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Tuesday, April 30, 2013

Psy knocked from top of Korean charts by 63-year-old singer

South Korean rapper Psy poses during a news conference before his concert in Seoul April 13, 2013. REUTERS/Lee Jae-Won

South Korean rapper Psy poses during a news conference before his concert in Seoul April 13, 2013.

Credit: Reuters/Lee Jae-Won

SEOUL | Thu Apr 25, 2013 5:06am EDT

SEOUL (Reuters) - South Korean rapper Psy, whose latest video "Gentleman" tracked global megahit "Gangnam Style" by going viral on the Internet, has been knocked from the top of the music charts in his native country by a 63-year-old easy listening pop singer.

"Gangnam Style", which holds the YouTube record for most views with more than 1.5 billion, catapulted the sunglassed Korean with the garish jackets to world stardom and made him one of the best-known faces to grace the growing K-pop music scene.

But Cho Yong-pil, who has been a fixture of Korean pop music since 1975 with his electronic music and ballads, took over the top spot in Korea with "Bounce," according to both the daily and weekly charts on Naver, Korea's top Internet portal.

Fans lined up to buy "Hello," Cho's first album in a decade, when it went on sale earlier this week, and packed a stadium concert on Tuesday with people screaming his nickname of "Oppa" - a word used by Korean women for older men that Psy took to the world with the refrain "Oppa Gangnam Style".

Cho's songs took the top 10 places on the daily charts, pushing "Gentleman" to no. 13, and Psy had to settle for second place on the weekly charts.

But "Gentleman" surged to fifth place on the Billboard Hot 100 this week and has racked up over 220 million views on YouTube after smashing the record for first-day views for songs.

Psy told reporters he had nothing but respect for the veteran crooner, noting that Cho had praised him at a Tuesday news conference.

"I couldn't be happier, although getting on the Billboard chart also makes me really grateful," Psy told reporters on Thursday prior to leaving for the United States.

(Reporting by Ju-min Park; Editing by Elaine Lies)


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Michael Jackson wrongful death trial set to get underway Monday

Michael Jackson's mother Katherine Jackson leaves the sentencing hearing of Dr. Conrad Murray, who was convicted of involuntary manslaughter in the death of pop star Michael Jackson, in Los Angeles California November 29, 2011. REUTERS/Gus Ruelas

Michael Jackson's mother Katherine Jackson leaves the sentencing hearing of Dr. Conrad Murray, who was convicted of involuntary manslaughter in the death of pop star Michael Jackson, in Los Angeles California November 29, 2011.

Credit: Reuters/Gus Ruelas

LOS ANGELES | Wed Apr 24, 2013 12:26am EDT

LOS ANGELES (Reuters) - The civil trial over the death of Michael Jackson is set to get formally underway next week after jury selection was completed on Tuesday in the $40 billion case that pits the pop star's mother against concert promoters AEG Live.

Six alternate jurors were chosen on Tuesday following the selection a day earlier of a jury of six men and six women for what is expected to be an emotional three-month trial.

The conclusion of the month-long search for a jury set the stage for opening statements to begin in Los Angeles Superior Court on Monday.

Jackson's 82-year-old mother, Katherine, is suing AEG Live, the promoters of his never-realized series of 2009 London comeback concerts, for the wrongful death of her son.

The lawsuit alleges AEG Live was negligent in hiring Dr. Conrad Murray to care for the singer while he rehearsed for a series of 50 shows.

AEG Live contends that it did not hire or supervise Murray and that Jackson was addicted to prescription drugs for years before he agreed to do the "This Is It" London concerts.

The concert promoters also argue that they could not have foreseen that Murray, who was convicted in 2011 of involuntary manslaughter in Jackson's death, posed a danger to the singer.

Jackson, 50, died in Los Angeles on June 25, 2009, from a lethal dose of the surgical anesthetic propofol that Murray was administering for sleep problems. Murray, who is not being sued, formally appealed against his criminal conviction on Monday.

Potential witnesses in the civil trial include Jackson's mother, his two oldest children, Prince, 16, and Paris, 15, as well as Murray, singers Prince and Diana Ross, and Jackson's ex-wives, Lisa Marie Presley and Debbie Rowe.

Katherine Jackson and her son's three children are seeking some $40 billion in damages from privately held AEG Live for loss of the singer's earnings and other damages. The final amount will be determined by the jury should it hold AEG Live negligent.

(Reporting by Jill Serjeant; Editing by Eric Beech)


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Monday, April 29, 2013

Fall Out Boy outsells Kid Cudi for top spot on Billboard chart

LOS ANGELES | Wed Apr 24, 2013 2:42pm EDT

LOS ANGELES (Reuters) - U.S. rock band Fall Out Boy topped the Billboard 200 weekly best-selling album chart for the second time in their five-album career, besting rapper Kid Cudi.

"Save Rock and Roll" sold 154,000 copies in its debut week, according figures on Wednesday from Nielsen SoundScan, outpacing Kid Cudi's "Indicud," which sold 136,000 copies in its first week.

Industry forecasters pegged both albums to sell about 150,000 copes last week, according to trade publication Billboard.com.

Rock band Paramore, whose fourth album "Paramore" was last week's No. 1, fell to No. 12.

Pop singer Justin Timberlake's "The 20/20 Experience" and country singer Blake Shelton's "Based on a True Story" held at the third and fourth spots respectively on the chart for the second consecutive week.

Indie rock trio Yeah Yeah Yeahs' fourth album "Mosquito" debuted at No. 5 on the chart.

Pop singer Pink's "Just Give Me a Reason" topped the digital songs chart for another week with 262,000 downloads, a 7 percent decline from last week, while hip hop duo Macklemore & Ryan Lewis' "Can't Hold Us" was No. 2 again with 245,000 downloads, a 17 percent rise.

Macklemore & Ryan Lewis' "Thrift Shop" placed fourth, behind Rihanna's "Stay" and ahead of Justin Timberlake's "Mirrors" on the digital chart.

French DJ duo Daft Punk's new song "Get Lucky," which features singer-producer Pharrell Williams, sold 113,000 downloads last week on only three days of sales. It is the duo's first single in three years.

Year-to-date albums sales stand at 90.5 million, a 5 percent decrease from the same period last year, while 2013 digital song sales of 434 million have declined 2 percent compared to last year.

(Reporting by Eric Kelsey, editing by Jill Serjeant and Cynthia Osterman)


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Singer Lauryn Hill gets reprieve on tax evasion sentencing

Grammy-winning singer Lauryn Hill leaves the Federal Court in Newark, April 22, 2013. REUTERS/Eduardo Munoz

1 of 5. Grammy-winning singer Lauryn Hill leaves the Federal Court in Newark, April 22, 2013.

Credit: Reuters/Eduardo Munoz

By David Jones

NEWARK | Mon Apr 22, 2013 10:48pm EDT

NEWARK (Reuters) - Grammy Award-winning singer Lauryn Hill was given a two-week reprieve on her sentencing for federal tax evasion on Monday as a federal judge admonished her defense counsel for failing to come up with most of the tax money promised prior to her scheduled hearing.

Hill, a solo artist and a member of the Fugees rap trio, pleaded guilty in June 2012 to failure to file federal tax returns from 2005-2007, when she earned $1.8 million. She faces up to a year in prison for each charge.

Lawyers for Hill, who burst to stardom with her 1998 album the "The Miseducation of Lauryn Hill," said they made a $50,000 payment toward the back taxes and penalties, but still need to come up with another $504,000 no later than May 3.

They had expected Hill to raise money from signing a new recording contract by the fall of 2012, but Hill was unable to complete the recording sessions. She has not released an album since 2001.

Hill, a mother of six children, including five with Rohan Marley, the son of reggae legend Bob Marley, claimed she failed to pay the taxes while she was sheltering her family to get away from excessive publicity and threats.

Attorney Nathan Hochman, representing Hill, said the singer had lined up a deal with a "hard money lender" for a loan that was secured by two real estate assets, and that she was expecting final approval of the loan sometime this week.

"For Miss Hill, the only question was when she was going to pay those taxes, not if," Hochman told reporters after the hearing.

U.S. Magistrate Judge Madeline Cox Arleo rescheduled the final sentencing hearing until May 6, but warned lawyers for the hip hop star that the court would not allow another slip up.

"This is not someone who stands before the court penniless," Arleo told the court.

(Editing by Cynthia Johnston and Vicki Allen)


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Sunday, April 28, 2013

Mamma Mia! Bookie offers odds on ABBA reunion

Cast and members of Abba appear together at the premiere of the motion picture version of the musical 'Mamma Mia' in Stockholm July 4, 2008. From left to right are: Abba's Benny Andersson, Pierce Brosnan, Amanda Seyfried, Meryl Streep, Abba members Agnetha Faltskog and Anni-Frid Lyngstad, Christine Baranski, Colin Firth, screenwriter Catherine Johnson (pointing), director Phyllida Lloyd, producer Judy Craymer and Abba member Bjorn Ulvaeus. REUTERS/Bob Strong

Cast and members of Abba appear together at the premiere of the motion picture version of the musical 'Mamma Mia' in Stockholm July 4, 2008. From left to right are: Abba's Benny Andersson, Pierce Brosnan, Amanda Seyfried, Meryl Streep, Abba members Agnetha Faltskog and Anni-Frid Lyngstad, Christine Baranski, Colin Firth, screenwriter Catherine Johnson (pointing), director Phyllida Lloyd, producer Judy Craymer and Abba member Bjorn Ulvaeus.

Credit: Reuters/Bob Strong

LONDON | Thu Apr 25, 2013 11:57am EDT

LONDON (Reuters) - A British bookmaker is taking bets on an ABBA comeback after singer Agnetha Faltskog hinted at a possible reunion for Sweden's most successful band.

Faltskog, who has come out of retirement to release a solo album called "A", was asked by German's Die Zeit Magazine if she would be open to an ABBA reunion and she responded positively.

"Maybe a charity concert? I would not say 'No' right away," she said.

Her former husband Bjorn Ulvaeus and his fellow ABBA songwriter Benny Andersson vowed in 2008 not to reform the group that broke up in 1982 after nine British No.1 hits.

The fourth member of the group whose hits included "Mamma Mia", "Super Trouper", and "Dancing Queen", was Anni-Frid Lyngstad.

But speculation about ABBA reforming has mounted in the lead-up to the opening of a ABBA museum in Stockholm in May.

British bookmakers Paddy Power seized on the speculation to offer odds of 14/1 for ABBA to perform together in 2013.

The bookmaker was offering 16/1 on ABBA opening the 2013 Eurovision Song Contest in Malmo, Sweden, on May 16 as this was the show that propelled ABBA to fame following their 1974 win with the song "Waterloo".

"ABBA fans will be spitting out their meatballs in excitement at prospect of a reunion. Given home turf, plus the 40th anniversary of their Eurovision triumph, Paddy Power's 16/1 to open the show looks to be worth a pound of anybody's money," said a spokesman for the bookmaker.

(Reporting by Belinda Goldsmith, editing by Paul Casciato)


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Backstreet Boys get Hollywood star ahead of world tour

Backstreet Boys (from L-R) A. J. McLean, Howie Dorough, Kevin Richardson, Nick Carter and Brian Littrell pose by their star after it was unveiled on the Walk of Fame in Los Angeles, California April 22, 2013. REUTERS/Mario Anzuoni

Backstreet Boys (from L-R) A. J. McLean, Howie Dorough, Kevin Richardson, Nick Carter and Brian Littrell pose by their star after it was unveiled on the Walk of Fame in Los Angeles, California April 22, 2013.

Credit: Reuters/Mario Anzuoni

LOS ANGELES | Mon Apr 22, 2013 9:35pm EDT

LOS ANGELES (Reuters) - Boy band the Backstreet Boys - now all grown men - on Monday marked their 20th anniversary and their upcoming world tour by getting a star on the Hollywood Walk of Fame.

"Backstreet is Back ... and we aren't going anywhere," Nick Carter, 33, told fans as all five members of the 1990s band gathered to unveil their star - located right next to another popular boy band, Boyz II Men.

The close harmony singers were visibly emotional as they thanked their families and fans for their support over the years.

"What an honor it is," said Kevin Richardson, 40, holding back tears. "What a beautiful day. What another beautiful way to celebrate 20 years together."

Formed in 1993 in Florida, the Backstreet Boys went on to sell more than 130 million albums worldwide and score hits like "I Want It That Way," and "Shape of My Heart."

The other members of the group are Brian Littrell, A.J. McLean and Howie Dorough.

After several hiatuses in the 2000s and the departure of Richardson, the five original members officially got back together last year and will embark on a world tour in May, starting in China.

Backstreet Boys are also due to release a new album this summer, and a music documentary in 2014.

(Reporting by Lindsay Claiborn Editing by Jill Serjeant and Eric Walsh)


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Saturday, April 27, 2013

African diva Angelique Kidjo wins Songlines Best Artist award

Benin singer Angelique Kidjo performs during the annual Nobel Peace Prize Concert in Oslo December 11, 2011. REUTERS/Leonhard Foeger

Benin singer Angelique Kidjo performs during the annual Nobel Peace Prize Concert in Oslo December 11, 2011.

Credit: Reuters/Leonhard Foeger

By Angus MacSwan

LONDON | Thu Apr 25, 2013 8:27pm EDT

LONDON (Reuters) - African diva Angelique Kidjo was named Best Artist in Songlines magazine's annual world music awards on Friday, lauded for her high-energy shows and her championing of social causes.

French veterans Lo'jo, who mix French folk with African and Arabic sounds, picked up the Best Group award and the young Zimbabwean band Mokoomba was chosen as top Newcomer.

The Best Cross Cultural-Collaboration went to Dub Colossus for the blend of Ethiopian roots, reggae and dub beats on their latest album "Dub Me Tender Vol. 1+2".

Kidjo, originally from Benin, is one of Africa's biggest singing stars. Over the years she has worked with Prince, sang at the 2010 World Cup in South Africa, and sold out New York's Carnegie Hall.

The Best Artist award was given for her live "Spirit Rising" album but was also recognition of her career achievements, Songlines editor-in-chief Simon Broughton told Reuters.

"She's been around a long time but she's always inspiring," he said. "What clinched it was a concert she gave in London in March for Women's Day. It was breathtaking. I've never seen her so exuberant. She bonds people and really makes it special."

Kidjo, 52, has adopted the mantle of the late South African singer Miriam Makeba as a political voice and campaigns for women's rights and education in Africa.

"The award is also for what she stands for," Broughton said.

Lo'jo, from southwest France, has also been around a long time and the band's latest album, "Cinema el Mundo", showed them to be as strong as ever.

"They are much better known in the Francophone world than elsewhere. They've not been tempted to become more mainstream," Broughton said.

"They are a quality act, an unusual, interesting group, especially in their connections with West and North Africa."

YOUNG BANDS AND FANS

The Newcomer winner, Mokoomba, is a young group from Zimbabwe but the horn-driven music is pan-African, bringing in the sounds of Congo, South Africa and other countries. Its "Rising Tide" album sealed the award.

Dub Colossus' award was recognition of its work over the past 10 years in popularizing Ethiopian music and blending it with modern beats.

"It's risen from being unknown to something hip and really getting an audience. There's a lot of people fusing Ethiopian and Western sounds so they represent a wide movement and are bringing in a lot of young people," Broughton said.

World music has had mixed fortunes in the past year.

The live scene was still healthy, with a host of performers filling venues in London and elsewhere, Songlines publisher Paul Geoghegan said.

But the recording scene was very difficult for artists, record labels and distributors due to the closure of record stores and declining CD sales. The collapse of British chain HMV, whose shops stocked a wide variety of world music, was a big blow, he said.

(Editing by Louise Ireland)


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Justin Bieber shrugs off "rumors" after Swedish drug find

A file picture shows pop singer Justin Bieber as he boards his tour bus outside Grand Hotel for his concert in Stockholm, April 23, 2013. REUTERS/SCANPIX/Leo Sellen

1 of 4. A file picture shows pop singer Justin Bieber as he boards his tour bus outside Grand Hotel for his concert in Stockholm, April 23, 2013.

Credit: Reuters/SCANPIX/Leo Sellen

STOCKHOLM | Thu Apr 25, 2013 8:29pm EDT

STOCKHOLM (Reuters) - Teen idol Justin Bieber on Thursday seemed to shrug off the latest controversy surrounding his European tour after Swedish police said they had found drugs on his tour bus but could not link them to any single person.

Bieber, 19, has made headlines in the past two months for showing up late for his own London concert, walking shirtless through airport security in Poland, posting a cartoon of himself in bed with a young woman, and expressing the hope that Holocaust victim Anne Frank would have been a "belieber" like his millions of fans.

On Thursday, Swedish police said an officer smelled marijuana on an empty tour bus outside the hotel where Bieber was staying before his Stockholm concert on Wednesday.

They said they found a small amount of drugs but had no suspects and did not plan further action.

"Some of the rumors about me....where do people even get this stuff. whatever...back to the music," Bieber tweeted on Thursday to his 38 million Twitter followers after announcing he had arrived in Finland.

Representatives of the Canadian singer, who started his career as a squeaky-clean 15-year-old, had no comment.

In Stockholm, police spokesman Kjell Lindgren said the drugs were being sent for analysis. "We don't know who had the drugs or who smoked them, so it will be hard to link them with any individual," Lindgren said.

Bieber has been on the road with barely a break since September 2012 on his "Believe" world tour, where he has been greeted by screaming young girls and blaring headlines for some bizarre behavior.

In March, he abandoned a pet monkey at Munich airport because he did not have the right papers, and flew back to Los Angeles for 36 hours and into an altercation with a neighbor.

Last week, he came under fire in the media on grounds of taste after he wrote in a guest book at the Anne Frank museum in Amsterdam that the 15-year-old Holocaust victim and diarist was inspiring and "hopefully she would have been a belieber".

The museum later defended Bieber, saying they were delighted he had visited and that his comments were innocent.

(Reporting by Simon Johnson in Stockholm and Jill Serjeant in Los Angeles; Editing by Sandra Maler)


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Friday, April 26, 2013

Kurdish singer sparks identity debate on Arab talent show

By Isabel Coles

ARBIL, Iraq | Thu Apr 25, 2013 4:19am EDT

ARBIL, Iraq (Reuters) - A singer from Iraq's Kurdistan region has made it through to the semi-final of an Arab talent contest, igniting heated debates over Iraqi identity and politicizing the popular TV show.

A panel of judges praised 24-year-old Parwaz Hussein and she was voted through to the next round of "Arab Idol", in which aspiring popstars from Morocco to Bahrain compete for a recording contract.

Many Kurds have rallied behind Parwaz, who wore a pendant in the shape of "greater Kurdistan" - the term used to describe the territory Kurds claim as their rightful homeland, which covers swathes of Syria, Turkey, Iran and Iraq.

"If before you were a singer, now you bear a great patriotic responsibility," one Facebook user called Kurdistani Kurdan wrote on Parwaz's page.

Numbering more than 25 million, the non-Arab Kurds are often described as the world's largest ethnic group without a state and regard national borders as an historical injustice that has led to their systematic oppression.

In Iraq, Kurds were the target of chemical attacks under deposed strongman Saddam Hussein, but now enjoy a large measure of self-rule in the north of the country, where they run their own administration and armed forces.

Kurdish autonomy is enshrined in Iraq's federal constitution, drawn up after the U.S.-led invasion of 2003. The document recognizes Kurdish as Iraq's second official language.

But relations between the northern enclave and the central government in Baghdad have been strained by disputes over land and oil rights that have worsened since U.S. troops left in December 2011.

At her first audition, Parwaz, who speaks broken Arabic, was accompanied by a translator so she could communicate with the judges. She has sung in both Arabic and Kurdish.

Unlike two other Arab Iraqi contestants who were described as being from Iraq, Parwaz's origin was referred to as "Iraqi Kurdistan". On Saturday night's show, one of the judges took issue with the distinction.

"I am against the country title that says Parwaz is from Kurdistan, because Kurdistan is an inseparable part of Iraq," said Ahlam, a popstar from the United Arab Emirates. "I want your introduction to say that you are from Iraq and not Kurdistan."

The comment provoked an angry response among Kurds, who said it was evidence of Arab racism towards them.

"Tell Ahlam we are not Arabs," said Ako Aljaff on Parwaz's Facebook page. Others said that as a Kurd she should not have entered a competition called "Arab Idol" in the first place.

Ahlam later apologized on her Facebook page, but many Kurds said they would not accept the gesture unless it was broadcast on television. Some Arab nationalists took umbrage at that.

"If the Kurds didn't like what Ahlam said, let them go to India or Pakistan or the Soviet Union or Armenia and establish their state far away from us," said one Facebook user named Moteb Saud.

(Editing by Alistair Lyon)


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Documentary about deceased British singer Amy Winehouse in the works

n">(Reuters) - A documentary is in the works about the late British soul singer Amy Winehouse and it features previously unseen material, the film's distributor said on Wednesday.

The film, which will include archival footage never seen by the public, will be directed by Briton Asif Kapadia, whose 2010 film "Senna," about Brazilian auto racer Ayrton Senna, won a BAFTA for best documentary.

The Grammy-winning singer died in 2011 at the age 27 from alcohol poisoning. Winehouse's 2006 album "Back to Black" made her an international star.

London-born Winehouse, who struggled with drug and alcohol addiction, is credited in part with reviving the popularity of soul music.

"Amy was a once-in-a-generation talent who captured everyone's attention. She wrote and sung from the heart and everyone fell under her spell," Kapadia and the film's producer James Gay-Rees said in a joint statement.

"But tragically, Amy seemed to fall apart under the relentless media attention, her troubled relationships, her global success and precarious lifestyle," Kapadia and Gay-Rees added. "As a society, we celebrated her huge success, but then we were quick to judge her failings when it suited us."

The film, which does not yet have a title, will be shopped to foreign buyers at the Cannes Film Festival in May, distributor Focus Features International said.

Focus Features International is part of NBCUniversal, which is owned by Comcast Corp.

(Reporting by Eric Kelsey; editing by Jill Serjeant and Stacey Joyce)


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Thursday, April 11, 2013

Conductor Salonen dashes from Frank Zappa to Stravinsky

Los Angeles Philharmonic conductor Esa-Pekka Salonen of Finland performs on the opening night of the $274 million Walt Disney Concert Hall in Los Angeles October 23, 2003. REUTERS/Robert Galbraith

Los Angeles Philharmonic conductor Esa-Pekka Salonen of Finland performs on the opening night of the $274 million Walt Disney Concert Hall in Los Angeles October 23, 2003.

Credit: Reuters/Robert Galbraith

By Michael Roddy

LONDON | Thu Apr 4, 2013 5:30am EDT

LONDON (Reuters) - Finnish conductor and composer Esa-Pekka Salonen dislikes musical anniversaries but he is celebrating so many this year he failed to notice one - the 20th anniversary of the death of the anarchic American rock innovator Frank Zappa.

It isn't often that "Mothers of Invention" founder Zappa's rock-and-orchestral score for his film "200 Motels" is revived, but Salonen, 54, will conduct it in October with the Los Angeles Philharmonic, where he served as Music Director from 1992 until 2009, to celebrate the 10th anniversary of the orchestra's acoustically exquisite Walt Disney Concert Hall.

The fact that this year also is the 20th anniversary of the 1960s cult rock star's death was something Salonen hadn't realized until it was brought to his attention during a recent interview, but he said he was captivated by the idea of reviving Zappa's complex, multi-faceted piece the minute he saw it.

"I opened the score and the first line I saw was that this town (LA) is 'a sealed tuna sandwich'. I said, 'Okay, you can't say that's not a good match.' I realized this is the LA piece I want to conduct before I die."

From conducting "200 Motels" to Stravinsky's "The Rite of Spring" might seem a stretch, but not so for Salonen, who will be leading Stravinsky's ground-breaking 1913 masterpiece in the same Paris concert hall only a few days after the evening a century ago that its premiere caused a near riot.

Salonen doesn't much like cultural anniversaries: "Very often these anniversaries, it seems like a duty, we play an awful lot and then after the year is over we've done that." But he's observing none with more relish than "The Rite of Spring".

"The miracle of that piece is the eternal youth of it. It's so fresh it still kicks ass and how many 100-year-old pieces do that? There's such powerful vitality in that music it's almost scary," he said over coffee in London.

"LANDED ON THIS PLANET"

"The thing about 'The Rite of Spring' is that it just landed on this planet, there are no predecessors, there are no models. Stravinsky didn't work off of any models. So it's like a perfect egg that drops."

Lack of models is not something that can be said for the works of another of Salonen's anniversary composers, the Pole Witold Lutoslawski whose birth centenary is this year.

Lutoslawski wrote in the 20th-century modernist idiom, with extreme craftsmanship and polish that sometimes makes his pieces seem a bit distant or, at other times, deeply gloomy.

But that's not at all that Salonen finds when he conducts Lutoslawki's symphonies, all four of which have been reissued in a two-CD set by Sony. He recently concluded a Lutoslawski cycle in London with the Philharmonia Orchestra and will make the case for the composer again in Madrid in May.

"I realized apart from a few pieces that seemed to have kept place in the repertoire many of his pieces have kind of disappeared, including some pieces that I found absolutely powerful and fascinating. So I thought I would use this anniversary in such a way that I could shed light on that repertoire to allow people to hear it again and then, of course, the rest is up to the people."

The importance of connecting with people is something that Salonen, both as a conductor and as a composer, which takes up an increasing amount of his time, says he learned in LA.

He became Music Director in Los Angeles at what he considers a ridiculously young age, running a multi-million-dollar cultural institution in his early 30s and having brought with him what he calls his "suitcase full of European superior knowledge of everything".

"In a European way of thinking...we always focus mostly on the intention of the composer...and very little attention is focused on the actual effects, the interface when the music hits the listener - what is that process, what does it do to me?

"And I realized that perhaps my focus had been soft, instead of being primarily interested in the methods I should be more interested in the actual effect.

"What I learned in LA is you cannot actually separate the mind from the body. It's impossible, and it would be meaningless."

He says that attitude has carried over into his music which at times sounds like it belongs to the "spectral" school of composition, with its intense focus on sound and timbre, but at other times turns lushly romantic and poignant, as in his Violin Concerto, which was recorded by American violinist Leila Josefowicz and won the prestigious University of Louisville Grawemeyer Award for Music Composition in 2012.

"It has to do with getting older, because I realized...somebody will always conduct concerts, there are a lot of good guys and women who can do it very well...but only I can write my music, nobody else can do it for me," Salonen said.

"If I don't write the music I want to write it's a dramatic loss to me."

(Editing by Paul Casciato)


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Bon Jovi guitarist Sambora leaves tour due to "personal issues"

Richie Sambora (L) and Jon Bon Jovi perform during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York December 12, 2012. REUTERS/Lucas Jackson

Richie Sambora (L) and Jon Bon Jovi perform during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York December 12, 2012.

Credit: Reuters/Lucas Jackson

NEW YORK | Wed Apr 3, 2013 8:05pm EDT

NEW YORK (Reuters) - Bon Jovi's Richie Sambora has dropped out of the current leg of the rock band's tour because of "personal issues," but the guitarist, who has done stints in rehab for problems with alcohol, tweeted fans on Wednesday that he was "well."

"Thank you everyone for your concern," Sambora said on Twitter. "I'm well, but had to stay in LA to take care of a personal matter. Love you all and see you very soon."

Sambora, 53, who spent time in rehab in 2007 and 2011 for alcohol and prescription drug abuse, was not included at Bon Jovi's performance in Calgary, Alberta, on Tuesday and the band said he would miss a run of North America concerts.

"Due to personal issues, Richie Sambora will not be performing on this upcoming leg. All shows will go on as scheduled," said a statement on the band's website on Wednesday, offering no other details or when Sambora might resume performing.

Sambora also missed Bon Jovi's 2011 North American and European tours.

Celebrity website TMZ.com, citing unnamed sources connected to the band, said Sambora's absence was due to long-running tension between the guitarist and singer Jon Bon Jovi.

Bon Jovi is scheduled to perform this week in Edmonton, Alberta, and Winnipeg, Manitoba, and St. Paul, Minnesota, on Sunday.

The "Because We Can" tour's April dates include Los Angeles, Denver, Las Vegas and other cities before international appearances kick off on May 7 in Capetown, South Africa.

The band is set to play in Sweden, Germany, Britain, Spain, Poland and Italy before returning to the United States in July.

(Reporting by Chris Michaud; Additional reporting by Eric Kelsey in Los Angeles; Editing by Patricia Reaney and Peter Cooney)


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Wednesday, April 10, 2013

Exclusive: Beyonce, Jay-Z Cuba visit had U.S. Treasury Department OK - source

U.S. singer Beyonce (L) and her husband rapper Jay-Z walk as they leave their hotel in Havana April 4, 2013. REUTERS/Enrique De La Osa

U.S. singer Beyonce (L) and her husband rapper Jay-Z walk as they leave their hotel in Havana April 4, 2013.

Credit: Reuters/Enrique De La Osa

By David Adams

MIAMI | Tue Apr 9, 2013 12:06am EDT

MIAMI (Reuters) - A visit by American pop star Beyonce and rapper husband Jay-Z to Havana last week was a cultural trip that was fully licensed by the U.S. Treasury Department, a source familiar with the itinerary said on Monday.

The longstanding U.S. trade embargo against Cuba prevents most Americans from traveling to the communist-led island without a license granted by the U.S. government.

Three Cuban-American members of Congress, all Republicans from Miami and supporters of a firm stance on Cuba, have asked the Treasury Department to look into the licensing of the trip, prompting officials to seek more information from the organizers.

Beyonce and Jay-Z celebrated their fifth wedding anniversary in Havana and were greeted by big crowds as they strolled through the Cuban capital. The music industry power couple were instantly recognized as celebrities despite the past half-century of ideological conflict that separates the two countries.

The source told Reuters that the trip included visits with Cuban artists and musicians, as well as several nightclubs where live music was performed, and some of the city's best privately run restaurants, known as "paladares."

The visit was planned as a "people-to-people" cultural visit and involved no meetings with Cuban officials, or typical tourist activity such as trips to the beach, the source said. Even a walk around the Old City of Havana, mobbed by crowds of excited Cuban spectators, was led by Miguel Coyula, one of the city's leading architects.

Publicists for the couple did not return emails or phone calls seeking comment.

Beyonce and Jay-Z were the latest American stars, joining actors Bill Murray, Sean Penn and James Caan who have also visited the Caribbean island in the past few years. But the pair were the first to cause such a stir everywhere they went.

The couple arrived in Havana unannounced for a four-day visit on Wednesday on a flight from Miami. But word of their presence spread like wildfire, by text messaging and word of mouth.

Beyonce, who sang at President Barack Obama's inauguration for his second term in January, was instantly recognized when she and Jay-Z, and their mothers, dined at La Guarida, the city's top privately run restaurant, on their first night.

The next day a crowd of several thousand people swarmed around them in Old Havana during a walk-about.

They also visited a children's theater group and several clubs where they heard live music, and occasionally took to the dance floor. On Friday, they toured Cuba's top art school and met with some young artists.

GOVERNMENT PROPAGANDA

U.S. Representatives Ileana Ros-Lehtinen and Mario Diaz-Balart questioned the couple's trip, saying it was being used for Cuban government propaganda. Ros-Lehtinen, long a fierce critic of the Cuban government, said it was "very disconcerting that these two mega stars would go down to Cuba and vacation as if they were in a tropical paradise and not say one word about the brutality their hosts display against all pro democracy activists."

Florida Senator Marco Rubio said the Obama administration's cultural exchange programs "have been abused by tourists."

If the Treasury Department had licensed the trip "the Obama Administration should explain exactly how trips like these comply with U.S. law and regulations governing travel to Cuba," Rubio said.

The Cuban government was unaware of the participants on the trip until shortly before they departed for Cuba, the source told Reuters, adding that the Cuban media made no official mention of the pair while they were in Havana, at the request of the singers.

The U.S. Treasury Department's Office of Foreign Assets Control, which handles licenses for travel to Cuba, said it does not comment on individual cases.

OFAC provides licenses to visit Cuba on a case-by-case basis for educational exchanges, and for programs that promote "people-to-people contact" and "contribute to the development of civil society in Cuba," according to Treasury Department guidelines. Tourism is specifically prohibited by the guidelines, it states.

"It's hard to imagine a more people-to-people contact visit than the scenes witnessed last week on the streets of Havana with two of the United States' biggest music stars wading through crowds of fans they never knew they had," said John McAuliff, executive director for the Fund for Reconciliation and Development, an organization working to normalize U.S. relations with Cuba.

He described the couple's program as "characteristic of licensed trips undertaken by thousands of Americans every year."

While it has kept the embargo in place, the Obama administration has eased restrictions on travel to Cuba for academic, religious or cultural programs.

"People-to-people" visits, first promoted under President Bill Clinton in the 1990s, but reined in under President George W. Bush, have been revived by the Obama administration to encourage more contact between Americans and Cubans, separated by just 90 miles of ocean, but over half a century of ideological differences.

A number of U.S. firms are sponsoring Cuba trips, ranging from National Geographic to the Metropolitan Museum of Art in New York to the American Automobile Association, resulting in a steadily growing stream of Americans to the island.

Only licensed travelers and Cuban-Americans visiting relatives on the island are allowed to board special charter planes from Miami for the 50-minute flight to Cuba.

Some U.S. citizens dodge those requirements by traveling to Cuba via third countries. Cuba does not stamp the passports of Americans who visit Cuba, making it easy to avoid detection.

Criminal penalties for violating OFAC regulations range up to 10 years in prison and $250,000 in individual fines.

(Additional reporting by Jeff Franks and Nelson Acosta in Havana; Editing by Leslie Gevirtz, Frances Kerry and Vicki Allen)


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Talk show host Sara Gilbert engaged to singer Linda Perry

Actress Sara Gilbert (L) and musician Linda Perry arrive at the GLAAD Media Awards in Los Angeles April 21, 2012. REUTERS/Phil McCarten

Actress Sara Gilbert (L) and musician Linda Perry arrive at the GLAAD Media Awards in Los Angeles April 21, 2012.

Credit: Reuters/Phil McCarten

LOS ANGELES | Mon Apr 8, 2013 8:00pm EDT

LOS ANGELES (Reuters) - Sara Gilbert, host of female chat show "The Talk," announced on Monday that she is engaged to her singer-songwriter Linda Perry.

Gilbert, 38, who starred as rebellious daughter Darlene Conner on the 1990s TV comedy "Roseanne," made the announcement on the all-women talk show she created for CBS television.

Gilbert, 38, said Perry proposed while surprising the actress with a serenade by musicians during a picnic.

"It's, like, the most amazing proposal ever," Gilbert said on the show.

Perry, 47, the former singer in the 1990s rock group 4 Non Blondes, now works as a songwriter, penning hits for pop singers Pink and Christina Aguilera, including the 2002 ballad "Beautiful."

Gilbert has two children from a previous relationship with television producer Allison Adler.

(Reporting by Eric Kelsey; Editing by Bill Trott)


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Singer Chris Brown ordered back to court over community service

Entertainer Chris Brown watches next to film director Spike Lee (R) as the New York Knicks play the Boston Celtics in the third quarter of their NBA basketball game at Madison Square Garden in New York, March 31, 2013. REUTERS/Ray Stubblebine

Entertainer Chris Brown watches next to film director Spike Lee (R) as the New York Knicks play the Boston Celtics in the third quarter of their NBA basketball game at Madison Square Garden in New York, March 31, 2013.

Credit: Reuters/Ray Stubblebine

LOS ANGELES | Fri Apr 5, 2013 6:52pm EDT

LOS ANGELES (Reuters) - R&B singer Chris Brown must return to court in June after a Los Angeles judge said on Friday information was still being collected on allegations that the singer cut corners on his community service requirements.

Brown, 23, is still on probation for a 2009 assault on his girlfriend Rihanna for which he was also sentenced to 180 days of community service and domestic violence counseling.

Prosecutors said in February he had skimped on the community service requirements.

After meeting privately with Brown, his attorney and prosecutors on Friday, Los Angeles Superior Court Judge James Brandlin told the "Don't Wake Me Up" singer to return on June 10.

Brown and Rihanna rekindled their romance several months ago.

(Reporting by Eric Kelsey; Editing by Jill Serjeant and Eric Walsh)


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Tuesday, April 9, 2013

Beyonce, Jay-Z, Lana Del Rey part of eclectic "Great Gatsby" soundtrack

Beyonce poses with her award for Best Traditional R&B Performance for ''Love On Top'' backstage at the 55th annual Grammy Awards in Los Angeles, California February 10, 2013. REUTERS/Mario Anzuoni

Beyonce poses with her award for Best Traditional R&B Performance for ''Love On Top'' backstage at the 55th annual Grammy Awards in Los Angeles, California February 10, 2013.

Credit: Reuters/Mario Anzuoni

LOS ANGELES | Thu Apr 4, 2013 4:21pm EDT

LOS ANGELES (Reuters) - The setting is still the Roaring Twenties but the soundtrack for Australian film director Baz Luhrmann's take on classic novel "The Great Gatsby" is firmly 21st-century rap, pop and rock.

Universal Music on Thursday released the track list for the upcoming movie featuring Beyonce, Lana Del Rey, and Florence + the Machine, as well as a new song, "100$ Bill," by rapper Jay-Z, who is executive producer of the soundtrack.

Beyonce and OutKast musician Andre 3000 team up to sing late British singer Amy Winehouse's single "Back to Black" on the soundtrack, which also features Australian Grammy-winner Gotye and former White Stripes rocker Jack White.

Rising artists such as British singer Emili Sande are being given a spotlight. She collaborates with The Bryan Ferry Orchestra on the 2003 hit for Beyonce and Jay-Z, "Crazy in Love."

The soundtrack will be released worldwide by Interscope Records on May 6, ahead of the Warner Bros. movie opening in U.S. theaters on May 10.

Luhrmann's films are known for their eclectic and contemporary soundtracks. They have produced hits such as The Cardigans' "Lovefool" from his 1996 film "Romeo + Juliet," and "Lady Marmalade" from 2001's "Moulin Rouge," sung by Christina Aguilera, Lil Kim, Mya, Missy Elliot and Pink.

"The Great Gatsby," the latest film adaptation of F. Scott Fitzgerald's novel about extravagance, decadence and illusion, stars Leonardo DiCaprio as mysterious millionaire Jay Gatsby, Tobey Maguire as narrator Nick Carraway and Carey Mulligan as Daisy Buchanan.

Universal Music and Interscope Records are part of Vivendi.

(Reporting By Piya Sinha-Roy; editing by Jill Serjeant and Xavier Briand)


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Lambert, Bryan lead Academy of Country Music award winners

By Piya Sinha-Roy

Mon Apr 8, 2013 12:16am EDT

n">(Reuters) - Singers Miranda Lambert and Luke Bryan led the winners at the Academy of Country Music awards on Sunday, while leading nominees Taylor Swift and Hunter Hayes came away empty-handed in a night honoring top achievers in country music.

Swift, 23, lost out on all five categories she was nominated in including Female Vocalist of the Year and the fan-voted Entertainer of the Year, a surprise for the country music favorite who won the award for the last two years.

Newcomer Hayes, 21, who was nominated in six categories, also went home empty-handed.

The night's top award Entertainer of the Year went to the show's co-host Bryan, 36, a surprise to the charismatic host who said he had only just started headlining shows.

"What I always wanted to be is just a country singer who got to ride on a tour bus and perform every night. ... This is the defining moment of my life, it means the world to me and I'll never take it for granted," Bryan said tearfully.

Lambert, 29, picked up four awards in three categories, including Female Vocalist of the Year, beating Swift, Carrie Underwood, Kacey Musgraves and Martina McBride.

Lambert also won Song of the Year for "Over You," written with husband Blake Shelton, who was co-hosting the ceremony, and thanked her peers for recognizing her song-writing talents.

"As a songwriter having your songs and your lyrics recognized by your peers is pretty much as good as it gets. ... Thank you for accepting me as a songwriter and not just as a singer, that means the world to me," Lambert said.

Shelton, who married Lambert in 2011, thanked his wife for making him a better song-writer.

"I used to think I was a decent songwriter until I started hanging out with her (Lambert) and she taught me so much," Shelton said in his acceptance speech, pulling his wife in for a big hug.

Jason Aldean bested Bryan, Shelton and one of the night's top nominees Eric Church for the Male Vocalist of the Year award, while Church picked up Album of the Year for his 2011 chart-topping record "Chief."

The Academy of Country Music is an organization of music industry professionals who aim to promote and preserve the tradition of country music, and they vote for the top country music achievers for their annual awards ceremony.

LIVELY PERFORMANCES

The three-hour show televised on CBS featured performances from old and new names in country music including Church, Dierks Bentley, Kelly Clarkson, Carrie Underwood and Lambert, who performed "Mama's Broken Heart."

"The Voice" judge Shelton joined co-host Luke Bryan to kick off with a rendition on Shelton's "Boys 'Round Here," on which they were also joined by Sheryl Crow.

Oklahoma native and former "American Idol" winner Carrie Underwood, who was nominated for Female Vocalist of the Year, performed her single "Two Black Cadillacs" while fellow "American Idol" winner Kelly Clarkson sang "Don't Rush."

Following ACM awards tradition of pairing veteran and new artists together, Tim McGraw and Keith Urban sang with Swift on "Highway Don't Care," while Brad Paisley and John Mayer teamed up to perform "Beat This Summer," ending with a crowd-rousing guitar riff.

Hayes performed with Motown legend Stevie Wonder on Hayes' new single "I Want Crazy" and Wonder's song "Sir Duke." Wonder closed out the show with his classic track "Signed. Sealed. Delivered."

Singer Reba McEntire introduced a tribute to late television host and producer Dick Clark, with country music artists George Strait and Garth Brooks singing Brooks' "The Dance" and Strait's "Cowboy Rides Away."

Newcomer duo Florida Georgia Line, formed by Brian Kelley and Tyler Hubbard, picked up the fan-voted award for New Artist of the Year and performed their hit single "Cruise" on the show.

Husband-wife duo Thompson Square won Vocal Duo of the Year, while Alabama group Little Big Town won Vocal Group of the Year.

(Reporting By Piya Sinha-Roy in Los Angeles; Editing by Todd Eastham)


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Sunday, April 7, 2013

Hi, I'm Rick Ross. What Do You Think My New, Pro-Rape Lyrics?

This is a game that rappers perfected back in the early 90s.  And it goes like this: release lots of outrageous lyrics, break a lot of laws, provoke intense outrage (Senator outrage a bonus), and cash your check.  

The latest practitioner of this black art?  Rick Ross, one of the most controversial (and death-threat'd) rappers 'in the game' right now.  Here's his 6 step process for generating controversy, and making a lot of money.

Sony by Rocko, featuring Rick Ross.  Ross' offending lyric: 

"Put molly all in her champagne /

She ain't even know it /

I took her home and I enjoyed that /

She ain't even know it." 

(full song here)

RapRehab founder Paul Porter organizes a change.org petition, starts the hashtag #RRR, and urges action from top record label heads and station owners (645 signatures so far...)

Michigan-based 103.7 The Beat pulls all Rick Ross and Lil Wayne songs (Wayne was pulled for an earlier song that unfavorably referenced Emmit Till).

Other sources, like the Urban Daily, react.

"It is not acceptable to preach the practice of drugging women to have sex with them 'without them even knowing.' If she didn’t know she didn’t give consent. And if she didn’t give consent she was raped. You’re out here telling your fans that it’s cool to rape women and YOU don’t even know it."

Already covering: MTV, Huffington Post, Digital Music News, New York Daily News.

Much more ahead.

Ross talks to Q93.3 in New Orleans...

"There's certain things you can’t tweet. I want to make sure this is clear, that woman is the most precious gift known to man, you understand? There was a misunderstanding with a lyric, a misinterpretation. The term rape wasn’t used. I would never use the term rape in my records. As far as my camp, hip-hop don’t condone that, the streets don’t condone that, nobody condones that. So I just wanted to reach out to all the queens that’s on my timeline, all the sexy ladies, the beautiful ladies that had been reaching out to me with the misunderstanding. We don’t condone rape and I’m not with that."

Images: promotional pics from the 'Aston Martin Music' video shoot.



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Saturday, April 6, 2013

If Streaming Is the Future, Songwriters Are In Deep Trouble...

Two of the top three countries, when it comes to revenue from recorded music, have just reported the figures for last year. US revenue is down by 0.9% and Germany's is down by 3.2%, as none of the countries has seen digital revenue growth offset the loss in physical sales.     

Of course the US relies more heavily on digital revenue, as it accounts for 59% of the music market's dollar value.  In Germany digital only represents 20.5%, and though its revenues from streaming increased by 40%, it still only represents 5% of the total revenue.  In the US streaming revenue grew 9%, yet it's only 15% of total revenues.

If Deezer CEO Axel Dauchez is right and "we see the end of music downloads as coming this year," then musicians are truly in trouble – and songwriters perhaps even more so, as they pretty much solely rely on revenue from recorded music to make a living. 

This past week the latest songwriter royalty statements arrived and, after looking at them, streaming certainly doesn't look like a saviour to us.  It's of course difficult to make a snap conclusion by looking at individual statements – my own statements tend to fluctuate somewhat according to how many songs I had out the previous year and how well they did – but the shares different usages represent tend to remain the same.  And when I compare them with fellow songwriters I can tell they're pretty much representative for all.  So let me give you a peak at what I see.

I receive four statements a year from my collection society/PRO, Sweden's STIM, and two a year from the publisher that owns most of my catalogue, Universal.  In the past year the revenue I've earned via STIM is 7-8 times as much as what I get from Universal, so let’s focus on the STIM ones.

Sweden has been in the forefront of the streaming revolution. During the first half of 2012 streaming represented 89% of all digital music sales in the country.

When the head of Universal Music Sweden (the record label arm), Per Sundin, announced "our artists get significant revenues from Spotify, which is our biggest income source for Sweden", many of my fellow Swedish songwriters wondered why they couldn't see such "significant" revenues from the streaming service themselves.

STIM's royalty statement summaries now separate Spotify income from all other revenue, and on my latest statement it still only represented 4.3% of all my royalties.  Matter of fact, in the previous quarter one of my songs earned £1,500 from Italian "disco" (which I can only assume is club play) alone, while it earned £9 from Spotify streams worldwide.  Thank God for those Italian clubbers and DJs, I say.

Admittedly, my royalty statements cover both local and international income, and the Italian figure was a bit of an anomaly. My music may also just be more popular outside of Sweden, but other songwriters report similar percentages.

I'm of an optimistic nature, as well as a Spotify subscriber, and I would really love to believe that streaming income could somehow offset the loss of income from physical sales and downloads. According to the latest figures only 3.4m Americans pay for on-demand music services – only 1% of the population – so there’s room for growth.

After all, there are signs that streaming is, indeed, cannibalising downloads. As streaming subscriptions increased in Sweden, download revenue fell by 14%.  Meanwhile digital downloads declined for the first time ever in the US, year-on-year, in the first quarter of 2013.

And let’s not even talk about the elephant in the room – YouTube. Despite recently reporting a billion monthly users, songwriters earn virtually nothing from it.  Let's just hope Dauchez is wrong.

Image: Mad Hatters Tea Party in Sydney, Australia. Pic by Eva Rinaldi (licensed under Creative Commons 2.0 Generic).



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Friday, April 5, 2013

Also: Sketchy Statistics, Live Inflation, Bad Brands, Eventbrite, Mixshape, Spotify, JT, Music Matters...

Just a few weeks ago, global trade group IFPI proudly announced that recording sales actually increased for the first time in 13 years.  But are those stats correct?  On Tuesday, the RIAA pointed to a modest US-based decline of nearly one percent in 2012 recording sales (to $7.2 million), just moments after German trade group BMVI pointed to a 3.2 percent decline over the same period. Earlier, the UK-based BPI outlined a sizable, 11.2 percent drop last year.  These are among the biggest music markets, though other question marks are dangling over the IFPI figures...   

Anyway, back to the US-based stats, the RIAA has published some mildly-interesting, year-2012 figures.  That includes continued gains across digital formats, with downloads (singles and albums) both gaining but quickly losing steam.  In 2013, track download sales are now declining, according to stats first unearthed by Digital Music News.

On the streaming side, it looks like 'access' formats now account for 15 percent of overall recorded music sales in the US, also according to the RIAA.  That includes everything from Pandora to Spotify.  More stats ahead.

And what else was being discussed at Canadian Music Week, which wrapped in Toronto last weekend?  Amidst full-day, dedicated touring discussions, the troubled Live Nation remained a conversation starter.  After disclosing another disastrous, $163.2 million loss for 2012, not to mention absolutely dangerous debt levels, some discussion now surrounds the insane, Powerball-style packages enjoyed by the Live Nation president & CEO Michael Rapino ($11.9 million in 2011), Ticketmaster president Nathan Hubbard ($4.1 million in 2011), and a handful of others, not to mention one outrageously expensive parachute for exiting chairman Irving Azoff (Rapino's just-purchased, $14.7 million Brentwood mansion pictured above). 

One insider noted that part of the problem is that the Live Nation board is 'unstable and snoozing' at the moment, especially with a string of high-profile exits and entrances.  That means 'not a leash around' to curb Rapino-like ransoms or questionable decisions, or, to exercise the necessary shaking up.  

Then there's the ticketing front.  Ticketfly had a huge presence at CMW, and this is a company whose disruptive threat seems to be getting more serious by the day.  Bob Lefsetz, a staple at the event, seems to have mellowed after famously ripping Ticketmaster president Nathan Hubbard to shreds, though insiders still question whether Hubbard's penchant for barking orders, hurling tantrums, and cultivating a general climate of fear are coming at the expense of genuinely innovative market responses.

And what's happening with that other massively disruptive ticketing upstart, Eventbrite?  This is a company that desperately wants to expand beyond ticketing bake sales and into Ticketmaster-level terrain, but that's tricky business.  Anyway, you'll be hearing a peep from these guys a bit later...

Other CMW threads surrounded brands, with a huge range of opinions on what they can do for artists and the music industry in general.  David Lowery and Christian Castle were among those crusading against piracy-supporting brands, and perhaps fittingly, Digital Music News published a big piece on Chevrolet's support of Grooveshark's mobile initiatives during the event.  Plenty of others continued to hail brands as big saviors and supporters, despite some obvious mismatches in goals and objectives.  One thing's for certain: these aren't the new labels, if anyone wanted that.

And the rush to help the masses manage all that music continues.  The latest comes from Microsoft, Spotify, and the Echo Nest, a consortium that just birthed MixShape.  This highly-visual solution analyzes your pile of songs, and arranges them in the perfect playlist, not to mention some mood-based slicing-and-dicing.  The project concept is "designed to showcase Microsoft’s tablets and touch-sensitive computers," which sort of explains Microsoft's presence.

Which brings us to our Spotify rumor du jour, one that this time involves the indies.  You see, it seems that some indies are also interested in windowing release strategies and Spotify withholdings, just like your favorite band, Coldplay.  More as it develops.

Also, congratulations to Justin Timberlake, a 90s-kinda-guy who just scored 90s-kinda-sales.  Timberlake's just-released The 20/20 Experience racked first-week sales of 968,000 in the US alone, according to early Nielsen Soundscan stats.

And one more thing: Digital Music News is pleased to announced that we'll be covering Music Matters in Singapore this May, our first trip ever to this important conference.  That follows a recent jaunt to South Korea for MU:CON... see the trend here?

Written while listening to araabMUZIK.  More ahead...



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Exclusive: Streaming Revenues Now Surpass $1 Billion Annually In the US...

That's according to revenue statistics shared with Digital Music News by label trade group RIAA, and it includes everything from Spotify to Pandora to YouTube to Sirius XM Radio.  Anything that falls under 'access' instead of 'ownership,' ad-supported or subscription.  "Collectively, [access services] went from just 3 percent of total industry revenues in 2007 to 15 percent in 2012, totaling over $1 billion for the year," an executive from the group shared.   

The more exact total, according to the RIAA count, is $1.033 billion.  On the subscription on-demand front, the group counted 3.4 million subscribers, averaged across the year.  

Sounds great, but there's only one problem with this picture: streaming revenues are still just a fraction of CD revenues, and CDs are tanking.  Which means the overall pie is also still shrinking (see below).  According to the RIAA, CDs raked $2.5 billion in 2012, though digital formats (including downloads) now account for nearly 60 percent of overall recorded industry revenues.

Unclear is whether upfront advances to companies like Spotify are being factored into this calculation.  The advances, often millions per label, are now becoming a business model unto itself for struggling major labels.  And, according to sources close to these transactions, very little of the advances or subsequent major label payouts make it back to artists.

And what about Pandora, which is currently begging Congress to lower its royalty obligations?  Well, there's a reason why labels have little interest in softening these rates.  According to the RIAA, online radio and satellite formats now account for 44.7 percent of broader streaming revenues.  And that's a lot of money. 



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Thursday, April 4, 2013

Netflix, a Paid Streaming Service, Is Financing Grooveshark, a Free Streaming Service...

Netflix pays millions to license and produce content legitimately, and is willing to pay millions more.  Yet their very existence is threatened by studios and channels that won't give them their stuff, at least at rates that make sense.     

So why, given these issues, would Netflix directly sponsor Grooveshark, a company that bypasses all of these problems with a free, loophole-based streaming alternative?  Especially when this same company could just as easily expand into video with the exact same approach?  A company that is paying pricey lawyers right now to win that right?

Why would anyone feed a company that not only disagrees with your core principles, but might become a serious competitor in the future? 

Updated (March 28th, 10 pm PCT): There's been some confusion over ad networks and whether Netflix knows about this ad.  The answer is yes: this is a full-blown, customized wallpaper ad that was purchased with Netflix's knowledge.  This isn't 'scrap inventory,' and only a small number of other advertisers enjoy this level of exposure and takeover placement.

Top image: beactive (CC 2.0 Generic)



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Please Don't Let Those Foreign-Owned Corporations Destroy Local Radio...

Want to win a complicated issue in Washington?  Then simplify, vilify, terrify, and make sure to take care of your supporters.  Which is exactly what the powerful National Association of Broadcasters (NAB) is doing — not only in Washington, but places like Wyoming.      

That's the home state of Republican Senator John Barrasso, the latest to throw his weight behind the 'Local Radio Freedom Act'.  As a thank you, the NAB is now running this ad in the Casper Star Tribune.   The Act, if passed into law, would keep the status quo, and keep traditional radio royalty-free, at least as it relates to recordings.



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Wednesday, April 3, 2013

Pro Tools Is No Longer the Biggest Digital Audio Workstation...

That's according to Digital Music Doctor, which has been tracking Digital Audio Workstation (DAW) popularity since 2004.  And the latest results are pretty surprising: instead of Pro Tools, Imageline's FL Studio now takes the cake, both on a quarterly and yearly average basis.  

One thing to keep in mind is that this is not based on actual unit sales, rather popularity across search engines (Google, Yahoo+Bing), social networks (Facebook, Twitter) and YouTube. 

Also of note: Native Instruments' Maschine just entered as a fourth-ranked package, displacing Apple's GarageBand to number five. 

Written while listening to Bassnectar and Amon Tobin.



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Data Shows That Most Deezer 'Users' Are Zombie Accounts...

So it turns out that despite all the heady optimism surrounding streaming services, adding subscribers is actually pretty difficult.  In fact, getting non-paying free users to simply stick around also turns out to be really hard - and we're talking about free stuff here.    

According to industry analyst Mark Mulligan, this is the reason why Spotify churns through nearly two million subscribers just to get 400,000 to stick around (in any capacity), and why Rhapsody is treading water on their subscriber levels.  It also may help to explain why Deezer has an inactive, zombie 'userbase' of approximately 20 million.  These are registered accounts, that are never getting logged into.

Here's the side-by-side comparison of Spotify and Deezer, and presented by Mulligan at a recent symposium at SXSW.



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Tuesday, April 2, 2013

Right Now: Looting Live Nation, Spotify Asia, Ek vs. Mulligan, Fanzy, The Stones, Daft Punk, Coachella...

Is this just a shakeup waiting to happen? We bring you one highly implosive Live Nation, where monumental losses are rivaled only by equally-monumental executive salaries.  It's a recipe for crash-and-burn disaster, and insiders are now pointing Digital Music News to a very handsome allocation of stock options for a group of half-a-dozen Live Nation top brass.  These all seem to be options with a $0 strike, which means huge, mega-million payoffs starting early next year, though insiders emphasized that these payouts are contingent upon some 'performance benchmarks'.  Of course, exactly how difficult those benchmarks are remain an entirely different question, with one suggesting a laughably low bar.  

Separately, Live Nation is remaining very quiet on whether top-level execs like CEO Michael Rapino were granted raises during the loss-heavy 2012 (Rapino was paid roughly $12 million in 2011).  That information should be leaking anytime now...

Which brings us to another financial mess, Spotify.  Unfortunately, Spotify seems to be getting frozen out of Canada, with sources pointing to tundra-like licensing conditions and standstills.  That was a big bummer at CMW, though it doesn't seem to be the case in Singapore, Malaysia, and Hong Kong.  That's where one China-based source pointed to a launch 'within 2.5 weeks,' though we've learned to be cautiously optimistic on license-dependent announcements.

Ek v. Mulligan: thank goodness this isn't a remix.  Spotify CEO Daniel Ek is suddenly on the defensive after respected industry analyst Mark Mulligan exposed a massive amount of churn.  During a SXSW presentation (first reported by Digital Music News), Mulligan noted that Spotify burned through 1.9 million registered users just to hang on to 400,000 at some point in 2011; Ek defended the extreme churn by pointing to churn-plagued 'successes' like Twitter and even Facebook.  Others, like Deezer and Rhapsody, seem to be getting overwhelmed by extremely heavy abandonment rates that may be endemic to the space. 

Which brings us to the real solution for this mess: a brand new, Spotify logo.  Here it is folks...

Elsewhere, social-focused startup Fanzy has just raised $550,000, thanks to a round led by Kima Ventures (Rapportive, Sparrow), Start Capital (State.com, Senzari) and OREFA.  Fanzy is heavily focused on Facebook loyalty rewards, and music partners include Nirvana and LMFAO.  Cofounder Tuhin Roy told Digital Music News that the latest round brings the overall funding level to about $1.5 million.

And this rumor was true: The Rolling Stones will indeed be playing Glastonbury, which kicks off June 28th.  Oh, and Daft Punk won't be playing Coachella, according to official word from the electronica phenoms.

Which brings us to some fun, Coachella rumors.  Apparently the two-weekend, 'clone it' format was actually a compromise with local officials, at least according to the latest scuttlebutt.  "They're looking at a huge demand that they can only partially satisfy, so they needed a much, much bigger event," the source told Digital Music News.  The only problem, as local politics goes, is a small armada of blue-haired ladies that opposed a mega-event and almost drove the festival to a different locale.  "If you're a local official you can't tell those little old ladies to go beat it, because they're the only ones that vote," the source quipped.



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Sales of Timberlake's new album beat expectations in first week

U.S. singer Justin Timberlake arrives for the BRIT Awards, celebrating British pop music, at the O2 Arena in London February 20, 2013. REUTERS/Luke Macgregor

U.S. singer Justin Timberlake arrives for the BRIT Awards, celebrating British pop music, at the O2 Arena in London February 20, 2013.

Credit: Reuters/Luke Macgregor

LOS ANGELES | Tue Mar 26, 2013 8:28pm EDT

LOS ANGELES (Reuters) - Justin Timberlake's first album since 2006 made a bumper U.S. debut, selling an unexpectedly better 968,000 copies in the first week since its release, according to figures on Tuesday from Nielsen SoundScan.

"The 20/20 Experience" gave Timberlake, 32, the top spot on this week's Billboard 200 album chart and marked the singer's best solo effort yet.

The heavily-promoted release from the former N'Sync boy band singer had been expected to sell about 750,000 copies in its first week.

But after warm reviews and fan fever, the album sold almost 300,000 copies more than the first week sales for Timberlake's last release - 2006's hit album "FutureSex/LoveSounds" - despite an overall decline in album sales in recent years.

"The 20/20 Experience" marks Timberlake's musical comeback after focusing on his movie career in films like "The Social Network" and "Friends with Benefits," launching his own record label, investing in social networking website MySpace, and marrying actress Jessica Biel.

Despite the big first week, Timberlake came in below country-pop singer Taylor Swift's debut in November 2012 when her "Red" album sold 1.2 million copies in its first week.

Timberlake's "The 20/20 Experience" was released on RCA Records, a unit of Sony Music Entertainment.

This week's full Billboard 200 album chart will be released on Wednesday.

(Reporting By Jill Serjeant; Editing by Paul Simao)


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Monday, April 1, 2013

Motown songwriter, producer Deke Richards dies at 68

n">(Reuters) - Deke Richards, who led the prolific songwriting and producing team at Motown Records that wrote for the Jackson 5 under the simple heading The Corporation, has died, Universal Music said on Monday.

Richards, 68, died on Sunday at the Whatcom Hospice House in Bellingham, Washington, surrounded by his immediate family, Universal Music said in a statement. He had been battling esophageal cancer, it said.

Richards, whose real name was Dennis Lussier, along with Motown founder Berry Gordy, Alphonzo Mizell and Freddie Perren comprised "The Corporation," the label's in-house producers and writers in the 1960s and 1970s.

The Corporation wrote and produced the Jackson 5's first three songs to reach No. 1: "I Want You Back," "ABC," and "The Love You Save," as well as many others, Universal said. Richards also wrote for Diana Ross, Martha Reeves & the Vandellas, and other artists.

Richards is survived by his wife, Joan Lussier; his brother, Dane Lussier; and nephews Chris Lussier and Cory Lussier.

(Reporting by David Bailey in Minneapolis; Editing by Catherine Evans)


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New album, NBC's "The Voice" make for awesome times for Blake Shelton

Blake Shelton speaks at the 46th Country Music Association Awards in Nashville, Tennessee, November 1, 2012. REUTERS/Eric Henderson

Blake Shelton speaks at the 46th Country Music Association Awards in Nashville, Tennessee, November 1, 2012.

Credit: Reuters/Eric Henderson

By Vernell Hackett

NASHVILLE, Tennessee | Thu Mar 28, 2013 12:35pm EDT

NASHVILLE, Tennessee (Reuters) - Country music singer Blake Shelton has never been one to shy away from his feelings, so when it came to recording his new album he sought out songs that reflected his current state of mind.

Life, he says, is "pretty awesome."

"It's all where I am in my life right now. I'm very content with my life. I'll be happy if it stays like this for a long time," Shelton, 36, told Reuters of his new album "Based on a True Story..."

After some 10 years in country music, Shelton's popularity has surged in his two years as a judge on NBC's "The Voice" singing contest, which is seen by about 13 million U.S. viewers a week.

The new album's first single, "Sure Be Cool If You Did," released in January, has already topped the U.S. country chart. "Based on a True Story...," released to coincide with the return of "The Voice" this week, is expected to debut near the top of next week's album chart.

"I didn't want to do any sad songs, damn it, but this is a country album so you have to do a couple," said Shelton.

"I had those years where I made those kinds of records and something will happen one of these days and it will be a part of my music again. But right now everything is pretty awesome," he added.

Shelton, 36, is the latest country star to break into the mainstream. His 2011 album "Red River Blue," reached No. 1 on the Billboard 200, buoyed in part by the singer's laid-back, fun-loving role on the TV show.

On the new album, Shelton, who forms a country music power couple with singer-wife Miranda Lambert, sings about tried-and-true country themes, including good ol' boys, picking up girls, being in love, losing the love of his life and bad jobs.

"The album is the story of my life from start to finish and I thought 'That's what we should call it because it is based on a true story,'" Shelton said.

The singer, who won the Country Music Association's Entertainer of the Year in 2012, said he wants people to get to know his personality through his music and "The Voice."

"I guess if doing what I did got me that award, I better keep being that guy," said Shelton, whose biggest hits include 2009's "Hillbilly Bone" and 2004's "Some Beach."

Shelton has emerged as the face of the country music industry on "The Voice," in which he and three other judges compete with each other to mentor rising singers and help them win a record deal.

"I've always felt a responsibility to make sure that every step along the way is a good one for our industry," he said. "I'm proud to be that person on 'The Voice' that represents country music."

Shelton will be back in the country music spotlight on April 7 as host for the third consecutive year of the Academy of Country Music Awards in Las Vegas.

(Reporting by Vernell Hackett, editing by Eric Kelsey, Jill Serjeant and Jackie Frank)


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