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Shad Joins Q on CBC Radio As Permanent Host

Mar 11, 2015

Q, CBC Radio One’s award-winning daily arts, culture and entertainment program, will have a fresh feel and a unique voice starting April 20th when it welcomes Shad (Shadrach Kabango) as the new permanent host. Shad will take over the host chair, working closely with the producers of Q to bring listeners the intelligent conversations around arts and entertainment they’ve come to expect from the popular program.

“Shad will bring a unique, thought-provoking voice to Q that we are confident will resonate with Canadians,” said Cindy Witten, interim executive director, Radio and Audio for English Services. “He is an extremely bright and accomplished artist with a broad range of interests and passions. I think the audience will be completely charmed by him.”

“Joining the Q team is an honour. My mission in music has always been to make a unique and positive contribution to culture and to people’s lives,” said Shad. “This is an exciting opportunity to pursue that same mission in a new way, alongside a brilliant, passionate team.”

Critically acclaimed Juno Award-winning rapper Shad is regarded for his humour, honesty and intelligence. Born in Kenya to Rwandan parents and relocated to Canada shortly after, he was raised in London, Ontario. The 32-year-old holds a business degree from Wilfrid Laurier University and a master’s degree in liberal studies from Simon Fraser University. His music has critics incorporating him into the dialogue among the well-regarded emcees in North America and has garnered him nods from the Juno Awards and Polaris Music Prize. With his new role at CBC’s Q, Shad can now add host to his resume.

Q is ranked as one of the more popular arts, culture and entertainment radio shows in Canada, with this season pulling in a larger average audience than last year. On CBC Radio One, Q is heard twice every weekday reaching 2.1 million listeners weekly across Canada.

Q airs weekdays on CBC Radio One at 10 a.m. and 10 p.m. (10:30 NT), on Sirius XM at 10 a.m., 8 p.m. and 2 a.m. (ET) each day. In the U.S., Q is broadcast in 165 cities through PRI and reaches a weekly audience of just over 1 million people. Q TV, which features weekly highlights from the program, can be seen on CBC-TV on Sundays at 3 p.m. and Thursday nights at 1 a.m. All interviews and performances are also available for viewing on Q’s Youtube channel.

CEO of ASCAP on the need to reform how songwriters are paid

Mar 11, 2015

“Songwriters are the unsung heroes behind American music. Every song you hear comes from the heart and mind of a songwriter. Songwriters create the notes and lyrics on the page. This is the copyright in the musical composition that any artist can record. Unlike recording artists, however, most songwriters are not famous and they do not make money by touring and selling merchandise. Many songwriters do not have salaries, benefits and other reliable sources of income. They rely on public performance royalties to earn a living, feed their families and pay the rent.

“There have been seismic changes in the music landscape. People no longer buy the music they love, they stream it. Streaming services offer more choice and more consumer control. As a result, they require access to a massive variety of songs in order to provide users with an optimally tailored content experience. This means that the use of music has increased exponentially, but the payments have not followed. For a songwriter, this is a terrifying trend.”

– Elizabeth Matthews. CEO, ASCAP, on the need to reform the ASCAP consent decree that governs how songwriters are paid.

Dave Bidini on Canadian music’s weirdness

Mar 10, 2015

Dave Bidini, the lead singer of the now-defunct, boundary-pushing Rheostatics and the frontman of the still-at-it Bidiniband, has always been a bit of an odd duck within Canadian music. Just how weird became clear to him during a Rheostatics performance years ago in Melville, Sask., a small town of a few thousand, at a bar with a wall festooned with framed photos of past performers. “They were all these strange misfit Prairie bands,” he said, from a gold-haired new wave band to a massive muscleman who covered his body with drum pads while playing the keytar as a one-man show. “I remember staring at them, and then realizing that we were also a misfit band—we were this itinerant band heading out across the country. And rather than that lineage of those handful of bands that become commercially popular in a mainstream sense, I realized the real spine of art and music in Canada is all the other bands.

“I can’t relate to Bryan Adams, I can’t relate to Alanis Morissette—they’re their own realities, they’re definitely not the realities of the bands that I’ve ever forged a bond with. I think once you embrace that [weirdness], it’s easier to be comfortable being an artist in Canada.”

Via Macleans

Infographic: The Resurgence of Vinyl in Seven Graphics

Mar 10, 2015

In an era where digital dominates music consumption, 72 percent of vinyl buyers are 35 and under as fans flock to the format’s “comforting pops and clicks.”

Dave Grohl Named Ambassador for Record Store Day 2015

A version of this article first appeared in the March 14 issue of Billboard.

Deitrick Haddon Signs To eOne Music And Partners To Create Christian Television Content

Mar 10, 2015

Entertainment One Music (eOne Music) has announced the signing of award-winning gospel singer turned reality star Deitrick Haddon. Also known for his hit producing and song-writing skills, Haddon has launched a new partnership with eOne with his DHVisions record label, which is associated with Relevé Entertainment.

The partnership between the three will allow Haddon, Relevé and eOne to release and produce Christian television and film content, as well. Of the new partnership, Phil Thornton who serves as eOne Musice Vice President and General Manager of Urban Inspirational, said: “At eOne Music, we are excited to partner with the critically-acclaimed, award-winning superstar Deitrick Haddon in forming this new label partnership DHVisions, as he returns to produce the music his fans worldwide have always loved. Deitrick’s multi-faceted talents and the dynamic gifts that he’s brought to every project have made him an undeniable visionary artist, and we look forward to breaking new creative ground together in the field of gospel entertainment.”

Dr. Holly Carter, the CEO and founder of Relevé Entertainment added: “As Deitrick’s manager and partner in his entertainment endeavors, I knew he had to have the right partner. What Phil and his team at eOne have done and continue to do in gospel and entertainment overall makes this a perfect match. I am excited about the future.” Haddon shared his feelings about eOn, stating he and eOne have the same vision and goals for the future of gospel music.

‘DRAKE’S HOMECOMING: THE LOST FOOTAGE’ Coming to Select Cineplex Theatres

Mar 10, 2015

Grammy-Award winning, platinum-selling recording artist and multi-faceted entertainer Drake comes to the big screen for a special one-night concert event, “DRAKE’S HOMECOMING: THE LOST FOOTAGE,” on Wednesday, March 18, 2015 at 7:30 p.m. local time, presented by Front Row Centre Events, SpectiCast, Serious Ent., AMG, Rap-A-Lot Records & Young Empire Music Group.

Previously believed lost and destroyed, the footage for “DRAKE’S HOMECOMING: THE LOST FOOTAGE” was shot prior to Drake signing with Little Wayne’s Young Money (Cash Money/Universal) imprint during a live, sold-out concert at Toronto’s Sound Academy in 2009. After its recent rediscovery, additional production and footage was added to the concert film including interviews with Rap-a-Lot Records CEO James Prince and his son Jas Prince, who is credited with the discovery of Drake and bringing him to the attention of Little Wayne. The soundtrack includes the international smash hits, “Best I Ever Had” and “Successful.”

Jas Prince, CEO of Young Empire Music Group said, “When I first listened to Drake I had no idea he was on a hit show, I just fell in love with his sound and talent – it was unique and like nothing I had ever heard before. I told him during our first conversation I would make him a star. This film documents the beginning of that journey.”

Tickets for “DRAKE’S HOMECOMING: THE LOST FOOTAGE,” are available now at participating Cineplex theatre box offices and online at Cineplex.com/Events.

First known for his role on the highly-successful television series “Degrassi: The Next Generation,” the Toronto-based rapper Drake now holds the record for the most number one hits on Billboard’s R&B/Hip-Hop Chart. Prior to his current fame, Drake self-released several mixtapes before releasing the single “Best I Ever Had” from the 2009 mixtape “So Far Gone,” which charted to #2 on the Billboard’s “Hot 100” chart. After signing to Universal, Drake released the album “Thank Me Later” (2010) which reached sales of 1.5 million and produced the top ten hit “Over.” 2011 saw the release of the multi-platinum album “Take Care” and Drake winning a Grammy for the “Best Rap Album.” His 2012 “Club Paradise Tour” was the highest grossing hip-hop tour, bringing in excess of $42 million. 2013’s release of “Nothing Was The Same” earned Drake the top spot in the Billboard 200, a platinum certification, and another Grammy nomination. 2013/2014’s “Would You Like a Tour” grossed over $48 million. 2015 will see the release of his fourth studio album, “Views From The 6,” released worldwide.

“SpectiCast is proud to be the worldwide distributor of this film. Drake is an international superstar and we are excited to showcase him at the start of his mammoth career. This rare footage is a must-see for every Drake fan across the globe,” said SpectiCast Co-founder and President Mark Rupp.

“James Prince, CEO of Rap-a-Lot and Anzel Jennings, Co-Producer of DRAKE:HOMECOMING have been outstanding partners in wanting the quality of the project maintained throughout all levels. We couldn’t ask for a better team of international partners for the theatrical and broadcast deals being concluded right now. In conjunction with Rap-a-Lot we are looking at an early 2015 for the international release of all windows across multiple platforms,” states AMG Chairman Mark S. Berry.

Rob “Kelo” Hendricks, EVP Business Affairs at AMG added “It goes without saying that this film is essential for Drake fans, particularly given the amount of time spent on highlights of how he was discovered and the climb up. Mark and I are honored at being a part of this film and in partnership with James and Anzel at Rap-a-Lot along with Mark Rupp at SpectiCast as Drake is more than just an artist with 21.5M Twitter followers. He’s a planet and his planet is populated by millions of devoted fans. We are set to deliver a 5 star project,” he said.

Samuel Cole-Elkind, president of Serious Entertainment says, “We are honored and humbled to present one of the biggest concert films for hip -hop culture ever. To be presenting this movement along with legendary AMG producer Mark Berry, Rob “Kelo” Hendricks, Rap A Lot records CEO James Prince & Specticast President Mark Rupp is truly an honor. This film has been compared to the Beatles performing at the tavern in London. The world will now get the Drake experience on the big screen with surround sound worldwide.”

Dog Wants His Bed. There’s Only One Problem.

Mar 10, 2015

Sometimes the most infuriating opponents are the ones who don’t care.

Man Calls 4,000 Times. But Not For The Reason You Think.

Mar 10, 2015

Police tracked down a man who called 911 over 4,000 times in one week. Dispatchers were very upset over the false reports. They have to answer and track down every call. But, the man they caught wasn’t what they expected.

Emergency dispatcher Kari Bueno tells KSL-TV that, “We found out it was somebody with a disability who was just trying to listen to music. There was no intent to call 911.”

David VanBibber, 30, has a mental disability. His family says he functions on the level of an 8-year-old. He was given an old disconnected cell phone to listen to music. But, all cell phones can still call 911 without a service plan. He was accidentally calling while trying to listen to music.

The cell phone was taken away from VanBibber so he couldn’t accidentally make any more 911 calls. But, music is a big part of David’s life. The 911 operators felt bad about taking away the man’s access to music. So, they gave the man a special present at the Emergency Communications Center. They gave him an iPod Nano and a $100 iTunes gift certificate.

http://youtu.be/N7b7pNQ86S8

Red Fang’s Road Manager On What Exactly He Does

Mar 10, 2015

Red Fang engages, year after year, in a seemingly deranged tour frequency — an estimated 50 times, both in North America and Europe, since the band formed in 2005. Their road manager, Chris Coyle is featured on The Stranger:

For the uninitiated, describe your role as road manager.

Before the tour, I start out with a list of shows, and then I advance them all, meaning I call or e-mail all the clubs and basically say, “This is what we’re gonna need when we get there.” Then ask them things like “What time do you want us there? What time do you want us to go on?” Et cetera. Then I put together a tour book, so when we’re in the van we can just open it up for reference. Then I go through and book all the hotel rooms if we’re gonna stay in one. That’s also when I say, “Okay, everybody reach out,” because we’re still not afraid to sleep on floors. Then, when we’re on the road, I’m the first one out of the van and the last one in: Get out, meet the promoter, find their crew, introduce them to our guys. Then make sure the dressing room rider is met, which, most people don’t get that that’s something you pay for. It’s like “Well, you have $200 for catering taken out of our budget. Where is this $200, and where are the receipts?”

The tough part for me is that I still sell all the merch, so when that’s done, I have to go count in all the merch because we keep a daily inventory so I know exactly what we have. Then I take in all the money for that and put it into this or that spreadsheet. Then there’s the whole press-agent aspect where I say, “Okay we’ve got interviews at 5:30 and 6:30 and this is how long they’re gonna be.” So I handle all that. It’s a pretty nonstop thing. And then I handle all the money intake as well—with that, I sit down with the promoter and see how many people paid, and how much the tickets were, add that up, and then subtract the promoter’s fees, plus whatever else gets taken out, to make sure we’re not getting ripped off. Then I take the check—hopefully it’s a check and not a pocketful of cash [laughs]. Then head out to the next town and do it all over again.

I always think of the road manager in Spinal Tap, Ian, when he’s like, “There’s no sex and drugs for Ian.” [After which he follows up with “Do you know what I do? I find lost luggage.”] It’s a job. You’re crew. The band can sleep in the van all day and then wake up for sound check and then go back to sleep. If you’re doing anything that requires you to be on the road [as part of the crew], you’ve got a 12- or 13-hour day in front of you. Just don’t think, “Oh, I’m gonna be a rock star, too.” ‘Cause it doesn’t really work that way, but still it’s an amazing job. I remember getting my passport, just staring at the pages, hoping I could get a stamp. Then last year I had to get pages added to it because there was no room left for any more.

Cocteau Twins’ Robin Guthrie on How Technology Affects His Songwriting

Mar 10, 2015

Technology in music, particularly with guitars and drum machines, has advanced so much over the years. How does that affect how you write songs in general?

That’s a pertinent question; I’m actually in the middle of upgrading my studio right now. I’ve been using the same version of my recording software for four years and I just decided to go with the new version. I think it’s good to refresh and use new technology as it comes along. You know, a new person who started out writing music with this technology isn’t going to do things the same way that I would. They may not work things correctly or I might not work things correctly. It’s interesting, for example, when you get computer simulations of guitar pedals—which I use, even though I have all the pedals—I wonder about someone who never lived through the 1970s and 1980s and never heard those original sounds. I wonder how they would approach that, because it would be very different to my approach. I come to that software with a sound in my head, and I end up using, say, a delay effect the way I would use a delay pedal. But if you’ve got a kid who’s never even seen a delay pedal, they could use that effect in a more interesting way, just by chance.

Conversely, I work that way with a lot of new things because I have this experience of how a lot of old things sound. On a track, I can take the same sort of tools used to make hip-hop or electronic music and I’ll incorporate it into my own work by moving things away from the presets and slowing the tempo down. Over time, you start collect more and more sounds and styles that you can use. Ultimately, though, it’s a double-edged sword, because everything I do ends up sounding like me in the end. Not much I can do about that.

Via PopMatters