You may have heard the tiff going on between Guitar World cover boy and the idol of pot-bellied prog-rock-loving Indonesian Harley -Davidson enthusiasts Joe Satriani had filed suit against UK rock gods Coldplay, claiming that Coldplay's vivacious "Viva La Vida" song of the eponymous album contains "substantial original portions" of Satriani's own song "If I Could Fly".
And while it's not really easy to imagine that this champion of endless screeching guitar solos (an act I consider to be a form of musical masturbation) could be in any way responsible for one of 2008's most ass-kicking rock singles, the two songs do share remarkably similar riffs, evidence of which can be found in many a Youtube video.
Not long after Satriani filed suit, Coldplay released the following statement claiming that Satriani didn't have anything to do with "Viva La Vida": "Joe Satriani is a great musician, but he did not write the song *Viva la Vida'. We respectfully ask him to accept our assurances of this and wish him well with all future endeavors." Satriani did not accept those assurances, of course. I mean, come on! That was kind of lame. The Associated Press reports that lawyers for Coldplay have once again insisted that Satriani didn't write the song, this time in court.
Yesterday, they filed a response in a Los Angeles federal court, claiming that "If I Could Fly" "lacks originality" and doesn't warrant copyright protection. According to Billboard, Satriani's lawyer believed the matter could've been resolved out of court, which is usually where cases like this end. Coldplay are sticking to their guns, though, and they stand to lose all kinds of money if the court rules against them. In the meantime, the members of Coldplay don't appear to be losing any sleep. They've been busy recording their Viva La Vida follow-up with uber-producer Brian Eno.
British-Sri Lankan hip-hop queen M.I.A. (born: Mathangi Arulpragasam named her first album after her father, a controversial Sri Lankan revolutionary figure, and she often uses revolutionary slogans and imagery in her music and presentation. Her politics have ruffled many feathers of those government types in Colombo. In recent months, her ladyship's statements about Sri Lanka's ongoing civil war have manage to irk people once more.
In late March, M.I.A. apparently lent her support to the Mercy Mission to Vanni (http://vannimission.org) , a British campaign to send supplies to civilians trapped in the fighting between the Tamil Tigers, who seek independence from the country at large, and the Sri Lankan Army. Now, a representative for the Sri Lankan Navy has made statements to a Sri Lankan newspaper about how these supplies may in fact be intended for the Tigers themselves and how the country's Navy will fire on any unauthorized vessel entering the country's waters.
Alt-country rockers and good ol' Kentucky boys My Morning Jacket are prepping a new seven-song live EP recorded in their native Louisville to be released exclusively in America's finest indie music shops on April 18. The EP, dubbed Celebraci*n De La Ciudad Natal, was recorded in 2008 at Louisville's own indie music haven, Ear-X-Tacy, as well as the city's picturesque Waterfront Park; it'll be available as a CD and in limited edition 10" double vinyl form.
In a very non-mainstream minded statement about the release, the band wrote, "It is so important that we realize that it is our local businesses and people (and natural landscapes, but that's a different letter) that are what make different towns worth coming to." Don't expect a Wal-Mart-only DVD from the boys.
Westlife captivates Jakarta fans in Face to Face tour
The show was delayed for an hour but the crowd did not lose enthusiasm when Kian Egan, Mark Feehily, Nicky Bryne and Shane Filan finally appeared during their Westlife Face to Face Asian Tour concert in Jakarta.
During the event on Sept. 12 at Senayan Tennis Indoor Stadium, Central Jakarta, the boy band, founded seven years ago, performed 17 songs, ranging from songs from their first album, Swear it Again to the newborn Face to Face, which was released in November 2005.
Indonesian Idol 2006 finalists Ihsan and Dirly appeared as guest singers during the opening of the concert.
Jakarta was the final destination in their Asian tour with previous stops in the Philippines, Korea, Singapore, Hong Kong and Taiwan.
The band and entourage were obviously not deterred by discouraging reports of terrorism, pollution and natural disasters from making a third visit to Indonesia after previous visits in 2000 and 2001.
""We are never reluctant to visit Indonesia. Amid the rumors, it is a great pleasure for us to contribute a day of happiness for our Indonesian fans,"" said Westlife.
Westlife put on a captivating show with a performance blended with energetic dances, to the fans' delight.
""After the experiences we've had since our first album, we are now wiser about performing,"" Westlife earlier had told a press conference.
Westlife is no less without Bryan McFadden, who decided to leave the band in 2004 for family reasons.
""His decision was a shock for us. But we took no offense. Now, Westlife is more closely knit. The solidarity is even stronger,"" said the boy band.
When Bryan announced his decision he said that he needed to devote more of his time to his family life with former Atomic Kitten member, Kerry Katona and their children.
Bryan then started a solo career, entering the charts at number one with his first solo single, Real To Me.
In Face to Face, Westlife gave second wind to some old songs--You Raise Me Up, Desperado (The Eagles), In This Life (Collin Raye) and When You Tell Me That You Love Me, a song produced in collaboration with Diana Ross.
""We are not recycling old songs in this new album. Nowadays, it is hard to find good songwriters. But if there are any good songs, we will not hesitate to accept them,"" said Westlife.
""It was a golden opportunity for us to collaborate with Diana Ross because she is a living legend. She was very energetic during the shooting of the music video, and that was really surprising,"" told the band.
Besides Diana Ross, Westlife has collaborated with some of the biggest names in the music industry -- Mariah Carey, Donny Osmond, Lulu and Donna Summer.
To them, having the opportunity to collaborate with other singers, especially the seniors, is a blessing.
""There will be another collaboration with another singer, but it is still a secret. We will announce it soon,"" said Westlife.
Westlife has become more popular ever to fans, as shown by its strengthening position in the music industry.
The Jakarta concert, organized by Java Musikindo, attracted an audience of almost 3,000.
""The performance was amazing. But I was disappointed because the stage setting was not what most of us expected. It should have been better for a renowned band like Westlife,"" Silvia, a fan, told The Jakarta Post.
According to Silvia, with the high price of the tickets, fans had high expectations about the concert.
""Indonesian Idol's stage was better ... although the spectators paid nothing for the show,"" said Silvia, who said she had come to Westlife's previous two concerts.
However, she said that the venue chosen for this year's concert was much more comfortable compared with that for the first two, which were held at the Istora Senayan and Soemantri Brodjonegoro Sports Center.
""During the first concert in 2001 at Istora Senayan, many spectators fainted and it caused chaos that night. The place was too small, given the huge crowd,"" Silvia said.
During the event on Sept. 12 at Senayan Tennis Indoor Stadium, Central Jakarta, the boy band, founded seven years ago, performed 17 songs, ranging from songs from their first album, Swear it Again to the newborn Face to Face, which was released in November 2005.
Indonesian Idol 2006 finalists Ihsan and Dirly appeared as guest singers during the opening of the concert.
Jakarta was the final destination in their Asian tour with previous stops in the Philippines, Korea, Singapore, Hong Kong and Taiwan.
The band and entourage were obviously not deterred by discouraging reports of terrorism, pollution and natural disasters from making a third visit to Indonesia after previous visits in 2000 and 2001.
""We are never reluctant to visit Indonesia. Amid the rumors, it is a great pleasure for us to contribute a day of happiness for our Indonesian fans,"" said Westlife.
Westlife put on a captivating show with a performance blended with energetic dances, to the fans' delight.
""After the experiences we've had since our first album, we are now wiser about performing,"" Westlife earlier had told a press conference.
Westlife is no less without Bryan McFadden, who decided to leave the band in 2004 for family reasons.
""His decision was a shock for us. But we took no offense. Now, Westlife is more closely knit. The solidarity is even stronger,"" said the boy band.
When Bryan announced his decision he said that he needed to devote more of his time to his family life with former Atomic Kitten member, Kerry Katona and their children.
Bryan then started a solo career, entering the charts at number one with his first solo single, Real To Me.
In Face to Face, Westlife gave second wind to some old songs--You Raise Me Up, Desperado (The Eagles), In This Life (Collin Raye) and When You Tell Me That You Love Me, a song produced in collaboration with Diana Ross.
""We are not recycling old songs in this new album. Nowadays, it is hard to find good songwriters. But if there are any good songs, we will not hesitate to accept them,"" said Westlife.
""It was a golden opportunity for us to collaborate with Diana Ross because she is a living legend. She was very energetic during the shooting of the music video, and that was really surprising,"" told the band.
Besides Diana Ross, Westlife has collaborated with some of the biggest names in the music industry -- Mariah Carey, Donny Osmond, Lulu and Donna Summer.
To them, having the opportunity to collaborate with other singers, especially the seniors, is a blessing.
""There will be another collaboration with another singer, but it is still a secret. We will announce it soon,"" said Westlife.
Westlife has become more popular ever to fans, as shown by its strengthening position in the music industry.
The Jakarta concert, organized by Java Musikindo, attracted an audience of almost 3,000.
""The performance was amazing. But I was disappointed because the stage setting was not what most of us expected. It should have been better for a renowned band like Westlife,"" Silvia, a fan, told The Jakarta Post.
According to Silvia, with the high price of the tickets, fans had high expectations about the concert.
""Indonesian Idol's stage was better ... although the spectators paid nothing for the show,"" said Silvia, who said she had come to Westlife's previous two concerts.
However, she said that the venue chosen for this year's concert was much more comfortable compared with that for the first two, which were held at the Istora Senayan and Soemantri Brodjonegoro Sports Center.
""During the first concert in 2001 at Istora Senayan, many spectators fainted and it caused chaos that night. The place was too small, given the huge crowd,"" Silvia said.
'Rock Parade' set to rock Jakarta
The Java Jazz Festival has gained its foothold as the biggest musical event in the capital. Now rockers will get the chance to "regain" their glory with the Jakarta Rock Parade, a three-day rock festival that will gather rock stars from different generations.
The festival, which, like the Java Jazz, will involve multiple stages, will be held on July 11-13 at the Senayan Tennis Indoor stadium.
"It is part of our appreciation of Indonesian rock music, which once dominated the country's music scene. This is also to promote Indonesia as one of the biggest rock centers in Asia," the event's organizer, Jimmy Johansyah, said.
More than 60 local rock bands from various rock sub-genres, ranging from classic acts like Roxx, Flowers, Voodoo and Gang Pegangsaan to alternative acts like Rumah Sakit, The Upstairs and Efek Rumah Kaca, have confirmed their participation. Metal bands such as Getah and Koil are also on the list.
Andy Tielman, a member of the Indonesian legendary rock band Tielman Brothers, who made their recordings and gained popularity in Europe in the 1960s, will make a special appearance at the event.
"The rock community will have a nostalgic moment with the Tielman Brothers, one of the world's legendary bands from Indonesia. Andy Tielman was one of the world's best guitarists," Jimmy said.
A number of international rock bands, such as Yeah Yeah Yeah, BMX Bandits and many others, he added, would also take part in the parade.
"We are still waiting for confirmation from some other bands," he said.
The parade will also present a new local band, Rock Chamber, which will perform rock tracks accompanied by a classical music ensemble. Jimmy said he was trying to get Discus, one of the country's most progressive rock bands, to join the festival.
He said that even though it was a rock festival, the organizer would try to make the atmosphere as comfortable as possible.
"Our targeted visitors vary from seniors to teenagers, as we will present bands from the 60s, the 70s, the 80s, the 90s and the 2000s," he said.
Besides concerts, there will also be exhibitions and a "rock clinic", where top musicians will share their skills and knowledge with visitors.
Jimmy said it would be the biggest rock festival ever held in the country.
"We hope to hold this (festival) annually," he said, adding it would serve as an alternative to the more prevalent jazz festivals in the capital.
The festival, which, like the Java Jazz, will involve multiple stages, will be held on July 11-13 at the Senayan Tennis Indoor stadium.
"It is part of our appreciation of Indonesian rock music, which once dominated the country's music scene. This is also to promote Indonesia as one of the biggest rock centers in Asia," the event's organizer, Jimmy Johansyah, said.
More than 60 local rock bands from various rock sub-genres, ranging from classic acts like Roxx, Flowers, Voodoo and Gang Pegangsaan to alternative acts like Rumah Sakit, The Upstairs and Efek Rumah Kaca, have confirmed their participation. Metal bands such as Getah and Koil are also on the list.
Andy Tielman, a member of the Indonesian legendary rock band Tielman Brothers, who made their recordings and gained popularity in Europe in the 1960s, will make a special appearance at the event.
"The rock community will have a nostalgic moment with the Tielman Brothers, one of the world's legendary bands from Indonesia. Andy Tielman was one of the world's best guitarists," Jimmy said.
A number of international rock bands, such as Yeah Yeah Yeah, BMX Bandits and many others, he added, would also take part in the parade.
"We are still waiting for confirmation from some other bands," he said.
The parade will also present a new local band, Rock Chamber, which will perform rock tracks accompanied by a classical music ensemble. Jimmy said he was trying to get Discus, one of the country's most progressive rock bands, to join the festival.
He said that even though it was a rock festival, the organizer would try to make the atmosphere as comfortable as possible.
"Our targeted visitors vary from seniors to teenagers, as we will present bands from the 60s, the 70s, the 80s, the 90s and the 2000s," he said.
Besides concerts, there will also be exhibitions and a "rock clinic", where top musicians will share their skills and knowledge with visitors.
Jimmy said it would be the biggest rock festival ever held in the country.
"We hope to hold this (festival) annually," he said, adding it would serve as an alternative to the more prevalent jazz festivals in the capital.
Jamiroquai and Jakarta boogie down amid rumors of future show
It may have been 12 years since concert promoters first tried to get legendary English acid-jazz band Jamiroquai to play in Indonesia, but there was certainly no love lost for the hundreds of fans who turned out for Wednesday night's long-awaited performance.
As soon as the band launched into their opening track "The Kids", and notorious front man Jason Kay (Jay Kay) leapt on stage in flares and trilby hat, the crowd exploded into cheers of hysteria reserved specially for musicians of truly superstar status.
"Jakarta, are you reading for some boogie?" asked Jay Kay as he broke out into a funky 2-step dance across the stage. His charisma and energy appeared as fresh now as he approaches 40 as it was in 1993 when Jamiroquai's debut album, Emergency on Planet Earth, was first released to critical acclaim.
Since those early days at the forefront of England's acid-jazz scene until Wednesday's show at the recently-completed Sentul City Convention Center, Jamiroquai have sold more than 20 million albums worldwide and developed stylistically to include rock, house, and electronic influences into their iconic funk-based sound.
The band line up has changed several times since its conception, but long-serving members Derrick McKenzie (drums) and singer Jay Kay (the "face" of the band, often incorrectly labeled a solo artist) still perform together. Along with six other musicians, including two fantastic backup vocalists, Kay and McKenzie took the audience on a voyage through the almost two-decade spectrum of their unique sound.
This concert was the first ever at Sentul, located inconveniently on the toll way heading toward Bogor. Intense peak hour traffic jams (both getting there AND leaving the venue), and the exorbitant ticket prices (Rp 750,000 for the nosebleeds, Rp 2.5 million for front row) were not enough to deter fans or quell the pre-show excitement. Punters queued up to get a photo with a large poster of the silhouetted "Buffalo Man", the icon depicted on the cover of all Jamiroquai's earlier albums which eventually became something of a cult symbol for the band.
The show opened with a support performance from Indonesian singer Dima and her 6-piece band, whose slick, up-tempo vibe got the crowd suitably prepared for the main act. The girls in the audience went wild when Dima announced that Afgan, a local star, would be joining her for a duet on a number called "Together", and congratulated her when she announced she was 6 * months pregnant and sang a love song for her soon-to-be child.
The sound quality at Sentul is phenomenal and on par with top international venues, but a significant number of empty seats (most likely due to prices) made the interior feel inappropriately empty. The lighting was great, but a large blacked-out section in the screen behind the stage spoiled the projected images.
Following a rowdy rendition of the Indonesian national anthem, the excitement could not be contained and once the lights went down the crowd screamed until the "The Kids" from The Return of the Space Cowboy heralded the arrival of funk superstars Jamiroquai. From the opener into "High Times" from their third album Traveling Without Moving, it was clear this was going to be a very special show. The group gelled as if under instruction from one mind, keeping the groove tight even as they experimented with open, improvised sections in the middle of tracks. If a track veered off tangent, it would suddenly be snapped right back into a familiar riff or chorus in a flash, grounding the audience after the soulful diversion.
"It's taken too long to get here, but now we're here and we're very happy for that," Jay Kay said of Jamiroquai's long absence from Indonesia before their third track, "Seven Days in Sunny June", (combined in a medley with "Alright").
Jamiroquai have clearly established a solid fan base in Indonesia. The audience, ranging from teenagers to middle-aged, knew all the words, the right moments to clap and even dance moves from film clips to songs both old and new. Whether banging out "Little L", "Black Capricorn Day", "Canned Heat" or "Love Foolosophy", the crowd was right into it the whole way.
The show reached a particular high during the hit track "Cosmic Girl", when the crowd, tired of trying to dance in cramped seats, jumped the barriers enclosing the front-row seats to boogie in the open area directly below the stage. Suddenly the party vibe was electric, and everybody was singing, spinning and having a great time, with Jay Kay yelling out, "That's better, that's more like it! What happened there?"
The only notable absence from the show was Jay Kay's legendary wardrobe changes, particularly his penchant for bizarre, hand-designed head wear. The futuristic American-Indian feathered headdress, which appeared in its mirror-adorned glory in past show and on album covers, did not make an appearance this time around. Some punters also lamented not seeing a performance of the hit single "Virtual Insanity" or the inclusion of the didgeridoo, which featured in the track "Journey to Arnhemland", but all round reviews post-gig were flowing in praise.
Of course, with the concert the night before the legislative elections, and with Jay Kay a strong supporter for democracy in Burma, politics had to have a mention.
"I hope everybody is going to vote tomorrow," Jay Kay said, echoing comments earlier by Dima as well. "It is very important, many people around the world wish they could vote but can't."
A blistering encore performance of "Deeper Underground" had the grandiose and power of an opening track and left the audience euphoric and begging for more. While for Jamiroquai fans of the early 90s this performance was literally years in the making, rumors are circulating about their return for the Java Jazz Festival in 2010, rumors helped along by none other than Jay Kay himself.
"Thank you Jakarta, you have been fantastic! And we will probably see you," he paused, with a cheeky grin, "early next year. Good night!"
Chandra satria: Moving to the front
His face may not be familiar, but longtime lovers of Indonesian music may feel a twinge of recognition when they hear Chandra’s smooth vocals.
Chandra has been in a succession of groups and also performed backing vocals for many of the country’s top performers – the late Chrisye, Ruth Sahanaya, Krisdayanti, Titi DJ, Titiek Puspa – in the grand and glitzy SRO concerts popular in the 1990s and early years of this century.
With the release of his second album, Chandra joins the bevy of single-name male singers vying for air time amid the current fad for boy bands. The difference is that, unlike the 20-something Ello and Afgan, Chandra is, at 37, more cuddly than boy-next-door cute and took 13 years to make his debut solo album.
He laughs off the popular notion of backing singers desperately waiting for a big break, gnawing on their knuckles as they pray for their chance at center stage.
It was his dream, he says, but during that time he was learning his craft and about the workings of the business, as well as developing the network that is helping him today. His “teachers” included the groups he performed with as a vocalist over the years, from the top-40 KSP Band, the jazz group 4U Band and then Acoustic Punch, which focused on show tune numbers.
“Actually, I’m very grateful,” he says. “People ask me, ‘how come you’ve only just made an album after 13 years?’ I think of it the other way around, that I’m thankful after 13 years to make this album, and the network that I have acquired over this time helped me a great deal on the first album and on the second.”
On his debut album Hati Yang Terdalam (The Deepest Heart), released in 2007 and produced by Tohpati, he sang a duet with Ruth. On his second, Ingatlah Diriku (Remember Me), released at the end of last year, he teams up on the title track with another former client, Malaysian singer Sheila Majid. It has become a hit on several local radio station charts.
Someone who says he sets targets in his life that must be achieved even if it takes longer than he expected, Chandra also has his own interior design business and recently established a music distribution and remixing company with several partners.
Music and interior design (an assortment of furniture is featured on his second album cover, a nod to the latter profession) are his “hobbies”, he says, and it’s a bonus to be able to earn money doing the things he loves.
Born the third of four children of a doctor in Padang, West Sumatra, Chandra Satria grew up singing along to music programs on TV and then taking part in talent competitions.
He does not say it outright, but singing was probably not considered a viable profession holding secure prospects for a doctor’s son.
“They were OK about it,” he says of his family. “The good thing is that my parents really just let me do my own thing, let me try it for myself. I do remember taking part in a singing competition in junior high and winning it, and being by myself. But it wasn’t a big thing for me. And of course the next day my parents saw the trophy and were excited about it.”
A career in music seemed an even more unlikely prospect when he moved to Bandung to study architecture at Parahyangan University. Inevitably, with his musical leanings and powerful voice, he eventually became part of the close-knit musical community of the West Java capital. He joined KSP Band in 1991 and three years later was selected as a back-up singer for Chrisye at the Jakarta Convention Center.
Before the dawn of the reality show era, when everybody and their brother is now fixated on becoming a celebrity, Chandra says being a supporting artist bore its own sense of accomplishment and responsibility.
“It was enjoyable. In 1994, there weren’t that many backing vocalists so we were really starting from zero. Preparation for one concert could take from four to six months, imagine that.
Sometimes the lead singer would rely on the backing singer to make them even better ... Right now, maybe because it’s easier to find jobs than before, it’s not the same. I was proud to be the backing vocalist for Chrisye, for Sheila Majid, to help Erwin Gutawa. I don’t see that as much today – they just do the back-up singing.”
Now the one out front facing the music, he says the responsibilities of being professional are not too different, it’s only the position is different. His family also supports his career choices.
“My family is pretty modern – what’s good for you, then do it. They see that I have released two albums, that I’m doing a duet with Sheila Majid, and they also know I’m continuing my interior design business. They’re proud I think.”
A steady presence, he admits to butterflies when meeting up once against with his musical idols.
“I was shaking a bit,” Chandra says of Sheila Majid’s attendance at the Jakarta media launch of the Ingatlah Diriku. “But I think being nervous before a performance is a good thing.”
He performed his hit song live last week on the popular Dahsyat TV music show, the teenage audience bopping along to the tune that fits firmly into the adult contemporary genre.
“I think I’m giving more of a choice to music listeners in Indonesia, particularly Jakarta. You see veteran musicians like Elfa’s Singers coming out with new albums now. I think the important thing is how we maintain things, so that I come out with an album but I remain a presence through being consistent in what I do,” he says.
“I’m confident that even if my album isn’t a huge hit, I will still have my own group of fans.”
Legendary Reggae Percussionist Larry McDonald Teams up with MCPR Music and Producer Sidney Mills to Present an Innovative Rhythmic Masterpiece Entitle
Jamaican Dub Veteran Larry McDonald Premiers a Percussion Arsenal of New Works Off of His First Solo Record of His Storied Four-Decade Career
NEW YORK, NY - Jamaican master percussionist Larry McDonald is at the heart of MCPR Music and the record labels “Drum Fusion" project. McDonald, who is highly regarded by many as a premier percussionist in the world / reggae genre is now residing in New York City but his career began at the heart of the Jamaican reggae/ska scene with a list of credits that includes but is not limited to collaborating with such beloved artists as: Bob Marley, Peter Tosh, Toots & the Maytals, Bunny Wailer, Bad Brains, Taj Mahal, Earnest Ranglin, the Skatalites, Gil Scott Heron, Lee Scratch Perry and Soulfly. The boundary pushing percussionist is also a founding member of two highly touted New York City reggae acts, The Rocksteady 7 and Dub is a Weapon.
Teaming up for a groundbreaking collaboration with MCPR Music, Larry McDonald crowns a storied four-decade career with his first solo album entitled, Drumquestra. Steered by veteran reggae producer Sidney Mills (Sly and Robbie, Steel Pulse), Drumquestra is a personal and captivating percussion orchestration and dance floor masterpiece that McDonald lovingly calls a drummical experience.
Andre Swanepoel, Media Marketing Manager of MCPR Music notes, The MCPR Music family are thrilled to be working with the legendary Larry McDonald as we are dedicated to bringing to the masses an unprecedented movement that we hope will inspire the world to embrace the art of percussion as a cultural exchange.
Drumquestra triumphantly distills McDonald's own epic percussion explorations, starting with Jamaican mento and ska in the 1960s, and flowing through the exciting cross-currents of influence that McDonald absorbed in Africa, Brazil, and Cuba and beyond.
“I wanted to take percussion elements from all countries because drums from Cuba, Africa and Brazil, they resonate with me just like family. Larry explains. “I knew that rhythms from many places could work together to develop different textures. I wanted to take the Jamaican rhythms I was familiar with, like kumina and rasta and weave them together into a foundation of old and traditional sounds but introduce them as new with diverse beats and textures."
That quest led McDonald to delve into his own roots, recording organically with-in the Green Grotto caves at Runaway Bay on Jamaica's North Coast which was the inspiration behind the exuberant, shaza-driven track World Party. Pure sounds from the ocean and caves are highlighted on Mento In 3. McDonald also features Bongo Shem & the New Creators, a kumina drumming group from the mystic St. Thomas area, for the sacramental track Backyard Business.
Larry coined the unusual Drumquestra title for the crew who brought his cherished vision to life -- a unique orchestra uniting generations of Jamaican drummers including: Sly Dunbar, Isaiah “Stickie" Thompson, Bongo Herman, Carl McCleod, Marjorie Whylie, Alvin Haughton and three drummers from the Mystic Revelation of Rastafari. In addition, McDonald recruited Royo Smith on bass, Simba Messado on repeater and Delroy “Putus" Williams on funde. Drumquestra also features guest lyrical performances by dub poet Mutabaruka on Free Man and Ras Tesfa on Drum Say. Veteran reggae legend Toots Hibbert (Toots and The Maytals) is featured on What About the Children and Stranger Cole can be found pairing up with his son DJ Squidly on the poignant Crime or Music. Scat vocalist Bob Andy delivers on the historic tribute, You Got Jazz? and MCPRs own DJ Shazas exuberance romps through the healing shout-out of Brotherman and the more meditative track Peace of Mind, on which he's joined by the singer, J.D. Smoothe.
Drumquestra is a wonderfully unabashed drum album with 15 tracks of reggae, dub and world music featuring Larry McDonald and his drum orchestra playing over 20 different percussive instruments. A powerful mixture of textures, grooves, blood and guts all ranging in influence. Drumquestra is a special mixture of intensity and beauty, a cultural experience that transcends boundaries without blurring them, a zest of rhythmic improvisation tantalizing decks and playlists from Boston to Brixton and Bali.
NEW YORK, NY - Jamaican master percussionist Larry McDonald is at the heart of MCPR Music and the record labels “Drum Fusion" project. McDonald, who is highly regarded by many as a premier percussionist in the world / reggae genre is now residing in New York City but his career began at the heart of the Jamaican reggae/ska scene with a list of credits that includes but is not limited to collaborating with such beloved artists as: Bob Marley, Peter Tosh, Toots & the Maytals, Bunny Wailer, Bad Brains, Taj Mahal, Earnest Ranglin, the Skatalites, Gil Scott Heron, Lee Scratch Perry and Soulfly. The boundary pushing percussionist is also a founding member of two highly touted New York City reggae acts, The Rocksteady 7 and Dub is a Weapon.
Teaming up for a groundbreaking collaboration with MCPR Music, Larry McDonald crowns a storied four-decade career with his first solo album entitled, Drumquestra. Steered by veteran reggae producer Sidney Mills (Sly and Robbie, Steel Pulse), Drumquestra is a personal and captivating percussion orchestration and dance floor masterpiece that McDonald lovingly calls a drummical experience.
Andre Swanepoel, Media Marketing Manager of MCPR Music notes, The MCPR Music family are thrilled to be working with the legendary Larry McDonald as we are dedicated to bringing to the masses an unprecedented movement that we hope will inspire the world to embrace the art of percussion as a cultural exchange.
Drumquestra triumphantly distills McDonald's own epic percussion explorations, starting with Jamaican mento and ska in the 1960s, and flowing through the exciting cross-currents of influence that McDonald absorbed in Africa, Brazil, and Cuba and beyond.
“I wanted to take percussion elements from all countries because drums from Cuba, Africa and Brazil, they resonate with me just like family. Larry explains. “I knew that rhythms from many places could work together to develop different textures. I wanted to take the Jamaican rhythms I was familiar with, like kumina and rasta and weave them together into a foundation of old and traditional sounds but introduce them as new with diverse beats and textures."
That quest led McDonald to delve into his own roots, recording organically with-in the Green Grotto caves at Runaway Bay on Jamaica's North Coast which was the inspiration behind the exuberant, shaza-driven track World Party. Pure sounds from the ocean and caves are highlighted on Mento In 3. McDonald also features Bongo Shem & the New Creators, a kumina drumming group from the mystic St. Thomas area, for the sacramental track Backyard Business.
Larry coined the unusual Drumquestra title for the crew who brought his cherished vision to life -- a unique orchestra uniting generations of Jamaican drummers including: Sly Dunbar, Isaiah “Stickie" Thompson, Bongo Herman, Carl McCleod, Marjorie Whylie, Alvin Haughton and three drummers from the Mystic Revelation of Rastafari. In addition, McDonald recruited Royo Smith on bass, Simba Messado on repeater and Delroy “Putus" Williams on funde. Drumquestra also features guest lyrical performances by dub poet Mutabaruka on Free Man and Ras Tesfa on Drum Say. Veteran reggae legend Toots Hibbert (Toots and The Maytals) is featured on What About the Children and Stranger Cole can be found pairing up with his son DJ Squidly on the poignant Crime or Music. Scat vocalist Bob Andy delivers on the historic tribute, You Got Jazz? and MCPRs own DJ Shazas exuberance romps through the healing shout-out of Brotherman and the more meditative track Peace of Mind, on which he's joined by the singer, J.D. Smoothe.
Drumquestra is a wonderfully unabashed drum album with 15 tracks of reggae, dub and world music featuring Larry McDonald and his drum orchestra playing over 20 different percussive instruments. A powerful mixture of textures, grooves, blood and guts all ranging in influence. Drumquestra is a special mixture of intensity and beauty, a cultural experience that transcends boundaries without blurring them, a zest of rhythmic improvisation tantalizing decks and playlists from Boston to Brixton and Bali.
Balinese performers share with W&M community
While a storm raged outside of Phi Beta Kappa Hall last week, a small group of William & Mary professors, students and community members sat on the floor of the Dodge Room and combated the growling thunder with the sounds of traditional Balinese sacred performance.
The workshop came a day after Wayang Kali, an experimental shadow theater troupe, performed in the Kimball Theatre as the final event in this year’s Ewell Concert Series.
The show, which was directed by I Made Sidia, recounts “the traditional Hindu Mahabharata tale from the perspective of Kali, the Goddess of Death,” according to the Ewell Concert brochure. It blends contemporary and traditional elements of Balinese shadow theater and features narration and poetry by acclaimed Indonesian author Goenawan Mohamad.
Shadow theater is used in Balinese temple ceremonies to tell portions of the Hindu Mahabharata and Ramayana epics. The shadow master, or “dalang,” sits behind a screen and control dozens of carved leather puppets to tell the stories.
Monday’s Balinese dance workshop was offered in conjunction with the Wayang Kali performance. During the workshop, I Made Sidia, one of Bali’s most renowned shadow masters, spoke about his background and family, the origins of the Bali’s dances and their uses today. A workshop with the troupe’s musicians was also offered to composition students on Sunday afternoon at the Kimball Theater.
According to Francis Tanglao-Aguas, director of Asian Studies and assistant professor of theatre, speech, and dance, performance in Bali is for the protection of the community because all performance and art is “dedicated and done for the pleasure of the gods.”
“These ‘gods’ are a combination of the pantheon of Hindu gods as well as the indigenous Balinese spirits and gods which the Balinese held on to during the conversion to Hinduism of the islands,” he said. “As a result, the word ‘dance,’ ‘theatre,’ ‘stage-play’ and even ‘performance’ all fall short in translating what truly happens when all these four facets are utilized in Bali.”
Anna Wagner, a junior majoring in art, went to both the shadow theatre performance and Monday’s workshop. She said she really enjoyed the performance and wanted to learn more about why they put everything together the way they did and how the performers got involved in it.
“I’m making masks and I’m thinking about doing something like this eventually, so I like the way they are all working together and how they combined puppetry and craft and music. It was really engaging,” she said.
The workshop came a day after Wayang Kali, an experimental shadow theater troupe, performed in the Kimball Theatre as the final event in this year’s Ewell Concert Series.
The show, which was directed by I Made Sidia, recounts “the traditional Hindu Mahabharata tale from the perspective of Kali, the Goddess of Death,” according to the Ewell Concert brochure. It blends contemporary and traditional elements of Balinese shadow theater and features narration and poetry by acclaimed Indonesian author Goenawan Mohamad.
Shadow theater is used in Balinese temple ceremonies to tell portions of the Hindu Mahabharata and Ramayana epics. The shadow master, or “dalang,” sits behind a screen and control dozens of carved leather puppets to tell the stories.
Monday’s Balinese dance workshop was offered in conjunction with the Wayang Kali performance. During the workshop, I Made Sidia, one of Bali’s most renowned shadow masters, spoke about his background and family, the origins of the Bali’s dances and their uses today. A workshop with the troupe’s musicians was also offered to composition students on Sunday afternoon at the Kimball Theater.
According to Francis Tanglao-Aguas, director of Asian Studies and assistant professor of theatre, speech, and dance, performance in Bali is for the protection of the community because all performance and art is “dedicated and done for the pleasure of the gods.”
“These ‘gods’ are a combination of the pantheon of Hindu gods as well as the indigenous Balinese spirits and gods which the Balinese held on to during the conversion to Hinduism of the islands,” he said. “As a result, the word ‘dance,’ ‘theatre,’ ‘stage-play’ and even ‘performance’ all fall short in translating what truly happens when all these four facets are utilized in Bali.”
Anna Wagner, a junior majoring in art, went to both the shadow theatre performance and Monday’s workshop. She said she really enjoyed the performance and wanted to learn more about why they put everything together the way they did and how the performers got involved in it.
“I’m making masks and I’m thinking about doing something like this eventually, so I like the way they are all working together and how they combined puppetry and craft and music. It was really engaging,” she said.
IPod: Gift 'Fit For A Queen' Might Violate Copyright Law
Jumat, 03 April 2009
This week, President Barack Obama gave the Queen of England an iPod preloaded with 40 tracks from Broadway shows. Did doing so violate the copyright law?
Fred von Lohmann at the Electronic Frontier Foundation says the answer might be yes.
Had Obama given the Queen a physical CD, he clearly would have been on solid legal ground thanks to the "first sale" doctrine, which allows people to resell or give away merchandise they've purchased. But, Lohmann writes, "because digital technology is involved here, suddenly it's a legal quagmire."
Lohmann considers several scenarios, including one where Obama or a staffer purchased the music from iTunes. The first problem for the president in that case is people might not own the tracks they download. "Copyright owners have consistently argued in court that many digital products (even physical 'promo' CDs!) are 'licensed,' not 'owned,' and therefore you're not entitled to resell them or give them away," he says.
Next, copying the tracks to an iPod meant for the Queen might in itself violate the statute, because Apple says the songs can only be copied for "personal, noncommercial use."
This means that Obama would be left arguing that giving away the iPod was a "fair use" -- which might be a justifiable position, but is hardly a slam dunk given the huge variety of opinion about what constitutes fair use.
Lohmann's point isn't that Obama is potentially a scofflaw, but that the law needs to be changed. As he put it: "You know your copyright laws are broken when there is no easy answer to this question."
Law professor Eric Goldman at Santa Clara University agreed. "It's a neat little question. Can you give a gift of an iPod preloaded with music," he told Online Media Daily. "The answer should be, 'Of course he can.' The fact that it's cloudy at all is, I think, really damning about the state of copyright law."
Fred von Lohmann at the Electronic Frontier Foundation says the answer might be yes.
Had Obama given the Queen a physical CD, he clearly would have been on solid legal ground thanks to the "first sale" doctrine, which allows people to resell or give away merchandise they've purchased. But, Lohmann writes, "because digital technology is involved here, suddenly it's a legal quagmire."Lohmann considers several scenarios, including one where Obama or a staffer purchased the music from iTunes. The first problem for the president in that case is people might not own the tracks they download. "Copyright owners have consistently argued in court that many digital products (even physical 'promo' CDs!) are 'licensed,' not 'owned,' and therefore you're not entitled to resell them or give them away," he says.
Next, copying the tracks to an iPod meant for the Queen might in itself violate the statute, because Apple says the songs can only be copied for "personal, noncommercial use."
This means that Obama would be left arguing that giving away the iPod was a "fair use" -- which might be a justifiable position, but is hardly a slam dunk given the huge variety of opinion about what constitutes fair use.
Lohmann's point isn't that Obama is potentially a scofflaw, but that the law needs to be changed. As he put it: "You know your copyright laws are broken when there is no easy answer to this question."
Law professor Eric Goldman at Santa Clara University agreed. "It's a neat little question. Can you give a gift of an iPod preloaded with music," he told Online Media Daily. "The answer should be, 'Of course he can.' The fact that it's cloudy at all is, I think, really damning about the state of copyright law."
Free calls and air traffic control: iPhone apps of the week
Do you have an app that you wish was on the iPhone, but hasn't been developed or ported over yet? Certainly we all have our wish lists when it comes to apps, but one that I've been waiting for since the beginning is the chat and VOIP program, Skype (Mac or Windows). Fortunately, the folks over at Skype have finally put together a great app for iPhone and if you've never used Skype, I'm here to tell you why you will be soon.
This week's apps include Skype for iPhone and a simple game that offers an excellent interface for simulating one of the most difficult (and most stressful) jobs in the world.
Skype (Free) for iPhone and iPod Touch(!) lets you make calls to other Skype users for free with great sound quality and an easy to navigate interface. Current Skype users can login using their regular username and password or you can create a new account from the app. From there, simply add contacts who also use Skype and you'll be able to call them and text them without using your AT&T minutes or effecting your text limit. What might be even better, if you own an iPod Touch, all you'll need is a headset with a microphone to use your iPod Touch just like a phone!
In order for it to work smoothly, you'll need to have a reliably strong Wifi or 3G connection when you call and Edge users may experience some problems. To enable voicemail or get your own online phone number, you'll need to sign up with Skype at their Web site, but the rates are pretty affordable. Even without a paid plan, as long as you tell your friends to download Skype on their phone and let them know you're calling beforehand, you'll be able to talk as long as you want, wherever you want to call, without using your minutes.
FlightControl (99 cents) seems like a relatively simple game at the beginning, offering 2D graphics with you looking down at an airport runway. As passenger jets begin to fly into your airspace, your job is to draw the flightpath to the runway so that the plane can safely land. Sounds easy right? The only problem is, it gets much harder. Soon, biplanes and helicopters begin to show up and they each have their own runway and landing zones. As the game progresses your screen will become covered with aircraft and it gets harder and harder to direct them to their landing spot without a mid-air collision. If there's one collision your game is over.
I downloaded this game a week ago and I still keep coming back to try to get a new high score. Flight Control is both incredibly challenging and very addicting and definitely worth the 99 cent price tag.
What do you think? What app do you wish would come out for the iPhone? Have you used Skype yet? What's your high score at Flight Control (mine is in the screenshot at the time of this post)? Let me know in the comments!
Mayer admits kissing Perez Hilton
After years of rumour and speculation, John Mayer finally confessed that he kissed celebrity blogger Perez Hilton at a New Year's Eve party in 2006.
Perez has always claimed this story was true and now it seems Mayer has decided to come clean.
Speaking during a stand-up performance he said: "He had to go tell people that I made out with him at a club. I never said anything but you know what, you're damn right I made out with him at a club."
Jennifer Aniston's ex made the admission during his Mayercraft Concert Cruise this weekend, a five-day cruise featuring sets from John and other singers.
John continues, "I was thinking about going gay. Every man has thought about going gay. It's usually like 2:23 in the morning you wake up. 'Oh God, interesting!' We seem to leave out the details, don't we guys?"
Last year, Hilton told Ryan Seacrest's KIIS-FM radio show that Mayer had "kissed me and I kissed him back."
The blogger, who offered to take a lie detector test to prove his story, added: "I thought he was messing with me. Then he kept going and going."
Jennifer and John split up in March this year, amid rumours that he wasn't ready to settle down.
With More Than Games, DSi Widens Playing Field
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Like Nintendo’s fabulously popular Wii console, this new version of Nintendo’s hand-held DS, which is being released on Sunday, succeeds because it reimagines what fun can mean. And it does so in an immediately accessible way.
Yes, there are the requisite cosmetic improvements. The DSi, which will sell for $169.99, is a bit thinner and has slightly larger screens than its predecessor, the DS Lite. That’s nice, but hardly earth-shattering. The big technical leap is that the DSi adds two cameras, a removable media card slot and the ability to play digital music. (It still plays any of the more than 800 DS games.)
Any other company would have been satisfied to add new hardware features. But Nintendo’s genius lies in understanding that people increasingly crave interaction in their entertainment, not only with products but with other people. And beyond merely allowing you to decide what to shoot or what to listen to, a digital camera or an iPod does not provide an interactive experience.
With an iPod you are not actually interacting with the music; you are merely listening. Likewise, most digital cameras merely capture images. They do not even pretend to try to make playing around with the images as much fun as taking them.
These are precisely the areas that make the DSi so innovative. The DSi transforms pictures and music from static artifacts into the raw material for hours of hilarity — on a bus, on a beach, in a bar, in a park or even at home, where you might think there would be no niche for a hand-held device.
As far as pictures go, the DSi is not trying to be a camera buff’s camera. Its resolution is sufficient for Facebook but hardly for serious portraiture. (One camera faces inward, toward the user, while the other points outward.)
But then the joy of the DSi’s camera function is in distorting pictures, comparing your face with that of a friend, adding funny sunglasses or noses or mustaches to a picture. It is in creating carnival-style photo cutouts so you can easily superimpose the face of one friend on the body of another.
This is not professional image editing. It is, however, just the sort of thing that any group of friends of any age should be able to sit around laughing and playing with for hours.
The photo play in the DSi is a bit more obvious in its appeal, but the music and sound functions are perhaps even more impressive.
They start with the ability to record audio clips with the built-in microphone. Then you can start changing the pitch and tempo independently (for example, just making something faster doesn’t necessarily make it higher). Then you can play it backward.
That’s fun, but you have even more powers. You play your own voice-overs on top of real digital audio tracks. You add congas or cymbals or drums or hand claps or shoe taps to the beat of your favorite songs. While you’re playing along, maybe you’re also controlling a mini Mario game, in which the coins Mario needs to collect represent the wavelengths of the music itself.
These are all experiences you can enjoy with friends because the DSi has built-in speakers, unlike most music players. Or you can just plug in headphones, close the DSi’s lid and make it your full-time personal music player. (It can access songs copied from an iTunes folder to a digital media card.)
Many of the interactive functions of the DSi are available as parts of full-fledged computer programs. The DSi, however, makes them portable and easier to use.
By focusing on simple, infectiously enjoyable activities for friends rather than on expensive graphics technology, the DSi appeals in almost exactly the same manner as the Wii does for the home console. In that arena Sony and Microsoft were so busy thinking about hard-core, big-budget games that the simple idea of creating a virtual bowling alley in millions of living rooms didn’t occur to them. Similarly, the DSi makes most other portable game machines and digital music players seem downright unimaginative.
Nintendo has already sold more than 100 million units since introducing the original DS in 2004. With the DSi, the company will almost certainly extend its lead over Sony’s PlayStationPortable. Indeed, the company that should be most concerned about the DSi is not Sony but Apple.
Royalty Dispute Stops Music Videos in Germany
BERLIN — YouTube has stopped showing music videos in Germany as a dispute over royalty payments in Europe spreads.
Under the old agreement, Google had agreed to pay a set fee to GEMA for every streamed music video. Neither party would disclose the previous payment amount.
Negotiations on a new agreement broke down after GEMA sought to raise the fee to 1 euro cent (1.3 United States cents) a video and asked Google for a detailed list of which music videos had been viewed.
YouTube, the largest video streaming Web site in the world, has 13 million users in Germany, a spokesman, Henning Dorstewitz, said. Each user watches at least one music video a month on average, so the new cost would add up to payments of more than 1.6 million euros annually.
Mr. Dorstewitz called the payment demanded by GEMA prohibitive.
“Under GEMA’s proposed terms, we would lose significant amounts of money with every playback,” he said.
YouTube began blocking music videos from its site in Britain on March 9, three months after its contract expired with the Performing Rights Society, a British agency representing artists. The British group is seeking 0.22 of a cent for each streamed video from YouTube, far less than what the German group is requesting.
Representatives for the German and British agencies said they had not asked Google to remove the videos.
Mr. Dorstewitz said Google removed the videos to avert any lawsuits from artists.
Bettina Müller, a spokeswoman for GEMA, said her agency, which represents 62,000 songwriters, composers and music publishers, needed detailed information on which videos were viewed so it could distribute fees to appropriately.
Other online music video businesses, like MusicLoad, SevenLoad and ClipFish, give GEMA detailed lists on their music video viewership on a regular basis, Ms. Müller said.
“I find it hard to believe that Google is not in a position to do the same thing,” she said.
Jens Thele, the managing director of Kontor Records, a music publisher in Hamburg, said consumers might switch their viewing to illegal Web sites or services where no copyright fees are paid.
“This is really a disaster for everyone involved,” said Mr. Thele, whose company publishes German musicians like Scooter, ATB and Fedde La Grand.
Europe’s system of quasi-official agencies and societies with the power to impose copyright fees is largely absent in the United States, where businesses typically negotiate one-time payments with rights holders.
By contrast, national agencies in Europe are large — GEMA collected 850 million euros in copyright fees last year alone — and relatively opaque, rarely disclosing details on how they distribute the money.
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Pussycat Doll Nicole Scherzinger Talks Solo Album, 'Domination 2.0'
Kamis, 02 April 2009
Chief Pussycat Doll Nicole Scherzinger says her long-awaited solo album "may come more sooner than later," but after two years of projected release dates and delays she's not about to set one now.
"I think it'll just come out when it wants to come out, on its own," Scherzinger tells Billboard.com. "I'm still working on my album, and I'm very excited. I'm a relentless perfectionist. I get one chance to put out a first (solo) album, so when the right time comes I will put it out."
Scherzinger has been working on the album, tentatively titled "My Name is Nicole," since 2006. She's released several singles -- "Whatever U Like," "Baby Love," "Puakenikeni" and "Supervillian" -- while several of the other songs considered for the project turned up on the Dolls' 2008 released "Doll Domination." The current incarnation of the album, she says, "is just in the works and in talks and in the writing process. I haven't started recording yet." She hopes to hit the studio in the summer, after the Dolls finish their run opening for Britney Spears and then tour Europe again.
"I'll be excited to get back with old friends -- will.i.am., Timbaland," says Scherzinger. She also plans to work with good pal Lady Gaga and hopes to continue a new association with Academy Award-winning Indian composer A.R. Rahman, who collaborated with Scherzinger and the Dolls on an English version of his "Slumdog Millionaire" track "Jai Ho!," now subtitled "You Are My Destiny," which peaked at No. 15 on the Billboard Hot 100.
"I was really happy to...be part of 'Jai Ho! (You Are My Destiny)' because that kind of was a foreshadowing of what's coming from me in the future," Scherzinger explains. "I'm embarking on a lot of new territory and trying different directions."
"Jai Ho! (You Are My Destiny)" will appear on "Doll Domination 2.0," which comes out April 14. The new version of the set also includes "Top of the World," the Dolls' theme song for the MTV series "The City," a dance remix of the ballad "Hush Hush" that samples in Gloria Gaynor's "I Will Survive" and a new song called "Painted Windows."
Scherzinger acknowledges that "it's a new life, a new push for ('Doll Domination')," which has been a commercial disappointment since its September release, selling less than 400,000 copies so far in the U.S. "In this industry these days, that's what we're trying to do, always put new music out there and get people to pay attention. So this is a way for people to get new songs of ours and for people who haven't picked up 'Doll Domination' to get another spin of our music."
Bow Wow Celebrates New Album With Special Concert For Fans
NEW YORK — Bow Wow may have left the "Lil" behind, but his concert on Tuesday night proved that the rapper is still a hit with screaming young girls. Bow celebrated the release of New Jack City II with a party at Santos Party House.
While most artists opt for 21-and-older venues with V.I.P sections for their album-release festivities, Bow Wow decided to give back to his fans with a special public concert hosted by MySpace.
Fans were packed behind barricades waiting to get into the show on the chilly night, but most didn't seem to mind.
One fan, Stella, said she's been a Bow Wow fan ever since she can remember and already "loves" the new album. "I love all of the songs. I just love Bow Wow!" she screamed.
Another fan, Jada Newman, referred to Bow Wow as her "husband" and swore she was the MC's "number-one fan."
The love between Bow Wow and his fans is mutual.
"If it wasn't for them I wouldn't be here." he told MTV News on the red carpet. "To have seven album and be 22 [years old], that means a lot ... and it's only right that I invite [the fans] and MySpace and everybody out here. I'm just happy to be a part of the whole situation," he said.
Photographers flashed away at the young artist as he arrived at around 10 p.m., dressed in a black hoodie and black baseball cap, paired with the traditional rap uniform: baggy jeans and bling. Bow kept his sunglasses on for photos while joking he was covering up a black eye.
Bow Wow promised a more grown-up sound on New Jack City II and hailed it as his favorite of the seven studio albums he's released.
"[There's] nothing like current music, that's always the key and I'm just happy to have music that represents me."
Inside, Bow Weezy hit the stage armed with the swagger and confidence of older MCs, but he was met with the kind of crying and shrieking you might see at a Jonas Brothers concert.
"How many of you guys have the new album?" The fans responded in excitement and Bow Wow proceeded to dedicate the next song to T.I. On the new album Bow Wow collaborates with T.I. for the upbeat track, "Been Doin' This."
The screams only got louder when mentor/ producer Jermaine Dupri joined Bow Wow onstage. The duo continued to put their beef to rest and performed the hits "Rock the Mic" and the remix version of "Oh I Think They Like Me." While JD stepped aside to enjoy the music from offstage, Bow Wow forged on with "Fresh Azimiz," as well as songs from his new album.
Onstage, Bow-Wow teased the crowd with his smile and his muscles, wiping sweat from his brow and throwing the towel into the audience. "How many of ya'll have been rocking with me since day one?" he asked the crowd. Not only did the question get a screaming response, but Bow Wow put down his mic and the crowd sang the lyrics to "Bounce With Me" from his debut LP, Beware of Dog.
So what's left for Bow Wow after seven albums, movies and legions of screaming fans?
"What's next? Getting more money, I guess," he laughed.
Mic to Turn an iPod Touch Into a Phone
Updated: Truphone has not yet set a price for their microphone attachment. It was originally stated in this post that the microphone would be free.
Truphone, best known here as a cheap international VoIP call service, is making a push to expand service in the United States.
As a part of that expansion it wants to put iPod Touch owners on its phone service, said Tom Carter, president for North and South American Operations for Truphone, and today’s record holder for longest official title.
So in the next 30 days Truphone will offer a microphone adapter that turns an iPod Touch into a Wi-Fi phone, he said. The price has not yet been set, but in Britain, the microphone costs around $14. Truphone is even including a voucher for $5 worth of minutes with the mic (you do have to buy $5 worth of minutes from Truphone, so it’s more of a two-for-one arrangement). The deal is already available in Britain, as you can see by the photo
By Roy Furchgott
Skype, the popular voice-over-Internet service, comes to iPhone, iPod Touch
BY Matt Marrone
DAILY NEWS STAFF WRITER
Running low on rollover minutes?
Never fear, Skype is here.
The popular voice-over-Internet phone service was released as an iPhone and iPod Touch application early Tuesday morning via a free download on iTunes.
Skype for iPhone [iTunes link] won't replace your cell phone plan - calls can only be made over a WiFi connection, not on 3G or EDGE - and there's an extra charge for phoning landlines and other cell phones. Still, calling another Skype user via the application is free - and you can use the app to chat with friends even if there's no WiFi signal available.
The first version of the application does leave off some of the more advanced features, like SMS, file transferring and Skype voicemail.
Skype isn't the first VOIP-enabled application to hit the iTunes store. The competition includes apps like Nimbuzz and Fring, two instant messaging clients that partner with Skype to support calls via WiFi.
New iPod shuffle saw 50 percent sales increase in first week
Sales are aparently looking quite good for the new iPod shuffle, according to the NPD Group. Barclays analyst Ben Reitzes analyzed a recent report by NPD, and has declared that sales of the iPod shuffle rose by over 50 percent in the first week that the device was on sale, according to AppleInsider. Overall iPod sales, however, are down.
New iPod models usually give a bit of a sales bump, so the increase itself isn't too surprising. A sales increase of 51 percent during the iPod shuffle's first full week on sale is a bit more than usual, though. Sales of the device rose another 10 percent during its second week on sale. And, due to decreases in iPod nano and iPod touch sales, the iPod shuffle now accounts for about 25 percent of all iPods sold.
The overall iPod sales numbers show sales dropped by 38 percent year-on-year during the same week that iPod shuffle sales grew by 51 percent, and fell by 21 percent year-on-year the week before as well. Reitzes predicts that iPod sales for the quarter may be down 14 percent compared to the first calendar quarter of 2008, a pretty substantial decrease. He also mentions that the NPD figures don't include sales from some sources, like the online Apple Store, so it's possible that the sales numbers will still be a bit higher than analyst estimates.
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