I’m a little tired of this.’ So I defined my 2022 as a musical year without guitar, but without necessarily avoiding it.

“With that came an incredibly deep exploration of club music, house, techno, dance, hyperpop, internet pop,” she added. She said she wears her influences on her sleeve in her music and said, “It’s fruitful because it comes from me.”

ultra electronic

Kimberly’s previous project, ‘ultra’, was entirely instrumental, exploring different textures in electronics. “XYXYX” is the first time we’ve heard of her character Violet, who is more confident than the artist and pronounced in other ways. Violet has breathless drops, an autotune voice, and sometimes trouble in and out of reality. “She has the perfect tone,” she added.




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“In the end, Violet is more slutty, more confident, more emo and confident. It’s fun to put that on a bit,” she added.

By creating her music through a digital program, Kimberly also has the freedom to change the tone and pitch of her voice at will, like all the other sounds on the three-song recording. “My voice and my words are an instrument just as much as anything else, and it should be as processed as synthetic to match my instrumentals.”

It is not yet known if Violet will make an appearance in front of a live audience. Kimberly said she’s thought about it, but says she feels more comfortable backstage and will need to fill out her catalog before playing a full set. Before embarking on Violethead, she played numerous gigs as the bassist for the indie pop band Dogbad.

After seeing a show in Chicago, Kimberly said she wanted to collaborate with similar artists and let her own music grow organically. She also remixes a track for pop artists Skymall and Cyrus Chrome, who released their six-track EP “Just You Wait” last month.

Listen to violethead’s latest project “XYXYX” on her Band Camp page.

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Chet Doxas and Micah Frank light a fire for Hildegard von Bingen https://schlammpeitziger.com/chet-doxas-and-micah-frank-light-a-fire-for-hildegard-von-bingen/ Wed, 09 Nov 2022 11:00:00 +0000 https://schlammpeitziger.com/chet-doxas-and-micah-frank-light-a-fire-for-hildegard-von-bingen/ Hildegard of Bingen – the composer, writer, and visionary mystic active in Germany during the High Middle Ages – would seem an unusual focal point for a pair of jazz-trained, Brooklyn-based electronic artists in 2022. But that is precisely the case for Micah Frank and Chet Doxas, whose new album is due out November 18 […]]]>

Hildegard of Bingen – the composer, writer, and visionary mystic active in Germany during the High Middle Ages – would seem an unusual focal point for a pair of jazz-trained, Brooklyn-based electronic artists in 2022. But that is precisely the case for Micah Frank and Chet Doxas, whose new album is due out November 18 on Puremagnetik.

The first single from the album, which is titled The music of Hildegard Von Bingen, first part, is a version of “Ave Maria” featuring harpist Mary Lattimore. A new single, premiering here at WRTI, finds guitarist David Torn joining Doxas (on clarinet) and Frank (on electronics) for their rendition of “O Ignee Spiritus.”

Frank and Doxas forged their creative partnership in 2018 – eventually releasing an ambient album, All roads, which was enthusiastically received. The idea to invoke Hildegard von Bingen came from Doxas, whose familiarity with his works dates back to his time as a student at the McGill Conservatory in Montreal.

“My counterpoint teacher talked about his holistic approach to music writing,” Doxas said in a press release. “The natural world played a big role in her songwriting voice. I drew inspiration from her, allowing outside influences in my life to blend into my musical ideas. When I improvise with Micah, it often includes drones in its sound, while I play single-note melodies or improvisations. This pairing is similar to early music, with a melody on the cantus firmus.

A direct address to the Holy Spirit, “O Ignee Spiritus” finds von Bingen clearly assessing the stark contrast between good and evil. According an article on the anthem of the International Society for the Studies of Hildegard von Bingen, her language combines devotional fervor and metaphorical detail: “By you the human spirit is kindled / the tabernacle of his soul / contains his strength.” Here is a version by set of early music Sequentia.

Frank and Doxas, working with Torn, pursue an abstract version of the anthem, working with tape loops and pedal distortion. The result is a soundscape that evokes aspects of the downtown vintage scene – the territory of Bill Laswell and John Zorn – while maintaining a contemporary underpinning. In addition to Torn and Lattimore, the album includes guest appearances from bassist Michael Formanek and electronic artist Kodomo.

“We realized that a lot of our work sounded like early medieval or Renaissance music,” says Frank. “We sought out a composer to help limit our songwriting and production process to these elements of early music. Von Bingen’s compositions were perfect for our production and instrumental style.”

Frank and Doxas are on tour with other Puremagnetik artists next month.

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It’s ringing ’10:35′ for music icons Tiesto and Tate McRae at Atlantis The Royal https://schlammpeitziger.com/its-ringing-1035-for-music-icons-tiesto-and-tate-mcrae-at-atlantis-the-royal/ Sun, 06 Nov 2022 08:49:07 +0000 https://schlammpeitziger.com/its-ringing-1035-for-music-icons-tiesto-and-tate-mcrae-at-atlantis-the-royal/ Tate McRae backstage at Dubai’s latest ultra-luxury icon, Atlantis The Royal hotel, filming the music video for new song ’10:35′. Mohammad Yusuf, Feature Writer Grammy-winning international icon and RIAA platinum-certified Tiesto has teamed up with multi-platinum singer/songwriter Tate McRae and Dubai’s new ultra-luxury resort, Atlantis The Royal, to create the spectacular new single “10:35 “. […]]]>

Tate McRae backstage at Dubai’s latest ultra-luxury icon, Atlantis The Royal hotel, filming the music video for new song ’10:35′.

Mohammad Yusuf, Feature Writer

Grammy-winning international icon and RIAA platinum-certified Tiesto has teamed up with multi-platinum singer/songwriter Tate McRae and Dubai’s new ultra-luxury resort, Atlantis The Royal, to create the spectacular new single “10:35 “. The track is joined by a concept music video and which will premiere on MTV Live, MTVU, MTV Biggest Pop and Paramount Times Square Billboards. The visual is highlighted by a performance by Tiesto and McRae throughout the Atlantis The Royal resort, with the Dubai skyline as a shimmering backdrop.

“10:35” is inspired by and encapsulates the essence and energy of Atlantis The Royal, Dubai’s new skyline icon and perhaps the world’s most luxurious resort. When first introduced to the architectural plans for the retreat, Tiesto focused on the duality of the daytime experience of luxury versus the spirit of possibility and excitement of night.

The juxtaposition fueled the idea of ​​the time when day turns to night and that experience changes – hence “10:35”. McRae, who spent time growing up in the Middle East, proved a perfect match; his voice aims to provide the perfect complement to the Atlantis The Royal brand. “I am very pleased to partner with this new iconic property,” Tiesto said. “Tate and I wanted to create a song that captures the energy of an experience at Atlantis The Royal, and I’m proud to say that the feeling of 10:35 and this property are both contagious! So excited for the world to hear it finally.

Jiesto with Atlantis The Royal by his side.

“I am pleased to announce that I am partnering with the Atlantis The Royal property in Dubai with Tiesto,” said McRae. “It’s always exciting to branch out and work with different brands and artists. The music video is unlike anything I’ve seen before, and the hotel is just unreal. “We are beyond thrilled that Tiesto, a music icon, and Tate McRae – one of today’s hottest stars, have joined forces to create this amazing track to celebrate Atlantis The Royal,” said said Tim Kelly, Managing Director of Atlantis Dubai.

“10:35 completely captures the vibe and energy of the resort and expresses the unparalleled day and night experience we have to offer. Shooting the music video at the resort is a way for us to tease our guests and demonstrate the unparalleled luxury promised by Atlantis The Royal ahead of the Grand Reveal in January.

“The entire team at Atlantis The Royal has been a pleasure working with her throughout this campaign and Atlantic Records couldn’t be more grateful for their partnership,” said Jonathan Feldman, Senior Vice President of Brand Partnerships. and sports marketing, Atlantic Records.

“Tiesto and Tate McRae have created such an amazing song that fits perfectly with the property. From start to finish, the stars aligned on it and we’re thrilled with the launch of ’10:35′. The DJ and producer Tiesto is the only artist to ever hold the titles of “The Greatest DJ of All Time” thanks to Mixmag, and “DJ No. 1” according to Rolling Stone.

From his underground dance floor bangers to his high-profile Las Vegas residency and worldwide crossover success, he can claim to have created the blueprint that defines what it means to be a superstar in today’s dance music world. today. With over 36 million albums sold, over 10 billion cumulative streams and a social platform with an audience of over 30 million fans worldwide, he continues to revolutionize the dance music landscape.

Tiesto’s debut single upon signing to Atlantic Records, 2020’s “The Business,” has topped airplay and charts worldwide since its 2020 release, reaching No. 1 on US Dance Radio while garnering over 1.6 billion streams worldwide to date. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English-language song and first Latin artist collaboration for Tiesto.

The historic track currently has over 867 million streams, over 1.2 million TikTok creations and video views exceeding 290 million. The third single from Tiesto’s album on Atlantic Records, “The Motto” featuring Ava Max, proved another blockbuster, reaching the Top 5 on Billboard’s “Dance/Electronic Songs” chart while earning over $929 million. streams worldwide to date.

Calgary, Canada, native singer/songwriter/dancer McRae has become the artist to watch with over 4.9 billion career streams, over 765 million video views, a #1 Top 40 hit and several No. 1 dance hits. She was featured on the Forbes 30 Under 30 list for 2021 as the youngest musician on the list as well as Apple’s Up Next Artist list for 2021, Amazon and Pandora’s Artist to Watch list for 2021 and One’s to Watch list for People Magazine in 2021.

Her RIAA 3x Platinum certified No. 1 single “You Broke Me First” has amassed over 1.6 billion streams worldwide since its 2020 release. She has collaborated with various artists including Regard and Troye Sivan on their #1 dance hit ‘You’, featuring featuring Khalid on their track ‘working’, blackbear’s ‘u love u’ and Jeremy Zucker on his viral single ‘that way’.

Earlier this year, the budding star released her highly anticipated debut album, “I Used to Think I Could Fly,” which landed at No. 1 on Spotify’s Global Top Albums Debut Chart, ranking in the top 10 in several country upon release and has garnered over 978 million streams to date.

McRae was named this year’s brand ambassador for Maybelline and Essentia. Atlantis The Royal, designed by internationally renowned architects Kohn Pedersen Fox, is located on the crescent of The Palm. It rises 43 stories and offers panoramic views of the Arabian Sea and Palm Island.

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Guitar Heroes Lead Metro Area Music Weekend – Macomb Daily https://schlammpeitziger.com/guitar-heroes-lead-metro-area-music-weekend-macomb-daily/ Thu, 03 Nov 2022 11:31:05 +0000 https://schlammpeitziger.com/guitar-heroes-lead-metro-area-music-weekend-macomb-daily/ If you’re a hero guitar fan, it’s a good weekend to be in the metro area, with these four string benders mixing blues and rock at local venues… • British expat Joanne Shaw Taylor, who has spent more than a decade living in the Detroit metro area, celebrates her new album “Nobody’s Fool” on Friday, […]]]>

If you’re a hero guitar fan, it’s a good weekend to be in the metro area, with these four string benders mixing blues and rock at local venues…

• British expat Joanne Shaw Taylor, who has spent more than a decade living in the Detroit metro area, celebrates her new album “Nobody’s Fool” on Friday, November 4 at the Royal Oak Music Theatre, 318 W. Fourth St. Doors at 7 pm 248-399-2980 or royaloakmusictheatre.com. For an interview, visit theoaklandpress.com.

• Canadian Anthony Gomes brings his ‘High Voltage Blues’ to town on Saturday 5 November at the Token Lounge, 28949 Joy Road, Westland. Doors open at 7 p.m. Sunny Bleau & the Moons. 734-513-5030 or tokenlounge.com.

Canadian guitarist Anthony Gomes will perform at Token Lounge on Saturday November 5th. (Photo by David Phobst)

• Motor City rock and blues veteran Jim McCarty (Detroit Wheels, Detroit, Cactus, the Rockets) and his band Mystery Train play Saturday, November 5 at Cadieux Cafe, 4300 Cadieux Road, Detroit. 313-882-8560 or cadieuxcafe.com.

• Chicago native JD Simo will play Sunday November 6th at Token Lounge, Westland. Patrick Sweany opens. Doors at 6:30 p.m. 734-513-5030 or tokenlounge.com.

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Karen Peterson Dancers first commissioned at Forward Motion Dance Festival https://schlammpeitziger.com/karen-peterson-dancers-first-commissioned-at-forward-motion-dance-festival/ Tue, 25 Oct 2022 23:30:00 +0000 https://schlammpeitziger.com/karen-peterson-dancers-first-commissioned-at-forward-motion-dance-festival/ Empty chairs serve as the centerpiece for Victoria Marks’ ‘Time-Being’, created for Karen Peterson Dancers, which will be performed as part of the Forward Motion Dance Festival at the Miami-Dade County Auditorium. Courtesy of Lisa Nalvin Physically Integrated (PI) dance brings together dancers with and without disabilities in choreographies that focus on difficult notions of […]]]>

Empty chairs serve as the centerpiece for Victoria Marks' 'Time-Being', created for Karen Peterson Dancers, which will be performed as part of the Forward Motion Dance Festival at the Miami-Dade County Auditorium.

Empty chairs serve as the centerpiece for Victoria Marks’ ‘Time-Being’, created for Karen Peterson Dancers, which will be performed as part of the Forward Motion Dance Festival at the Miami-Dade County Auditorium.

Courtesy of Lisa Nalvin

Physically Integrated (PI) dance brings together dancers with and without disabilities in choreographies that focus on difficult notions of who can and cannot dance and what constitutes beautiful movement.

Miami’s Forward Motion Dance Festival showcases the nation’s top PI dance companies. Now in its fourth year, performances are scheduled for Thursday, October 27 and Friday, October 28 at Miami-Dade County Auditorium. PI Dance Technique workshops and lectures will be held on Saturday, October 29 at the Koubek Center at Miami-Dade College.

Choreographer Karen Peterson, artistic and executive director of Miami’s physically integrated dance company, Karen Peterson Dancers, hosted the first Forward Motion Dance Festival in 2018, bringing dance companies from across the country to Miami PI.

This year, Peterson’s company is creating a commission from Victoria Marks – Guggenheim Fellow and Alpert Prize-winning choreographer, filmmaker, scholar and activist. She is also a professor at the University of California, Los Angeles (UCLA) and director of the school’s Dancing Disability Lab.

Marks is known for her PI choreography organized around the politics of citizenship and disability and her contribution to the festival is an original choreography for Karen Peterson Dancers entitled “Time Being”.

The work was born out of a three-way collaboration between Marks, the KPD dancers, and Onikho – an Oakland-based freelance electronic artist and producer who wrote her first EP after being paralyzed in a car crash in 2014.

“I thought putting a Victoria Marks piece on my band would benefit my band,” Peterson said. “And then we always wanted to find a composer who also had a disability, and we found someone in San Francisco, Carina Ho, whose artistic name is Onikho. Victoria and Onikho created the score jointly.

Onikho will join the dancers on stage for the debut of “Time Being,” performing original music and live vocals alongside KPD dancers Shawn Buller, Marjorie Burnett, Adam Eckstat, Barney Espinal and Sun Young Park.

The words to the score grew out of a Zoom chat Marks had with the KPD dancers last July. Marks then gave the score to Onikho who set it to music.

“A lot of times a composer just gives us a piece and tells us to create a dance,” says Peterson. “When there is a three-way interaction, you have a much deeper relationship between the choreographer, the composer and the dancers.”

Marks explained that the purpose of his choreographic process is not to impose a dance on the performers but to listen to the dance that is in the room.

“I pay attention to what’s going on and the suction in the room. My goal is to make a dance that is a gift, a kind of portrait of the dancers”, explains Marks. “It’s not a very scientific process, but it’s not like I come to the dancers with a dance that I want to do.”

Peterson remembers the Zoom call.

“Victoria asked them to close their eyes and think about their favorite day and the feelings that came to mind. She then asked them what was the most difficult thing they do in their wheelchair. She said got very personal answers to these questions, she didn’t know us at all, so she tried to get as much information as possible about us.

“Time Being” is organized around the life-enhancing possibilities of wheelchair travel.

“There are five dancers in the dance and three of the dancers perform in wheelchairs and two are not disabled. I thought, what can wheelchairs do that’s amazing? How is this an asset and what fun is there in a wheelchair? she remembers wondering.

Marks will also lead a workshop on the process she calls “Choreo-Portrait Saturday, October 29 at the Koubek Center at Miami Dade College.

“In thinking about dance and disability, I strive to stay tuned to the political and social concerns that flow with PI dance,” says Marks. “The experience of dancers with disabilities is an opportunity for everyone to learn to live in a body. The question that is potentially on the table is what might happen if our way of seeing or apprehending were changed to fit the way our bodies are constantly changing.

Marks’ passion in pursuing his art is the possibility it presents for social and political change.

“Can our physical imaginations raise equity for all of us?” she asks.

Also at this year’s festival is first-time entrant Full Radius Dance Company of Atlanta.

FRD was founded by Douglas Scott, Artistic and Executive Director, in 1990 as a traditional dance company, but soon changed focus to include dancers with disabilities. Peterson says she connected to FRD through a series of workshops hosted by Dance/USA, a national service organization for professional dance.

The group will perform two works. The first, “Alice, Peter and Dorothy”, examines fantasy novels – “Alice in Wonderland”, “Peter and Wendy” and “The Wizard of Oz” – through a disability-centric lens.

Douglas arranged the job for six dancers, two chair dancers and four able-bodied. It will be danced by dancers from FRD AK Bayer, Julianna Feracota, Courtney Michelle McClendon, Ashlee Jo Ramsey-Borunov, Matthew Smith and Peter Trojic.

Also on the program, “Undercurrents”, a 25-minute piece, performed by the same dancers and to music by Andrew Choe, musical director and composer of Abilities Dance Boston. The work studies relationships, how partnerships form and dissolve, and where subtle changes between people reveal feelings and impulses hidden beneath the surface.

ArtburstMiami.com is a non-profit source of information on dance, visual arts, music and the performing arts.

If you are going to

WHAT: Fourth Annual Forward Motion Integrated Physical Dance Festival and Conference, Performances and Workshops

WHEN: Performances at 7:30 p.m., Thursday, Oct. 27 and Friday, Oct. 28. Workshop and conference, 10 a.m. to 5 p.m., Saturday, Oct. 29.

WHERE: Miami Dade County Auditorium, 2901 West Flagler Street, Miami. Workshop and lecture at Koubek Center-Miami Dade College, 2705 SW 3rd Street, Miami

COST: $25, $18 for students with ID, seniors 65+, and people with disabilities. Workshops and conference, $20, $10.

INFORMATION: karenpetersondancers.org

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John Frusciante is heavily influenced by 80s British music – Music News https://schlammpeitziger.com/john-frusciante-is-heavily-influenced-by-80s-british-music-music-news/ Wed, 19 Oct 2022 11:11:01 +0000 https://schlammpeitziger.com/john-frusciante-is-heavily-influenced-by-80s-british-music-music-news/ John Frusciante is heavily influenced by 80s British music. The Red Hot Chilli Peppers star ‘has a lot of memories’ of listening to The Human League when he and his band – which also currently includes Anthony Kiedis, Flea and Chad Smith – were working on their 2002 LP, ‘By The Way’ . The 52-year-old […]]]>

John Frusciante is heavily influenced by 80s British music.

The Red Hot Chilli Peppers star ‘has a lot of memories’ of listening to The Human League when he and his band – which also currently includes Anthony Kiedis, Flea and Chad Smith – were working on their 2002 LP, ‘By The Way’ .

The 52-year-old guitarist told MixMag, “I have a lot of memories associated with [The Human League], especially as we were writing “By The Way”. I was blasting “Reproduction” during and after rehearsals every day. I particularly like the first two albums and their first singles. And you have stuff like this all-instrumental “Dignity Of Labour” EP, the basis of a lot of ambient music. These guys were just going into the unknown!

John also called himself a “big fan of” new wave Depeche Mode – which had original composition by Dave Gahan, Martin Gore, Andy Fletcher and Vince Clarke – and recalled buying all the hitmakers from ” Just Can’t Get Enough”. ‘ records on vinyl.

He said: “I’m a huge Depeche Mode fan, when the Red Hot Chili Peppers started writing ‘Californication’ in 1998 I was 28 and had just started my life over. When I came back to the world I was a different person and Depeche Mode became my favorite band. I bought all 12 inches of these from a place near me called Vinyl Fetish which stocked a lot of UK imports. ‘Master And Servant’ is one of the weirdest.

John has called being the band – which he joined in 2019 before releasing and touring the 2022 album ‘Unlimited Love – the only ‘real job’ he’s ever had in music despite performing as a solo artist Trickfinger, where he makes “electronic music”.

He said: “I don’t make a lot of money from my electronic music. I probably spend more on equipment than I’ve ever done, but I only did electronic music for about 12 years before I join the group. [in 2019]. It’s definitely a full time job being in the Chili Peppers. Really, the Red Hot Chili Peppers are the only real “job” I’ve ever had in music.

The rocker – whose band are set to release their second album this year ‘Return of the Dream Canteen’ – also gushed about his love for Kraftwerk.

John said, “But synth-pop: for me, it really starts with Kraftwerk. It’s a different sense of melody than regular pop music – it’s more mechanical in a way.”

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