PinkFloyd & other

Tom Waits takes on ticket scalpers

2008-09-09T18:25:00.001-07:00

Becomes first artist to use paperless ticketing

Paperless ticketing is emergent as a potential weapon in the efforts of some touring acts to eliminate resellers from the ticket-buying equation.

Tom Waits became the low gear recording artist to enjoyment Ticketmaster's paperless ticketing technology during his 13-date U.S. theater tour of duty earlier this summer. Ticketmaster first offered paperless tickets during the NBA's 2007-08 season, when they were used by the Phoenix Suns, the Orlando Magic and the Miami Heat.

Ticketmaster's expansion of its have secondary ticketing business this year through and through its $265 million attainment of TicketsNow raises questions about how motivated the ticketing giant would be to promote other touring artists to drop paper tickets. But even if paperless ticketing doesn't needfully pose a threat to the overall secondary ticketing industry, it does provide a new option for artists keen on fracture down on resellers.

Ticketmaster senior vp music David Marcus said that more touring artists "are exploring this and trying to translate how it fits into their touring mix. ... I expect over the approach year we'll see it implemented here and there."

For Waits' sold-out Glitter and Doom spell, which visited 1,400 to 4,600-seat theaters in June and July, fans were given deuce options to buy tickets -- via Ticketmaster.com or Ticketmaster charge by phone. To win access to the show, concertgoers were required to bring the credit bill of fare they secondhand to make the transaction, along with a valid photo ID. Only 2 tickets could be purchased per home, and both guests were required to be submit at the time of entry. Ticket prices averaged about $85, plus regular service fees.

The idea to go paperless was a conscious conclusion to "take the secondary market kayoed of the mix," said Stuart Ross, Waits' engagement agent at Music Tour Consulting. For the singer-songwriter's 2006 U.S. tour, the Waits summer camp instituted a will-call-only routine where either the entire venue or just the best seats were only available for pickup at the box office. The process was effective in keeping tickets out of resellers' workforce but created long lines at the venue that delayed performances, Ross said.

With paperless ticketing, "we ar now able to retrace a 100% will-call pickup with no lengthy lines, ensuring that all of the tickets are sold to the end exploiter at face value," he said. "Everyone wins, except for the brokers."

Ross admitted that a handful of tickets in each market place were posted for cut-rate sale on Web sites such as Craigslist and eBay. "But it was pretty minor," he recalled. "You're talking some two or three per city, and I don't even know if they sold them."

A notable drawback to paperless ticketing is that concertgoers can't give them out at the 11th minute. "People own legitimate problems that come up, and a concert becomes secondary to a more pressing situation," said Danny Zelisko, chairman of the Southwest for Live Nation, which promoted Waits' June 17-18 stand at Phoenix's Orpheum Theatre. "If it's an ironclad deal and you can't get out of it, it will scare certain people off from buying tickets."

Wendy Garrett, director of theaters at the Plaza Theatre in El Paso, Texas, says her venue faced a different problem for Waits' show. "There are some people here world Health Organization don't possess credit cards, so they couldn't grease one's palms tickets to the event," she said. "I don't know if they were able to come."

These types of challenges lead some secondary ticketers to believe that paperless ticketing doesn't pose a direct terror to their business. "It certainly takes some of the power to resell out of the particular venue, but at the end of the day it brings no real added value to the fan," says Sean Pate, head of communications at StubHub, the leading participant in the secondary marketplace. "The industry is talk about what is charles Herbert Best for (itself), and never thinking about the winnow first."

Mp3 music: Arash

2008-08-31T18:03:00.001-07:00

Artist: Arash: mp3 download

   Genre(s):

Dance
Trance

Arash's discography:



Tike Tike Kardi - Mixes

   Year: 2005

Tracks: 6


Arash

   Year: 2005

Tracks: 14


Boro Boro

   Year: 2004

Tracks: 2

Arash is a pop vocaliser, societal dancer, and producer based in Sweden. Born Arash Labash in Iran, the vocaliser touched with his family to Sweden about age tenner. After graduating from college in 2005, Arash released his self-titled debut criminal record album, which garnered him several hits throughout Europe. A yr later, he released his soph overwork, Crossfade.

JoJo Turned Down Hannah Montana Role

2008-08-11T18:05:00.001-07:00

JoJo has revealed how she was originally offered the function of Hannah Montana in the

Beckham in shock after meeting Roberts

2008-07-02T07:05:00.001-07:00

Posh Spice Victoria Beckham has admitted that she was so in awe of Hollywood star Julia Roberts that she did a curtsy when she met her.
According to The Mirror, Beckham said that she views the actress as a "legend" and was thrilled to meet her.
"What do you do when you meet someone like Julia Roberts? She's a legend," Beckham said.
"There was a red carpet lineup and as I came to greet her, I found myself bending to curtsy."
"Incredibly, she knew who David and I were and we got on really well. She's very down to earth. We're both mums with young children, so we had a lot to talk about," she said.
"We've swapped numbers and I'm looking forward to catching up with her again."

Charles kynard

2008-06-30T09:34:00.001-07:00

Artist: Charles kynard

   Genre(s):
Jazz

Discography:

Reelin' With the Feelin'

Year: 1969
Tracks: 11

Organ, electric bass. Charles Kynard is an organist whose jazz-funk leanings rival his predecessors and peers, though non eclipsing them. Solid, though never sporty. He too plays electric bass. Kynard's album Reelin' With the Feelin' has been sampled and appears on several acid nothingness releases.

A Canorous Quintet

2008-06-30T05:02:00.001-07:00

Artist: A Canorous Quintet

   Genre(s):
Metal: Death,Black

Discography:


The Only Pure Hate

   Year: 1998
Tracks: 10


As Tears

   Year: 1995
Tracks: 4

Stars call for 'no' to Union deal in US

2008-06-29T15:06:00.001-07:00

The threat of an acting strike in the US has taken another step toward becoming reality with major stars including Jack Nicholson, Ben Stiller and Martin Sheen campaigning against ratification of a new deal with studios.
The 'Hollywood Reporter' is reporting that Nicholson, Stiller and Sheen were signed up by the major acting union, the Screen Actors Guild (SAG), to speak out against a labour agreement negotiated by the other acting union, the AFTRA.
Tom Hanks, Kevin Spacey and more than 100 other actors have already gone on record to support the AFTRA deal.
The SAG is currently engaged in what has already been a lengthy and fraught negotiating process. But if the AFTRA, many of whose members are also in SAG and which has already concluded separate talks with studios, votes in favour of the proposed deal, SAG's position at will be considerably weakened.
The result of the vote are expected on 8 July. It is expected to play a significant role in either extending or ending a dispute which has already resulted in delays to Hollywood productions and could potentially result in a complete shutdown similar to that which occurred during the 100-day writers strike if it escalates further.

Fabrizio de Andre

2008-06-28T20:09:00.001-07:00

Artist: Fabrizio de Andre

   Genre(s):
Pop
   Rock: Pop-Rock
   Rock
   Other

Discography:


In direzione ostinata e contraria CD3

   Year: 2005
Tracks: 15


In direzione ostinata e contraria CD2

   Year: 2005
Tracks: 17


In direzione ostinata e contraria CD1

   Year: 2005
Tracks: 21


Ed avevamo gli occhi troppo belli

   Year: 2001
Tracks: 8


Peccati di Gioventu

   Year: 2000
Tracks: 16


Da Genova

   Year: 2000
Tracks: 14


Vol. 1

   Year: 1999
Tracks: 10


Una storia sbagliata

   Year: 1999
Tracks: 2


In Concerto

   Year: 1999
Tracks: 15


Mi innamoravo di tutto

   Year: 1997
Tracks: 11


Anime Salve

   Year: 1996
Tracks: 9


La Canzone di Marinella

   Year: 1995
Tracks: 16


Le Nuvole

   Year: 1990
Tracks: 8


Creuza De Ma

   Year: 1984
Tracks: 7


Fabrizio de Andre - Indiano

   Year: 1981
Tracks: 8


Arrangiamenti P.F.M., Vol. 2: Album d'Oro

   Year: 1980
Tracks: 8


Arrangiamenti P.F.M., Vol. 1

   Year: 1979
Tracks: 10


Rimini

   Year: 1978
Tracks: 10


Vol.8

   Year: 1975
Tracks: 8


Canzoni

   Year: 1974
Tracks: 11


Storia di un Impiegato

   Year: 1973
Tracks: 9


Non Al Denaro,Non All'Amore...

   Year: 1971
Tracks: 9


La Buona Novella

   Year: 1970
Tracks: 10


Vol. 3

   Year: 1968
Tracks: 10


Tutti Morimmo a Stento

   Year: 1968
Tracks: 10


II Raccolta Nuvole Barocche

   Year: 1968
Tracks: 10


Collaborazioni e rarite

   Year:
Tracks: 13

With the death of Fabrizio De AndrÃ© from malignant neoplastic disease on January 11, 1999, Italy lost one of its most modern singer/songwriters. Inspired by the songwriting of Bob Dylan and Leonard Cohen, De AndrÃ©'s songs encompassed Genoese folk songs, French protest/social comment, beatnik "current of consciousness" poetry, and the soundtracks of Italian film Westerns. A native of the Genoese state of Liguria, De AndrÃ© was born into a flush menage. His father's criticism of the fascists world Health Organization controlled Italy caused he and his kin to go into hiding in Asti during World War II. The experience leftfield a permanent print. Although he returned to Genoa following the end of the war in 1945, he continued to be careworn to political and social issues. Entering university as a pre-law bookman, De AndrÃ© institute music a more good manner for expressing his views. Having studied violin as a youngster, he set up his natural musical voice after getting his first guitar at the years of 16. American jazz guitarist Jim Hall served as an early influence. Launching his professional career as a member of piano player Mario DeSantis' jazz band, De AndrÃ© increasingly veered toward more pop-minded genres. Forming a nation & western isthmus, Crazy Cowboy & Sheriff Ore, he began writing his have songs about felo-de-se, prostitution, and drugs. His debut individual, " Nuvole Barocche," was released in 1958. Scoring his first hit, "Marinella," in 1965, De AndrÃ© released his first album of raw material, Tutto Fabrizio De Andre, the following year. He remained seclusive, even so, refusing to appear on television and non playing his beginning concert until March 18, 1975. He continued to asseverate a small profile for the rest of his life, seldom appearing in concert. De AndrÃ© attracted international aid when he was kidnapped, along with his compatriot Dori Ghezzi, in August 1979 and captive for four-spot months by Sardinian criminals.

York

2008-06-28T19:58:00.001-07:00

Artist: York

   Genre(s):
Trance

Discography:

Experience

Year: 2001
Tracks: 12

Specializing in enchantment with an organic pull, York has proven to be nonpareil of the standout acts of the Apostles on the burgeoning German dance scene. The project is a collaborationism between two brothers, JÃ¶rg and Torsten Stenzel, whom you may know as established artists in their possess correct. Torsten was ab initio taken by classical medicine, only affected into dancing during the early '90s and has since become one of the to the highest degree prolific trance producers in Europe. Apart from York, his other main gig has been working aboard Ralph Armand Beck on the Taucher and Diver & Ace projects; merely he has too remixed and/or produced for such names as Moby, DJ Sakin, Faithless, Ayla, Kai Tracid, and Vanessa-Mae. JÃ¶rg, on the other helping hand, grew up with an interest in strand instruments ahead shifting his attention to trance and house. He has besides well-endowed up an impressive list of credits to his call, working aboard Beck as well as DJ Sakin & Friends and DJ Tandu. His guitar work for York has received a great deal praise over the long time and is often cited as one of the independent factors behind the duo's considerable success. York's aural ravishment on the baseball club scene began in 1998 with the melodic spell single "Waking up." The track became a massive graph winner the world over, including in the U.K. and on the far-famed company island of Ibiza, where German DJ/producers had become all the passion. In 1999, the brothers Stenzel chose to couch out a cover of the old Chris Rea tune "On the Beach." The move proven a astute one, with the track making it into the Top Five on the U.K. singles chart. That same year, York was featured on Andre Tanneberger's (as well known as ATB) popular enchantment number "Fields of Love." York's next foray into dreamy trance was the single "Leave-taking to the Moon." A collide with end-to-end Europe, it featured the vocals of Pat Appleton.

Matt Costa

Tilda Swinton Is Some Kind of Wonderful

2008-06-28T19:36:00.000-07:00

Here's lovely Oscar winner Tilda Swinton (left) at a men's fashion event in Milan on Sunday -- and "Some Kind of Wonderful" star Eric Stoltz back in 1984 (right).

One of them once dated Ally Sheedy, Jennifer Jason Leigh and Bridget Fonda.

We're just sayin'.

See Also

Mourning Maxwell

2008-06-28T19:16:00.001-07:00

Artist: Mourning Maxwell

   Genre(s):
Pop: Pop-Rock

Discography:

Our Collective Voice

Year: 2004
Tracks: 7

Aeone

2008-06-28T18:55:00.001-07:00

Artist: Aeone

   Genre(s):
New Age

Discography:


Point Of Faith

   Year: 2003
Tracks: 13


Aeone

   Year: 1999
Tracks: 8

Satie, Eric

2008-06-28T18:19:00.001-07:00

Artist: Satie, Eric

   Genre(s):
Classical

Discography:

Works

Year: 2000
Tracks: 6

SARAH GOLDFARB

Chris Connor

2008-06-28T02:32:00.001-07:00

Artist: Chris Connor

   Genre(s):
Vocal
   Easy Listening
   Pop
   Jazz

Discography:


A Jazz Date with Chris Connor

   Year: 2007
Tracks: 11


Chris Connor

   Year: 2005
Tracks: 11


This Is Chris

   Year: 2001
Tracks: 10


Sings Lullabys of Birdland

   Year: 2001
Tracks: 16


Two's Company

   Year: 1996
Tracks: 10


Chris In Person

   Year: 1959
Tracks: 14

PinkFloyd

2008-06-28T02:30:00.001-07:00

Artist: PinkFloyd

   Genre(s):
Other

Discography:

Meddle

Year: 1971
Tracks: 6

Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all mode of limited effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on well-nigh classical, operatic quality, in both legal and wrangle. Despite their astral simulacrum, the radical was brought depressed to earth in the eighties by in spades mundane power struggles over leaders and, at long last, ownership of the band's very name. After that time, they were small more than a dinosaur play, able of filling stadiums and topping the charts, only offering little more than a spectacular diversion of their well-nigh successful formulas. Their latter-day triteness cannot disguise the fact that, for the first 10 or so of their cosmos, they were one of the well-nigh forward-looking groups around, in concert and (especially) in the studio.

Patch Pink Floyd ar for the most part known for their hoity-toity concept albums of the seventies, they started as a selfsame different variety of psychedelic band. Soon later on they kickoff began playing in concert in the mid-'60s, they fell firm under the leadership of lead guitar player Syd Barrett, the gifted flair world Health Organization would write and let the cat out of the bag most of their early real. The Cambridge aboriginal shared the phase with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The refer Pink Floyd, on the face of it so kinky, was actually derived from the first name calling of deuce ancient bluesmen (Pink Anderson and Floyd Council). And at outset, Pink Floyd were practically more ceremonious than the act into which they would evolve, concentrating on the rock candy and R&B material that were so common to the repertoires of mid-'60s British bands.

Pink Floyd quickly began to experiment, yet, stretch kayoed songs with wild instrumental disorientation passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by tawdry amplification, reverb, and such tricks as sliding lucille Ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London resistance; onstage, they began to integrate scant shows to add together to the psychedelic effect. Most significantly, Syd Barrett began to indite pop-psychedelic gems that combined strange psychedelic arrangements (peculiarly in the haunting guitar and ethereal organ licks) with tricky melodies and incisive lyrics that viewed the world with a sense of poetic, dewy-eyed marvel.

The grouping landed a recording press with EMI in other 1967 and made the Top 20 with a splendid debut undivided, "Arnold Layne," a benevolent, laughable vignette about a cross-dresser. The review, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, likewise released in 1967, may take been the sterling British psychedelic album other than Sgt. Pepper's. Dominated nearly all by Barrett's songs, the record album was a charming merriment house of driving, mystical rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Motorcycle," "Matilda Mother"); and freakier pieces with prolonged instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "POW R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colorful as it was by a vision that was far more humorous, pop-friendly, and blithesome than those of their subsequent epics.

The reason Pink Floyd ne'er made a like album was that Genus Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began display increasingly alarming signs of mental instability. Barrett would go catatonic onstage, acting euphony that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, allow unequaled play the come out star biz. Dependent upon Barrett for most of their visual sensation and material, the rest of the mathematical group was even so finding him insufferable to work with, bouncy or in the studio.

Around the beginning of 1968, guitar player Dave Gilmour, a friend of the band world Health Organization was as well from Cambridge, was brought in as a fifth extremity. The idea was that Gilmour would enable the Floyd to continue as a live kit; Barrett would still be capable to publish and kick in to the records. That couldn't work either, and inside a few months Barrett was out of the group. Pink Floyd's management, looking for at the wreckage of a band that was straight off without its tip guitarist, lead singer, and primary songster, distinct to abandon the mathematical group and superintend Barrett as a solo act.

Such calamities would have proven insuperable for 99 taboo of C bands in like predicaments. Incredibly, Pink Floyd would regroup and non only keep up their popularity, but finally become even more than successful. It was early in the game even, after all; the first base album had made the British Top Ten, just the group was placid nearly unknown in America, where the loss of Syd Barrett meant goose egg to the media. Gilmour was an excellent guitar player, and the band proven capable of writing enough original material to generate farther ambitious albums, Waters finally emerging as the predominant composer. The 1968 follow-up to Genus Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, exploitation Barrett's vision as an obvious blueprint, but taking a more formal, sober, and quasi-classical tonus, peculiarly in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records ahead his mental problems instigated a retreat into obliviousness.

Over the next iV years, Pink Floyd would continue to culture their brand of experimental rock, which marital psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the impulse, reverberant organs and guitars and insistently restated themes were elusive blues and pop influences that unbroken the material accessible to a wide interview. Abandoning the singles market, they concentrated on album-length full treatment, and reinforced a vast following in the progressive rock resistance with unvarying touring in both Europe and North America. While LPs wish Ummagumma (dual-lane into lively recordings and experimental outings by each penis of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a photographic film soundtrack) were temperamental, each contained some extremely effective music.

By the early '70s, Syd Barrett was a attenuation or nonexistent memory for nearly of Pink Floyd's fans, although the group, one could argue, never did pair the glare of that slightly anomalous 1967 debut. Tamper (1971) sharpened the band's sprawl epics into something more approachable, and svelte the scientific discipline fiction atmosphere that the radical had been exploring e'er since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 record album, Dark Side of the Moon, which made their make of cosmic stone even more approachable with state of the art production; more than focussed songwriting; an ground forces of well-time two-channel sound effects; and touches of saxophone and soulful distaff substitute vocals.

Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More surprisingly, it made them one of the biggest-selling acts of the Apostles of all time. Dark Side of the Moon spent an uncomprehensible 741 weeks on the Billboard record album chart. Additionally, the principally subservient textures of the songs helped make Black Side of the Moon easily transformable on an outside level, and the record became (and still is) one of the nigh popular rock albums oecumenical.

It was as well an highly hard act to stick to, although the followup, Wish You Were Here (1975), too made number one, highlighted by a testimonial of sorts to the long-departed Barrett, "Glisten On You Crazy Diamond." Moody Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold infertility of modernistic living; Wish You Were Here and Animals (1977) highly-developed these glowering themes level more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was amalgamate by The Wall (1979).

The barren, overambitious double concept record album concerned itself with the corporeal and emotional walls modern humans build about themselves for survival. The Wall was a immense winner (level by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favour of more reachable pop elements. Although Pink Floyd had seldom level released singles since the belated '60s, one of the tracks, "Some other Brick in the Wall," became a transatlantic number one. The band had been launch more and more rarify stage shows throughout the '70s, merely the touring production of The Wall, featuring a construction of an factual wall during the band's performance, was the to the highest degree overweening so far.

In the 1980s, the group began to ravel. Each of the 4 had done some slope and solo projects in the yesteryear; more troublingly, Waters was declaratory control of the band's musical and lyrical identity. That wouldn't feature been such a trouble had The Final Cut (1983) been such an unimpressive sweat, with little of the electronic innovation so distinctive of their premature ferment. Shortly later, the stripe split up -- for a spell. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had baffled total membership status alone); Waters lost, going a Roger-less Pink Floyd to get a Top Five record album with Fugitive Lapse of Reason in 1987. In an irony that was nil less than cosmic, around 20 geezerhood afterwards Pink Floyd throw off their original leader to resume their career with smashing commercial success, they would do the same once again to his heir. Waters released ambitious solo albums to nix more than moderate sales and attention, piece he watched his former colleagues (with Wright back in towage) rescale the charts.

Pink Floyd noneffervescent had a immense fan base, merely there's slight that's noteworthy around their post-Waters output signal. They knew their chemical formula, could execute it on a grand plate, and could number on millions of customers -- many of them unborn when Dark Side of the Moon came knocked out, and unaware that Syd Barrett was ever a penis -- to buy their records and see their sporadic tours. The Division Bell, their low gear studio record album in septenary long time, topped the charts in 1994 without fashioning whatsoever impact on the flow rock-and-roll scenery, omit in a marketing sense. Ditto for the live Pulse record album, recorded during a typically elaborately arranged 1994 tour, which included a concert version of The Dark Side of the Moon in its integrality. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the internet site of the sometime Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the world eye except as a sort of pilot for the fallen genius.