Miley Cyrus Breaks Her Own Streaming Record with "Flowers" – Digital Music News

Photo Credit: Raph_PH / CC by 2.0
After her hit song “Flowers” became the most-streamed song in a week in Spotify history, Miley Cyrus managed to outdo herself by setting the record for the second week in a row. While Spotify hasn’t shared specific numbers, the single first set the record during the week of January 19, after it debuted at Number 1 on the Billboard Hot 100.
The success of “Flowers” has made her entire discography blossom anew, with an impressive 65% boost last week. It also boosted the streaming numbers of Bruno Mars’ “If I Was Your Man,” which “Flowers” refers to without sampling directly.
In the realm of record-breaking moments on Spotify, Mariah Carey, in late December, broke the platform’s single-day global streaming record with “All I Want for Christmas is You,” generating more than 21.2 million plays in 24 hours. Meanwhile, 2023 kicked off with The Weeknd’s “Blinding Lights,” surpassing Ed Sheeran’s “Shape of You” to become the most-streamed song in Spotify history.
That said, the revenue associated with millions of streams remains significant. Still, the payout model employed by streaming platforms like Spotify means that only an elite few are getting the lion’s share of the payout. Spotify has a more extensive user base than ever, even as the company cuts jobs and corners amid the tech industry’s financial downturn. The company even experienced an outage that lasted a few hours last week, impacting some of the time people could stream music and podcasts.


Melbourne Band Announces That It's Illegal To Sell Their … – The Music

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Is this funny? Is this concerning? It’s hard to say!
(Pic by Robert ‘Squid’ Collins)
Melbourne band Private Function have posted an entertaining yet concerning clip on social media, with vocalist and primary songwriter Chris Penney claiming that the band’s forthcoming to-be-announced album is banned from being sold in South Australia.
Is this a publicity stunt? Is this a genuine attempt at censoring a group already known for making raucous punk music? Who can say for sure?
“So this might be an Australian music industry first,” the band begins on Instagram. Private Function’s record label, named after their ever-present slogan, Still On Top, “isn’t legally allowed to sell the new PF album in South Australia,” the band claims.
They add, “This isn’t a joke either. It’s illegal to sell, it’s illegal to distribute and ~apparently~ it’s illegal to own the new Private Function record in South Australia lol. It’s the dumbest thing ever. You’ll find out why real soon.” Check out the video below.
Private Function haven’t announced the follow-up to their 2020 album, Whose Line Is It Anyway, but hinted that it would be out early this year after dropping a clip last Halloween.
The Music has reached out for more information.
On Halloween, Private Function returned with Seize And Destroy, a frantic number that might be the toughest number in their expansive discography.
Chris Penney said that Seize And Destroy is the third instalment of a “Destroy” trilogy: “As a teenager, I found it weird that the Stooges had a song called Search and Destroy, and Metallica have a song called Seek and Destroy, so I wrote part three, Seize and Destroy, which marks the finale of those two songs.” The track is indeed a love letter to both the Stooges and Metallica, invoking the attitude and fury of ’80s thrash metal. Hell yeah.
The track was recorded with Chris Wright (A Swayze and the Ghosts) and mixed by Matt Duffy (Rolling Blackouts Coastal Fever, Bench Press) to concoct a vicious atmosphere of blood-curdling vocals, electrifying shreds, and epic bass lines.
The video is not for the faint of heart – the band members jam in bone-shivering woodlands as they slowly realise that Bananas In Pajamas are hunting them. Seize And Destroy features on Private Function’s upcoming album, to be released soon, showing how effortlessly the band switches between genres.

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Music Album reviews with Ian Sinclair: January 29, 2023 – Morning Star Online

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RELEASED at the end of last year, the stupendously good second longplayer from Field Guide — AKA Dylan MacDonald — deserves to be better known.
“These are the truest, rawest songs that I’ve ever written,” the Canadian singer-songwriter comments. “I’ve never felt so sure about something I’ve made before.”
His confidence is well-placed: the set is alive with killer melodies, an intimate, laid-back delivery, and a welcome consistency in sound and mood — hallmarks of many a classic album.
Recorded in part in rural Manitoba, the record’s downbeat indie folk feels slightly out of time, much more suited to the mid-2000s.
He mentions M Ward as an inspiration but I hear strong echoes of fellow troubadour Hayden on Remember When, Elliott Smith when he reaches for the high notes and even the phrasing of Coldplay’s Chris Martin on Cracked Open.

HAILING from County Cavan, Ireland, folk singer and songwriter Lisa O’Neill’s the new album is quite simply a modern masterpiece.
Imbued with an extraordinary gravitas, many of the tracks slowly build in intensity, the droning orchestration raising the emotional pressure to breaking point.
“I was scared of the Underground in London / And the speed of my generation,” she sings at one such thrilling point on If I Was A Painter.
And what a distinctive voice, moving from a deep Irish brogue to echoing Joanna Newsom naivety in just one line — check out her sense of awe at the natural world on Old Note. The title track is inspired by Patrick Kavanach’s 1942 poem The Great Hunger.
John Francis Flynn, Sheffield ‘s Jim Ghedi and now Lisa O’Neill — fans of innovative, uncompromising folk music have much to celebrate right now.

BASED in their capital city of Lomé, Togo All Stars are the product of the rich melting pot of west African music, wedged between Accra, the home of the Highlife genre, and the mega city of Lagos, the birthplace of Afrobeat.
On their second album the veteran singer Aguey Cudjoe and younger Awumakuga Otu Rodrigue lead the band in working up a big, rhythm-based sound.
The snaking bass lines and pulsating brass are real highlights, as is the percussive skills on show on Adjoguin and the earthy groove of Let Them Say.
Apparently voodoo culture — one of the leading belief systems in Togo, along with Christianity and Islam — plays an integral part in the music.
Nigerian icon Fela Kuti is clearly a big influence, so if you like long, energetic funky jams then do check this promising collective out.
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Coldplay announce 11th album Moon Music and tease when fans will hear them perform it… – The Sun

COLDPLAY told last year how they plan on releasing only three more albums.
But the records are coming far sooner than expected, as the group have almost completed their tenth studio album, which will be called Moon Music.
Despite spending much of the past 12 months on a mammoth stadium tour around the world ­following the release of 2021 chart-topper Music Of The Spheres, they have secretly been hard at work in the studio.
Letting slip about the project, frontman Chris Martin said: “We’re finishing an album called Moon Music which is the second Music of the Spheres volume, but that won’t come out for a little bit.
“We might start playing some songs at some point this year.”
However Chris admitted that teaming up with top acts including BTS and Selena Gomez, and touring with US R&B singer H.E.R., has made him doubt the group’s talents.
In a new interview in Canada, he explained: “We’ve had some amazing guests on albums recently and tours.
“But it’s always slightly deflating because you realise, ‘This person’s so much more talented’ . . . H.E.R. being the primary example. She’s been on tour with us a lot.
“When she comes on stage you just have to sort of take your hat off because it’s a different level of talent.”
The group also revealed how different life on the road is for them as they get older.
They used to play football in their spare time on tour, but had to ditch it for the sake of their wellbeing.
Guitarist Jonny Buckland explained: “We played a game — it was probably about ten years ago — against the crew and I think about four people ended up injured.
“There were people hobbling around the next day in the ­concert and it was like, ‘I don’t think we can do this any more’.”
Chris added: “We’ve had to sort of put that on the side burner, or the no burner. We’ve stopped burning that at all.
“The honest answer is that we’re a bit too old now.
“It’s become more like Uno.”
ORLANDO BLOOM’S ears must have been burning as ex-wife Miranda Kerr hung out with fiancée Katy Perry.
The pop star wore this metallic outfit to pose with the Aussie model at the G’Day USA Arts Gala in Los Angeles on Saturday, where she introduced her on stage and joked about their relationship.
Orlando, who was conveniently absent, divorced Miranda in 2013 after three years, then got together with Katy in 2016.
Miranda has since wed Snapchat co-founder Evan Spiegel.
Katy said: “Some of you might be ­confused about why I’m introducing Miranda.
“That doesn’t play into the ­antiquated narrative of ex-wives and new wives.
“And yes, it’s true, most of the media would like to see us mud wrestle, including Evan.
“But . . . I’m proud to be family with a woman who is living her truth every day with grace and beauty, dedicated to her three beautiful boys, her partner, and that smoking-hot bod.”
KSI has told of his ruthless ­decision-making when it comes to releasing hit singles.
The boxer and YouTuber said that if a collaborator records a verse which he doesn’t like for one of his songs, he simply calls it quits and moves on.
KSI told me: “Honestly, I will work with anyone.
“It’s all based on the song. If it’s a good track then I am happy.
“If I reach out to someone and they come back with a bad verse, I just move on or say, ‘Sorry it’s not going to work out,’ and I find someone who I think is better for the song.”
While cut-throat it seems to be working because he has previously landed eight top ten hits and worked with the likes of Tom Grennan and Anne-Marie.
Now his latest single Voices featuring Oliver Treelooks set to follow suit.
LITTLE MIX’S Perrie Edwards looked incredible in this black mini-dress for a night out on the town.
But she may not appear quite so happy if her old bandmate Jesy Nelson signs to the same record label as her, which looks very possible right now.
Earlier this month it was revealed that Perrie was in advanced discussions with Columbia Records, but music insiders have now told me they are also interested in signing Jesy following a difficult start to her solo career.
It comes weeks after a source at Warner Records told me how they too were keen to get the Boyz singer on their books.
A source said: “Columbia is interested in hearing new music from Jesy.
“They want to see the reaction to her second single, the follow-up to Boyz, which she is planning to release as an independent artist.
“Like Warner, they want to hear Jesy’s sound and, more importantly, see the reaction to it.
“Jesy is well-liked at the label and they are planning to line up an offer.”
Jesy’s second single Cried Out is expected to be released in the coming weeks.
She split from Polydor in July after a disagreement over her artistic direction.
Insiders said Jesy was confident in her sound and excited about the prospects for her solo career.
A second source added: “Jesy loves the music she has made and is looking forward to sharing it with fans.
“She has worked really hard on this and is proud of what she has created.
“She won’t be rushing into any decisions but she is open to offers and will see what suits her best.”
SHE hasn’t had the best luck when it comes to relationships but Sheridan Smith is single and ready to mingle judging by this cap.
The actress was spotted wearing a hat with the word “flirt” written on it, after it was revealed she had signed up to celebrity dating app Raya.
Sheridan, who is currently in rehearsals for a stint in the West End show Shirley Valentine which starts next month, has been single for a year after splitting from her boyfriend Alex Lawler.
But perhaps her luck will change now that she is looking for love online.
Handsome blokes who have also set up profiles on the app in recent months include England player Mason Mount, I’m A Celeb’s Owen Warner and comic Mo Gilligan.
Speaking in 2016, she said of her love life: “What can I say? I don’t pick them very well.”
Here’s hoping she can find a good one, this time.
I HAVE heard of some weird ­phobias in my time, but this one is new to me.
Paul Mescal has admitted he is terrified of tomatoes and that ketchup is his worst nightmare.
The Normal People actor told the Off Menu podcast: “It’s a fear of tomato, like Heinz ketchup.
“I used to go to a childminder after school, and she was lovely, but one day she decided for a snack that she would put an easy single slice of cheese out, spray Heinz ketchup on it, rolled it up, and was like, ‘Here you go’.
“I said, ‘No thank you, I’d rather not have that’.
“She thought I was getting cheeky and she slapped me.
“It was pretty traumatic… Ketchup, I still can’t do.”
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EastEnders favourite leaves after four years in dramatic exit storyline
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Japan’s of Tropique! to Release Debut Album ‘Buster Goes West’ – World Music Central

Tokyo’s of Tropique! is set to release their first full-length Buster Goes West on Electric Cowbell Records on February 3, 2023. Their debut presents eclectic tropical-infused instrumental tunes. Teppei Kondo’s vintage clarinet often takes centerstage, propelled by a pulsating rhythm section that includes guest appearances by guitarist Rolando Bruno and percussionist Mutsumi Kobayashi from Japan’s leading neo-Cumbia group, Minyo Crusaders.
We started recording this album about six months after COVID-19 had come to Japan,” says clarinetist Teppei Kondo. “All gigs had been canceled, and we didn’t know when we could get back to play music again. So we thought we had to record the best things we had at that time because it could be our last work as a band. We took a few hour drive from Tokyo to Studio Chapter H[aus] in Ibaraki prefecture. It is a recording studio designed from scratch by engineer Harunobu Kashimura and famous for its ability to capture real acoustic sound. We needed his help because we really wanted to record the sound of the clarinet, which was the heart part of the band. I play a 95-year-old clarinet (made in 1927) called an Albert System Clarinet. It has a bigger and more ‘primitive’ tone due to less keys and a large bore.”
The sound of Buster Goes West is hard to describe. It has a playful, exotic vibe that echoes old cartoon and spaghetti Western soundtracks with a particular Afro-Caribbean flavor. “The album title is about an Asian guy who goes to a town in a Western country, not knowing much about it,” explains the band. “We don’t think we play Japanese music because we grew up listening to Western music and Japanese music is rather exotic to our ears. Even though the music we make may have some kind of Asian feeling.”
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Beyoncé or Adele? Will history be made, or repeated, at the 2023 … – The San Diego Union-Tribune

Beyoncé or Adele? Kendrick Lamar or Bad Bunny? Willie Nelson or Buddy Guy? Wet Leg or Maneskin? Dave Chappelle or Louis C.K.?
Regardless of who wins or loses at the 65th annual Grammy Awards on Feb. 5, its honcho Harvey Mason Jr. knows exactly what the perfect edition of the Grammys should be like. “Everyone wins every award they were nominated for!” he said, laughing heartily.
Mel Brooks, 96, Willie Nelson, 89, John Mayall, 88, and Buddy Guy, 86, are among the oldest artists to earn nominations

Mason is himself a five-time nominee as a songwriter and producer whose first nomination came for co-writing “He Wasn’t Man Enough, a 2000 hit for Toni Braxton. As of May 2021, Mason is also the first Black CEO in the history of the Recording Academy, the nonprofit music-advocacy organization under whose auspices the Grammys are presented.
That dual perspective makes him uniquely qualified to weigh in on the successes and challenges of the music world’s most prestigious, comprehensive and sometimes controversial annual awards fête.
“There are 91 categories — and one winner per category. That leaves a lot of unhappy nominees,” Mason, 54, said in a recent Zoom interview from his Los Angeles recording studio.

Since assuming his position at the academy, first as interim CEO in January 2020, Mason has spearheaded a series of forward-looking initiatives to make the organization more diverse and responsive to change.
Since 2019, the academy has added 1,913 women to its voting membership, with a goal of adding 2,500 women voting members by 2025. Membership among traditionally underrepresented communities has increased by 38 percent, Mason noted proudly, while Black representation now accounts for 22 percent of the membership, more than double from just a few years ago.

On Thursday the academy will present its second annual Black Music Collective Global Impact Awards at an invitation-only Los Angeles ceremony. The honorees include Dr. Dre, Lil Wayne, Missy Elliot and Epic Records CEO and Chairwoman Sylvia Rhone.
The event is designed in part to inspire communication and forge alliances with Black music-makers who have been critical of the academy in the past.
“We’ve been able to understand things that we can do differently, and better, and make changes,” said Mason, who was instrumental in the academy’s September 2020 creation of its Black Music Collective.
The collective’s launch came just a few months after the Mason-led academy announced its partnership with Color of Change — the nation’s largest online racial justice organization — to create change and new opportunities for Black music-makers.
Asked about the main concerns that have been conveyed to him by people in the Black Music Collective, Mason replied: “It’s pretty specific, and there are also some in-the-weeds details. But mostly they’re saying that we need to make sure that Black music is fairly, equally represented, especially knowing that 33 to 34 percent of music created and consumed is Black music.

“So, we need to make sure we’re cognizant of that as we’re building out everything we do — our membership, our words, our television presence, our (year-round) programs. The time we have had with the with the Black Music Collective has been invaluable to making sure that we’re seeing things through that lens, and making sure we’re paying very close attention to equity around Black music and Black music people.”
As the head of the Recording Academy, one of Mason’s biggest challenges has been to bring greater flexibility and transparency to an organization that has been criticized for being too opaque, too entrenched and too resistant to change.
“My priorities for the year ahead are to try and utilize the power of music and the platform of the academy to do good,” he said.
“So, it comes down to the advocacy work we do. What are we going to do advocate for music people? How are we going to make sure the legislation and other protections are in place for music people to continue to be able to make a living and to be fairly remunerated for their art, their craft? And that comes down to education, making sure the next generation of people are being introduced to music and being educated around music and knowing the power of what music does

“I like to believe the work that we’re doing is very important. And I think that the Grammy Awards show is a great representation of that. But it’s only one night of the 364 other days a year that we’re working to support music people.”

This year has seen the introduction five new Grammy categories, including Best Song for Social Change, Best Spoken Word Poetry Album, and Best Score Soundtrack for Video Games and Other Interactive Media. They join the multiple Grammy categories for hip-hop, Latin, jazz, rock, pop, classical, Americana, gospel, composing, arranging, and more.

Winners in the marquee categories will be announced next Sunday during the 3-½-hour telecast at Los Angeles’ Arena (formerly Staples Center). The show will air in in San Diego on KFMB Channel 8, nationally on CBS and will stream on Paramount+. It will be preceded by the online-only Grammy Premiere Ceremony, where winners in all but 10 or so categories will be announced.
“There were almost 20,000 submissions this year,” Mason said. “So, it’s really difficult to think about all the people that don’t get nominated or don’t win.
“But what we like to think about is the celebration of music. The Grammys are about coming together and highlighting music and the accomplishments of music for the year — the great artists, songwriters, producers, engineers and (other) music people — from all different genres, from all different parts of the world, all uniting around music during Grammy week.”

As in previous years, some of the 2023 nominees have the potential to make history — if they win.
A key example is Puerto Rican reggaeton and Latin-trap vocal superstar Bad Bunny, 28, who last year became the first artist in any genre to headline two back-to-back stadium concerts at San Diego’s Petco Park.
His chart-topping “Un Verano Sin Ti” (“A Summer Without You”) makes the 28-year-old the first Album of the Year contender in Grammy history to be nominated for an all-Spanish-language recording.

That distinction could have been shared by Spanish singing sensation Rosalía, whose “Motomami” was one of last year’s most acclaimed releases and — in November — made her the first woman in Latin Grammy history to win Album Of The Year twice. But Rosalía, 30, is only nominated in two low-profile categories, not for Album of the Year.
Then there’s Bonnie Raitt, whose “Just Like That” earned her a Song of the Year nomination. At 73, she is the only Grammy Lifetime Achievement honoree vying in a major category this year.
But the 2023 contenders who will likely draw the most attention and dominate online discussions are Beyoncé and Adele, who have gone head-to-head at the Grammys before.

Both are again nominated for Album, Record of the Year and Song of the Year, the awards’ most high-profile categories. That was also the case in 2017 when Adele won in all three — and had two other Grammy wins as well.
Beyoncé has a field-leading nine nominations this year, two more than Adele. But being the top nominee does not ensure victory, as Beyoncé and her fans know all too well.
She also had nine nominations in 2017, but went home with just two wins, both in comparatively minor categories. Yet, while she last year surpassed bluegrass-music queen Alison Krauss as the female artist with the most Grammy wins (28 to Krauss’ 27), Beyoncé has yet to win for Album or Record of the Year.

She has only won once for Song of the Year, back in 2010, for “Single Ladies (Put a Ring On It”) Her husband, rap icon Jay Z, who entered the 2018 Grammy telecast with a field-leading eight nominations went home without a single trophy. Bruno Mars, who makes new music that sounds retro, was the night’s biggest winner.
You can lead 13,000 Grammy Award voters to hip-hop, but you can’t make them cast their ballots for it — at least not when it comes to the most prestigious categories in the world’s most prestigious annual music awards fete.

Adele was visibly chagrined when the 2017 Album of the Year trophy went to her for “25,” not to Beyoncé’s profoundly stirring “Lemonade,” which addressed social, political and racial issues with equal grit and grace.
“I can’t possibly accept this award, and I’m very humbled and very grateful and gracious but my life is Beyoncé,” Adele told the audience at the Staples Center in Los Angeles and millions of TV viewers worldwide. “The ‘Lemonade’ album, Beyoncé, was so monumental, and so well thought out, and so beautiful and soul-bearing .. all us artists adore you.”
With nine and seven nominations, respectively, either Beyoncé or Adele could emerge as this year’s biggest winner on Feb. 5. Unless, that is, one of the other leading nominees — whose ranks include Kendrick Lamar, Harry Styles and Brandi Carlile — score major upsets.

If Beyoncé triumphs in four of the nine categories in which she is nominated this year, she will become the biggest winner in Grammy history. Ballots are cast by the academy’s 12,000-plus voting members, who are all music-industry professionals.
Regardless of which artist prevails, expect much animated online discussion, and debate, to follow. The reasons are as simple, and complicated, as black and white, the included and the excluded.

Since 2004 only three Black artists — Herbie Hancock, Jon Batiste and, posthumously, Ray Charles — have won for Album of the Year. During that same period, Taylor Swift has won that category three times and Adele twice.
Since the Grammys debuted in 1959, only 11 Black artists have won for Album of the Year. And only three of those 11 winners have been women — Natalie Cole, Whitney Houston and Lauryn Hill. Moreover, only two hip-hop albums have ever won Album of the Year honors: Hill’s “The Miseducation of Lauryn Hill” in 1999 and OutKast’s “Speakerboxxx/The Love Below” in 2004.
Eminem, who is White, has won the Best Rap Album Grammy six times, giving him more victories in that category than any Black artist in a genre created by Black artists. Jay Z has only taken home the Best Rap Album award once, despite having been nominated 11 times since that category debuted in 1996.

Accordingly, the Grammys have been rebuked and even boycotted by some Black artists, who charge the awards are out of touch and do not reflect the creative and commercial impact of their work. It also demonstrates why the Grammys are maligned and coveted, sometimes almost in the same breath.
But criticism that the Grammys play it safe — too often rewarding the predictable and conventional over the edgy and innovative — is nothing new. It certainly predates the introduction of the Best Rap Performance category in 1989.
That 1989 award went to DJ Jazzy Jeff & The Fresh Prince (a/k/a rapper-turned-actor Will Smith) for their frothy hit, “Parents Just Don’t Understand.” But the duo opted against attending, as did the other inaugural nominees in that category.

“We ultimately ended up boycotting the actual ceremony because (they) refused to televise the presentation of the rap award,” Smith wrote in “Will,” his 2021 memoir. “We felt like that was a slap in the face. Rap music had outsold the industry that year. We deserved to be there.”
By coincidence, 1989 was also the year the Grammys debuted a category for Best Hard Rock/Metal Performance Vocal or Instrumental. Uproar ensued when Jethro Tull beat out, among others, Metallica and AC/DC for the win.
“It was an unsavory moment,” Jethro Tull’s leader, Ian Anderson, told the Union-Tribune in a 1990 interview.

“I have seen videotapes of the show, and the boos are quite audible … Metallica now has the honor of being among the many influential, successful and creative groups of all time who have not won, because there are a lot of them.”
Metallica’s snub didn’t last long. The band won Best Metal honors the next three years running and now has eight wins and 18 nominations to its credit.

As for Jay Z, he is now tied with his wife, Beyoncé, for the most nominations by an artist, with 88 each. But none of his 24 wins as a solo artist have been for Album, Song or Record of the Year. Along with Best New Artist, these are the only categories in which all Grammy voters can cast ballots, rather than only voting only for nominations in their field of expertise.
How does one of the world’s biggest pop music superstars play second fiddle, in real time on a concert stage, to the world’s biggest pop music superstar?

Of the 12 nominations Jay Z earned between 2017 and 2019, just one of them — for “Everything is Love,” his 2019 collaboration with Beyonce — resulted in a win (for Best Contemporary Urban Album).
Tellingly, this year’s list of nominees does not include Drake or The Weeknd, two of pop-music’s most successful artists of the past decade.

For the second year in a row, both declined to submit any of their eligible recordings. They did this to protest the nominating process and the disregard that has been demonstrated for hip-hop and Black music.
“I don’t want to speak specifically about either of those two artists,” Grammy honcho Mason said. “But I will say that my goal for all artists, big and small, is to feel like the academy is a place that represents them and that it’s a place that is accurately and transparently honoring music.
“But more importantly than that, I want all these people to understand the true value of the Recording Academy, which is to serve music to uplift us. Of course, the trophies are important. And the nominations, we have to get those right, we have to be relevant and timely on how we are honoring music.
“But my real goal is to make sure people understand the hundreds of millions of dollars that we push back into the music community, all the work we do to advocate for music people and to support and educate them … whether they submitted (for nominations) or not.”

That hip-hop has historically not fared well in the top three Grammy categories partly reflects the aesthetic preferences of older voters. They tend to favor the authenticity of “real music” made on “real instruments” over the digital sampling and laptop production technology embraced by many hip-hop artists and producers.
“I’m sorry, but I’m not a rap fan,” said veteran saxophonist, composer and arranger Tom Scott, 74, who has 13 Grammy nominations and two wins to his credit.
The two-time Grammy Award winner counts Joni Mitchell, Frank Sinatra, Ravi Shankar, Whitney Houston, Blondie and all four former Beatles among his recording collaborators

“I’d love for them to come up with their own style of music, rather than sampling. I know I’m sounding really old-fashioned, like an old fart.”
Scott still receives his Grammy ballot each year. But, he notes: “I stopped voting three or four years ago. I’m a member in absentia. I’m just not into it anymore.”
Mason, in turn, stresses that the academy now requires “95 percent” of its voting members to provide recent credits each year to prove they are still actively engaged in music.

“If we’re going to get (representative) Black-music nominations, we have to make sure the Black membership is right,” he said. “If we’re going to get the right rock nominations, we have to get people who are working in rock and creating rock music involved.
“So, to that initial question, do we have some work to do? Yes, because we fell behind in membership. When it came to Black music and hip-hop, specifically, we didn’t have the right membership, reflective of the music community, to make sure that we are getting the right membership involved, so that we can continue to evolve our nominations and all our processes around awards…
“Our goal is not to just represent one group or one set of people, or one genre. We want to represent all music.”

Hosted by: Trevor Noah
With performances by: Bad Bunny, Lizzo, Brandi Carlile, Mary J. Blige, Kim Petras and Sam Smith, Luke Combs, and more to be announced
When: 5 p.m. to 8:30 p.m. Sunday, Feb. 5, on KFMB Channel 8 in San Diego, CBS-TV nationally and on the Paramount+ subscription streaming service

Hosted by: Randy Rainbow
With performances by: Anoushka Shankar, Blind Boys of Alabama, Carlos Vives, La Marisoul from La Santa Cecilia, Arooj Aftab, Madison Cunningham and Samara Joy
When: 12:30 p.m. Sunday, Feb. 5 (awards will be presented in 80 or so of the 91 Grammy categories)

Where: Livestreaming at and

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Verlaine fronted the singular New York band Television, with whom he made two of rock’s most acclaimed albums.

Vanessa Mitchell-Delmotte uses her original music as a super power to cope with tragedy and heal herself and others

The 1,900-capacity venue will open with Ziggy Marley shows Feb. 3 and 4, followed by Jason Mraz, The Flaming Lips, Big Gigantic and more

The Woodstock veteran and two-time Rock & Roll Hall of Fame inductee was consistently candid in his multiple interviews with the Union-Tribune

David Crosby was a lifelong hippie whose music with the Byrds and Crosby, Stills, Nash & Young defined an era.

The lineup for the annual benefit concert will also feature Dionne Warwick, The Temptations, Four Tops, John Legend, Sheryl Crow, Sebastian Yatra, Mumford & Sons, Samara Joy and more

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Vinyl Records Market Size, Share 2023 | Growth Rate, End User, Key Company, Recent Developments, Marketing Channels, Revenue & Gross Margin, Market Drivers, Challenges & Risks Factors Analysis and Forecast till 2028 – Yahoo Finance

global Vinyl Records market size is estimated to be worth US$ 239.4 million in 2021 and is forecast to a readjusted size of US$ 643.9 million by 2028 with a CAGR of 15.0% during the forecast period 2022-2028.
Pune, Jan. 28, 2023 (GLOBE NEWSWIRE) — Vinyl Records Market [2023] Research Report Analysis and Outlook Insights | Latest Updated Report | Report Pages 90 | The Vinyl Records Market is Segmented based on by Types (Black Vinyl Records, Colored Vinyl Records), by Applications (Private, Commerce), and by Geography (Asia-Pacific, North America, Europe, South America, and Middle East and Africa). Global Opportunity Analysis, Competitive Market Share, Covid-19 Impact Analysis, Revenue & Gross Margin, Industry Trends, and Forecast to 2028. Moreover, the Vinyl Records market research report provides exclusive vital statistics, data information, demand, and competitive landscape insights in this niche sector.
Get a Sample PDF of the report –
Moreover, the research report gives detailed data about the major factors influencing the growth of the Vinyl Records market at the national and local level forecast of the market size, in terms of value, market share by region, revenue, and segment, regional market positions, and segment and country opportunities for growth, key company profiles, SWOT analysis, product portfolio, and growth strategies.
Market Analysis and Insights: Global Vinyl Records Market
Vinyl Records market 2023 delivers a comprehensive overview of the growth rate, industry size, share, recent technology, developments, and trends update. This report also covers a detailed study of geographical regional segments, market dynamics, trends, drivers, restraints, and challenges faced in the industry. The report also focuses on global major leading industry players of the global Vinyl Records market providing information such as company profiles, product picture and specifications, price, cost, revenue, and contact information. From a global perspective, this report represents the overall Vinyl Records market size by analyzing historical data and future prospects. Furthermore, the report added compelling business systems, deals income, CAGR status, and SWOT investigation. It also covers industry segmentations (Manufacture, Type, Applications, and Geographical Regions) with value and volume.
Get a Sample Copy of the Vinyl Records Market Research Report 2023
With industry-standard accuracy in analysis and high data integrity, the report makes a brilliant attempt to unveil key opportunities available in the global Vinyl Records market to help players in achieving a strong market position. Buyers of the report can access verified and reliable market forecasts, including those for the overall size of the global Vinyl Records market in terms of revenue.
This report gives a detailed description of all the factors influencing the growth of these market players as well as profiles of their companies, their product portfolios, marketing strategies, technology integrations, and more information about these market players. Some of the key players are as follows:
The Major Key Players Listed in Vinyl Records Market Report are:
GZ Media
MPO International
Optimal Media
Record Industry
United Record Pressing
Rainbo Records
Quality Record Pressings (Acoustic Sounds)
Analogue Productions (Acoustic Sounds)
R.A.N.D. Muzic Record Manufacturing
Prime Disc (Yong Tong A&V Manufacture)
Independent Record Pressing
Global Vinyl Records Market: Drivers and Restraints
The research report has incorporated the analysis of different factors that augment the market’s growth. It constitutes trends, restraints, and drivers that transform the market in either a positive or a negative manner. This section also provides the scope of different segments and applications that can potentially influence the market in the future. The detailed information is based on current trends and historic milestones. This section also provides an analysis of the volume of production in the global market and of each type.
A thorough evaluation of the restraints included in the report portrays the contrast to drivers and gives room for strategic planning. Factors that overshadow the market growth are pivotal as they can be understood to devise different bends for getting hold of the lucrative opportunities that are present in the ever-growing market. Additionally, insights into market expert’s opinions have been taken to understand the market better.
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Overall, the report proves to be an effective tool that players can use to gain a competitive edge over their competitors and ensure lasting success in the global Vinyl Records market. All of the findings, data, and information provided in the report are validated and revalidated with the help of trustworthy sources. The analysts who authored the report took a unique and industry-best research and analysis approach for an in-depth study of the global Vinyl Records market.
Global Vinyl Records Market: Segment Analysis
The research report includes specific segments by region (country), company, Type, and Application. This study provides information about the sales and revenue during the historic and forecasted period. Understanding the segments helps in identifying the importance of different factors that aid market growth.
Vinyl Records Market Segmentation by Type:
Black Vinyl Records
Colored Vinyl Records
Vinyl Records Market Segmentation by Application:
Geographic Segment Covered in the Report:
The Vinyl Records report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country, and sub-region during the estimated period.
North America
South America
Middle East and Africa
Key Attentions of Vinyl Records Market Report:
The report offers a comprehensive and broad perspective on the global Vinyl Records market.
The market statistics represented in different Vinyl Records segments offer a complete industry picture.
Market growth drivers and challenges affecting the development of Vinyl Records are analyzed in detail.
The report will help in the analysis of major competitive market scenarios, and market dynamics of Vinyl Records.
Major stakeholders, key companies Vinyl Records, investment feasibility, and new market entrants study are offered.
The development scope of Vinyl Records in each market segment is covered in this report. The macro and micro-economic factors affecting the Vinyl Records market
Advancement is elaborated on in this report. The upstream and downstream components of Vinyl Records and a comprehensive value chain are explained.
Purchase this report (Price 2900 USD for a single-user license) –
Detailed TOC of Global Vinyl Records Market Report 2023
1 Vinyl Records Market Overview
1.1 Product Overview and Scope of Vinyl Records
1.2 Vinyl Records Segment by Type
1.2.1 Global Vinyl Records Sales Growth Rate Comparison by Type (2022-2028)
1.2.2 Black Vinyl Records
1.2.3 Colored Vinyl Records
1.3 Vinyl Records Segment by Application
1.3.1 Global Vinyl Records Sales Comparison by Application: (2022-2028)
1.3.2 Private
1.3.3 Commerce
1.4 Global Vinyl Records Market Size Estimates and Forecasts
1.4.1 Global Vinyl Records Revenue 2017-2028
1.4.2 Global Vinyl Records Sales 2017-2028
1.4.3 Vinyl Records Market Size by Region: 2017 Versus 2021 Versus 2028

2 Vinyl Records Market Competition by Manufacturers
2.1 Global Vinyl Records Sales Market Share by Manufacturers (2017-2022)
2.2 Global Vinyl Records Revenue Market Share by Manufacturers (2017-2022)
2.3 Global Vinyl Records Average Price by Manufacturers (2017-2022)
2.4 Manufacturers Vinyl Records Manufacturing Sites, Area Served, Product Type
2.5 Vinyl Records Market Competitive Situation and Trends
2.5.1 Vinyl Records Market Concentration Rate
2.5.2 The Global Top 5 and Top 10 Largest Vinyl Records Players Market Share by Revenue
2.5.3 Global Vinyl Records Market Share by Company Type (Tier 1, Tier 2 and Tier 3)
2.6 Manufacturers Mergers & Acquisitions, Expansion Plans
Browse the complete table of contents at –
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The market is changing rapidly with the ongoing expansion of the industry. Advancement in technology has provided today’s businesses with multifaceted advantages resulting in daily economic shifts. Thus, it is very important for a company to comprehend the patterns of market movements in order to strategize better. An efficient strategy offers the companies a head start in planning and an edge over the competitors. Industry Research is a credible source for gaining the market reports that will provide you with the lead your business needs.

Alibaba Group Holding Limited (NYSE: BABA) shares dropped premarket after reports surfaced regarding the company moving its headquarters out of the country. Alibaba is close to completing a new campus in Singapore, which could become its global headquarters, Barron's reports. A local daily reported that Alibaba denied the speculation and that its headquarters would remain in the city of Hangzhou in the east of mainland China. The Singapore facility would house regional operations. Alibaba has be
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Iran protests: Woman, Life, Freedom inspires dance music album – BBC

You're at an underground rave. The location's a secret to everyone except the hundreds of people crammed inside.
All around you, people are dancing. The music is loud and the vibes are good.
But in Iran, raves aren't just a night out. They're an act of defiance.
A wave of protests has swept the country since September, when 22-year-old Mahsa Amini died in police custody.
Demonstrators – many of them women – want to get rid of Iran's strict religious leaders and rules that limit what they can wear or do in public.
In response, the government has been cracking down on protests. Hundreds have been jailed. Some say they've been tortured for confessions and others have been sentenced to death.
The penalties for speaking out can be harsh, but Iranians are still finding ways to oppose the current system.
And one of those is dance music.
"You would basically think that you are in a warehouse in Europe or in the US somewhere when you go into these underground parties," says Aida.
"Because nothing really looks different.
"But it's a huge risk for the people who attend, the people who organise and the DJs."
Aida, 30, is a DJ and music producer who was born in Iran and relocated to Canada aged 12.
She still has relatives and friends in the country, and watching from afar made her want to do something to help.
So Aida has teamed up with fellow DJ Nesa Azadikhah to produce Woman, Life, Freedom – an electronic compilation by a group of female Iranian women, producers and musicians.
They hope the album will raise awareness of the protest movement back home, and plan to donate the money it makes to organisations helping women in Iran.
Nesa left Iran, where she was born and raised, five months ago to tour Europe.
She has organised public events back home, but they couldn't be too lively as dancing is regarded as an illegal, indecent act.
Nesa and Aida explain that smaller-scale shows involving ambient music and visuals are permitted as a "cultural experience".
But both say dancing is a symbol of freedom for them.
Nesa's first experience of going into a club was a feeling of being "without stress, with peace and freely listening".
"It's a really emotional experience because it's something we really don't have in Iran," says Nesa.
"But at parties I feel that way all the time.
"I wish that this could be possible and that this could happen over there."
Aida agrees: "When I go to clubs, and when I'm playing in clubs, and I'm thinking about Iran, it's also a similar feeling."
Both Aida and Nesa expect their compilation will be heard in Iran and might even soundtrack an underground event.
"It will be listened to back home.
"There is dancing and there is life as we know it happening underground in Iran. And so maybe not publicly, but these things do happen," says Aida.
But they also want it to make others feel the same way Nesa did on that first visit to a club.
"It's also this sense of hope for a better future and hoping that this can change over there," says Aida.
"That the sheer amount of talented people in Iran can freely really show their talent and explore their passion.
"The same as we can out here and not have to run into these issues, not have to risk their lives, not have to sacrifice their performances because of these restrictions and rules that exist."
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Luther professor sets sights on slow, impressive world record – Decorah Journal

A Luther College professor from Decorah is taking on an impressive feat…and he’ll be exploring it slowly!
Luther Assistant Professor of Music and college organist Alexander Meszler is attempting the longest known single-performer concert of John Cage’s composition “As Slow As Possible” (ASLSP) during a 24-hour period.
The 24-hour performance is planned to start Sunday, Jan. 29, at 5 p.m., in the Sundt Organ Studio in Luther’s Jenson-Noble Hall of Music.
The event is free and open to the public at any time during the 24 hours.
“Come and go as you please,” Meszler commented.

Meszler’s attempt
Why this 24-hour musical undertaking? Meszler commented that he has been thinking of this for years.
“I figured I would do it while I’m still relatively young,” he said.
Meszler’s musical background is extensive.
A Fulbright recipient, Meszler started his work at Luther about six months ago. He has spent time in Europe researching secularism and the organ. He is a current member of the American Guild of Organists’ Committee on New Music. In 2019, he was named one of The Diapason’s “20 under 30” and he co-created “Walls of Sound: The Ecology of the Borderlands” which brought together collaborators from across disciplines of music, science, theater, art and activism.
He has studied at Syracuse University, the University of Kansas and most recently completed his Doctor of Musical Arts Degree in Organ Performance and Music Theory at Arizona State 
University. He is helping edit a forthcoming online Encyclopedia of the Organ that will contains 4,000 articles about the organ. Before coming to Luther, he served as an adjunct professor at Syracuse University and Hamilton College.

Starts with “a rest”
Meszler said that when he starts playing the piece at 5 p.m. on that evening, he will appropriately begin with “a rest.” That rest (musical notation sign indicating the absence of sound) may last for a few measures. The note’s duration will be up to the organist.
A few reasonable, essential breaks are scheduled during the 24-hour recital, but Meszler said he plans to stay in performance mode as much as possible.
He will play the composition on the historic Sundt Organ, which was formerly housed in Koren Hall and was moved to Jenson-Noble Hall of Music on campus in the 1980s.
The 24-hour performance will be livestreamed on the Luther College website at
Full story in the January 26 Decorah Public Opinion.