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BTSのJ-HOPE、「MONA LISA」でビルボード「HOT 100」65位に初登場

Unknown billboard charting, celebrity and music, music, music industry, pop music

BTSのJ-HOPE、「MONA LISA」でビルボード「HOT 100」65位に初登場

Unknown billboard charting, celebrity and music, music, music industry, pop music

【KOREA WAVE】韓国のグループBTS（防弾少年団）のジェイホープがアメリカのビルボード「HOT 100」で新たな成果を収めた。 4月1日に発表されたビルボードの最新チャート（5日付）によると、ジェイホープのデジタルシングル「MONA LISA」は「HOT 100」で65位に初登場した。これでジェイホープは通算7回目となるソロでのチャートイン。BTSのジョングクと並んでK-POPソ…

デヴィッド・ボウイ、その死から約10年。死してなお人を惹きつける魅力とは

Unknown celebrities, celebrity and music, music, music industry, pop culture

2016年1月10日、イギリスを代表するアーティスト、デヴィッド・ボウイが亡くなった。来年2026年は、ちょうど彼の死から10年の節目になる。では、彼は完全に過去の人になってしまったのだろうか。いや、そんなことはない。その死から10年、彼にまつわる書籍や映画はいまだに発表され続けている。
 


 
 2025年1月には、活動初期のボウイを映したドキュメンタリー映画『デヴィッド・ボウイ　幻想と素顔の狭間で』が公開された。また、2025年5月、6月には彼の遺作ミュージカル『LAZARUS』の日本版が上演される予定だ。主演を務める松岡充（SOPHIA）も、自身がロックを志したきっかけはデヴィッド・ボウイだったとコメントしている。
 


 
 死してなお、注目され続けるアーティスト、デヴィッド・ボウイ。一体、彼の何がこれほどにまでに人々を惹きつけるのか。その死から約10年、ここでは彼のキャリアおける功績とエンターテインメントに及ぼした多大なる影響について、改めて振り返っていく。
 


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 ◆ビートルズに影響を受けた10代
 


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 デヴィッド・ボウイ、本名デヴィッド・ロバート・ジョーンズは、1947年1月8日、ロンドンの南に位置する町ブリクストンで生まれた。父ヘイウッドと母マーガレット、そして、マーガレットの連れ子で10歳上の義兄テリーという家族構成だった。
 


 
 幼いデヴィッドの芸術的感性に影響を与えたのは、父ヘイウッドだった。芸能関係の仕事をしていた父は、時折不要になったレコードを職場から持ち帰っており、デヴィッドはその音楽に熱心に聞き入っていた。特に彼を魅了したのは、黒人歌手リトル・リチャードだった。代表曲の「のっぽのサリー」（1956年）は、エルヴィス・プレスリーにもカバーされており、ロックンロールというジャンルの形成に多大なる影響を及ぼした人物である。
 


 
 10代も後半になると、デヴィッドはバンドを組んで音楽活動に励むようになる。当時は、同年代のビートルズが、アイドル的な注目を受け始めた時期でもあり、デヴィッドも彼らの影響を受けた一人だった。
 


 
 しかし、デヴィッドのバンドの売り上げは芳しくなく、彼を待っていたのは長い下積みだった。ちなみに、彼の芸名「デヴィッド・ボウイ」が生まれたのも、この時期である。彼の本名「デヴィッド・ジョーンズ」は同時期に似た名前のアーティストがいたということから、「デヴィッド・ボウイ」という現在の芸名がつけられたのだった。
 


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 そんなボウイの初めてのヒットは「スペース・オディティ」という一曲だった。この曲が発表されたのは1969年。アメリカでのアポロ11号打ち上げと月面着陸に世界が湧いていた時期である。宇宙空間を漂う宇宙飛行士の孤独を歌った本作は、ニュースやラジオで流されるようになり、次第にボウイの名が世に知られてくる。その結果、「スペース・オディティ」は、イギリスのシングルチャートで5位にまで昇りつめた。ボウイ初のヒット作である。
 


 
 ◆YMOをはじめとした80年代の日本人アーティストに与えた影響
 


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 その後のボウイで印象的なのは、やはり「ジギー・スターダスト」の誕生である。1970年代前半、あろうことか彼は、「デヴィッド・ボウイ」という名を捨て、新たに「ジギー・スターダスト」という架空のロックスターを演じるようになったのだ。
 


 
 女性ファッション雑誌を参考に短く切った髪をオレンジ色に染めたボウイは、自らがゲイであることを公言して、新たなアーティスト像を打ち出していく。ボウイなのか、ジギーなのか、男なのか女なのか、そんな曖昧な世界観に人々は引き込まれていった。
 


 
 もちろん、ボウイ熱に浮かされたのは、日本人も例外ではない。フォーククルセダーズのメンバーの一人で、後にロックバンド、サディスティック・ミカバンドを結成することになる加藤和彦もボウイ・ブームの目撃者だった。このサディスティック・ミカバンドのドラマーとして知られる高橋幸宏は、後に80年代のテクノブームをけん引するグループ、イエロー・マジック・オーケストラ(YMO)のメンバーになる。また、同じくYMOの坂本龍一も大島渚監督作品『戦場のメリークリスマス』（1983年）でボウイと共演し、ヒットを記録する。こうしたことからも、70年代のスターとしてのデヴィッド・ボウイ像は、日本の80年代カルチャーに少なからぬ影響を与えていると言える。
 


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 YMOのみならず、テクノといえば欠かせないのがドイツの音楽グループの影響である。70年代後半、シンセサイザーなどの電子楽器が発達する中、ドイツではクラフトワークやノイ!といったグループが、こうした新技術を用いて次々と作品を発表していた。
 


 
 ボウイもこうした作品には耳を傾けており、新しい創作の可能性を模索していた。その結果、出来上がったのが、いわゆる「ベルリン三部作」である。これらの作品は、当時、アンビエントという新たなジャンルを確立しつつあった、ブライアン・イーノとの共演で制作された。中でも三部作の1作目『ロウ』（1977年）は、収録曲の半数が歌声の入っていないインストゥルメンタルの楽曲であり、強い実験性を帯びた作品だった。
 


 
 『ロウ』は、斬新な作風ではあったものの、それが故にレコード会社は商業的な成功は見込めないのではないかと危惧していた。しかし、そんな予想とは裏腹に、リスナーたちはその先進性を評価した。今では後に登場するポスト・パンクやニューウェーブといった新しいジャンルの先駆けだったと言われている。
 


 
 ◆ボウイと京都の知られざる関係
 


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 ボウイのキャリアを語るうえで欠かすことのできない場所はいくつかある。その中でも、とりわけ重要だと思われるのが、先述のベルリン、そして、京都である。
 


 
 先述の通り、ベルリンといえば「ベルリン三部作」が有名である。では、京都はどうだろうか。京都にはかつてボウイがお忍びで訪れていたとか、一時期、実際に住んでいたとか、そういった噂がささやかれている。
 


 
 そんなボウイと京都の関係性の中でも印象的なのが、宝酒造の焼酎「純」のテレビCM （1980年）である。京都市の北部にある正伝寺の枯山水庭園で撮影されたCMは、ボウイが焼酎の入ったグラスを手に枯山水庭園に座り込んでいるだけという、CMとしてはいささか地味なものだった。
 


 
 だが、流石はデヴィッド・ボウイである。このCMによって宝酒造と焼酎「純」の国内における知名度は大幅に上がった。また、宝酒造はこれを機に「デヴィッド・ボウイも出演したテレビCM」という強力な口説き文句を得て、様々な海外アーティストの出演承諾を得るコマーシャル路線を確立していった。
 


 
 ◆80年代の躍進－メジャーシーンへの本格参入－
 


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 80年代のボウイといえば、やはりアルバム『レッツ・ダンス』（1983年）の爆発的なヒットが有名である。これまでの作品も全く注目を受けていなかったわけではないが、やはり全英米でのトップ入り、そして、グラミー賞最優秀賞ノミネートは異例だった。どちらかといえばアングラ寄りだったボウイが、本格的にメジャーなスターたちの仲間入りを果たした瞬間でもある。
 


 
 しかしながら、単なる呑気なポップスターにならないところがボウイらしい。オーストラリアで撮影された「レッツ・ダンス」のMVは、資本主義社会の中で苦しむアボリジニたちを主人公にしており、暗に植民地主義を批判している。
 


 
 ◆マルチな顔を持つアーティストとして
 


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 これまでの彼の生涯を眺めると、デヴィッド・ボウイがロックシンガーという地位を基盤にして、多くのことに挑戦してきたことがわかる。90年代には、デヴィッド・リンチ監督の映画『ツイン・ピークス　ローラ・パーマー最後の7日間』（1992年）で重要な役どころ演じるなど、俳優としてのキャリアも充実してきた。
 


 
 そんな90年代、破竹の勢いで発達したのがインターネットだった。今でこそ、ネットは生活になくてはならない存在だが、この当時はまだまだ一般的にはマイナーなものだった。インターネットという新しいツールに新しいコミュニケーションの可能性を見出したのは、なにもマーク・ザッカーバーグをはじめとしたIT系の人間だけではなかった。ボウイもこの新しい可能性に興味を示した一人だった。
 


 
 ボウイはいち早く、楽曲のダウンロード販売をネット上で始めた。また、彼の公式サイトでは会員限定のチャットルームが開設され、ときにはボウイ自身も「セイラー(sailor)」のハンドルネームでファンたちの間に姿を現すこともあったという。アーティストがSNSで日々の日常を吐露し、サブスクリプションを介して楽曲を配信する現在から見ても、彼のこうした行動は時代を感じさせないものがある。まして、90年代にこれをやっていたのだから、間違いなく彼には先見の明があったはずだ。
 


 
 ◆デヴィッド・ボウイ引退説の真相
 


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 2000年代に入っても、ボウイの勢いは衰え知らずだった。新たなアルバムを発表し、ツアーも実施する。50代も半ばに差し掛かろうとしているにもかかわらず、相変わらず活動的だった。
 


 
 ところが、この勢いは突然、中断する。2004年6月、ツアーの中、ドイツのハンブルクで緊急入院し、心臓の手術を受けることになったのだ。ツアーの残りの公演はキャンセルされたほか、これ以降、新たな作品発表やメディアでの露出も次第に減っていった。
 


 
 2010年代に入ると、事実上の活動休止状態となり、デヴィッド・ボウイ引退説まで囁かれるようになっていた。そんな中、2013年1月8日、66歳の誕生日、そういった類の噂話が全くの誤りであることがわかった。
 


 
 ◆病魔に蝕まれる中での復活
 


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 2013年1月8日、デヴィッド・ボウイ、66歳の誕生日。突然、世界119か国のiTunesストアで、新曲「ホエア・アー・ウィー・ナウ？」が発表された。また、同年3月8日には、新たなアルバム『ザ・ネクスト・デイ』が発表されることも明かされた。かくして、デヴィッド・ボウイは突然の復活を果たしたのである。
 


 
 その後のボウイは、ブロードウェイミュージカル『LAZARUS』の制作準備に取り掛かるなど、精力的に活動しているように見えた。2016年1月8日、69歳の誕生日には、新たなアルバム『★（ブラックスター）』を発表するなど、勢いは留まるところを知らないかと思われた。
 


 
 しかし、その裏でボウイは自らの余命が幾ばくも無いことを知っていた。進行性の肝臓がん。病のことを知っていたのは、彼の周囲のごく僅かな人間だけだった。2016年1月10日、69歳を迎えた誕生日から2日後、ボウイはその生涯に幕を閉じた。
 


 
 ◆デヴィッド・ボウイ亡き後の「デヴィッド・ボウイ」
 


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 大雑把ではあるものの、こうしてデヴィッド・ボウイの生涯を振り返ってみると、彼が決して枠にとらわれることのなかった、変幻自在のアーティストだったことがわかる。ボウイは、常に新しい可能性を模索して、新たな表現を切り拓いてきた。
 


 
 死してなおボウイが注目され続ける理由。それは、こうした彼の貪欲さと、先見の明によるのではないだろうか。ニューウェーブであれ、インターネットであれ、時代を嗅ぎ分ける確実な嗅覚をボウイは備えていた。だからこそ、彼の作品は常に時代を先取りしていたのだろう。
 


 
 彼の作品は今後も再解釈を重ねて、人々に受容されるだろう。そのたびに彼の先見性が注目されることを願う。ボウイ亡き後の「ボウイ」は、聴き手の中にある。
 


 
 ひとまずは、2025年5月公演のミュージカル『LAZARUS』で、主演の松岡充の身体を借りて、再び“来日”するデヴィッド・ボウイに期待したい。
 


 
 参考文献
 
 
 野中モモ『デヴィッド・ボウイ : 変幻するカルト・スター 』(ちくま新書、2017年)
 
 
 吉村栄一『評伝デヴィッド・ボウイ―日本に降り立った異星人』(ディスクユニオン、2017年)
 


 
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 【礼門猿取】
 
 
 現役大学生ライター。読みは、れいもん・さるとる

デヴィッド・ボウイ、その死から約10年。死してなお人を惹きつける魅力とは

Unknown celebrities, celebrity and music, music, music industry, pop culture

2016年1月10日、イギリスを代表するアーティスト、デヴィッド・ボウイが亡くなった。来年2026年は、ちょうど彼の死から10年の節目になる。では、彼は完全に過去の人になってしまったのだろうか。いや、そんなことはない。その死から10年、彼にまつわる書籍や映画はいまだに発表され続けている。 2025年1月には、活動初期のボウイを映したドキュメンタリー映画『デヴィッド・ボウイ　幻…

Chris Brown's "Residuals" Tops the Adult R&B Airplay Chart

Unknown celebrity and music, music, music and lyrics, music charts, music industry

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<div class="pmc-paywall">
 
 Chris Brown
 crowns
 DIwida.Blog & News
 's
 Adult R&B Airplay
 The song "Residuals" has reached the top spot for a sixth consecutive time, moving up from second place to lead the chart dated April 5. According to data from Luminate, during the monitoring period between March 21 and March 27, it was the most-played track on U.S.-based adult R&B radio stations associated with their panel. This resulted in a weekly play rise of 12%. Due to this growth, "Residuals" secures the Greatest Gainer accolade for the week, an honor bestowed upon the song experiencing the highest surge in airplay.
 
 
 Using "Residuals," which was released and promoted via CBE/RCA Records, Brown secures his sixthAdult R&B Airplay top spot. Below is a critique of his latest compilation:
 
 <div class="container // lrv-u-margin-lr-auto lrv-a-font-body-m">
 <ul>
 <li>
 "No Guidance," featuring Drake; held the top spot for 11 consecutive weeks starting from January 18, 2020
 </li>
 <li>
 "Crazy," featuring Young Thug, number seven, December 26, 2020
 </li>
 <li>
 "Come Through,"
 H.E.R. feat. Chris Brown
 ; first entry, January 1, 2022
 </li>
 <li>
 "See Through Love,"
 Tank feat. Chris Brown
 ; One; May 20, 2023
 </li>
 <li>
 "Exceptional," featuring Davido & Lojay, number eight, August 24, 2024
 </li>
 <li>
 "Remainders," so far, April 5, 2025
 </li>
 </ul>
 </div>
 
 Significantly, all six of his number-one hits have occurred during the 2020s decade, putting him on par with R&B superstars H.E.R. and Usher as the artists with the most top spots within this period. Previously, Brown has had 15 separate entries reach the Adult R&B Airplay chart since he initially made an appearance at the age of 16 back in 2006 with "Yo (Excuse Me Miss)," which peaked at No. 25. Before achieving these latest six number ones, including “No Guidance,” Brown’s highest position was No. 4 achieved with "Undecided" in 2019.
 
 
 <img data-document-id="cms/api/amp/video/AA1C5BNj" data-reference="video"/>
 
 
 Elsewhere, "Residuals" remains at number two based on listener votes.
 R&B/Hip-Hop Airplay
 chart, after having previously topped the tally for three weeks. Despite the static rank, the single added 3% in audience to 19.7 million in listenership for the tracking week. On the plays-based
 Mainstream R&B/Hip-Hop Airplay
 The chart shows "Residuals" climbing from fourth to third place after holding the top spot for four consecutive weeks. This upward movement in rankings compensates for a 3% decrease in song plays over the week.
 
 
 While "Residuals" largely holds steady after conquering several formats in the R&B/hip-hop sector, it is a promising newcomer in the pop realm. The track logs a fifth week on the
 Pop Airplay
 chart, and despite a 35-36 reverse, it remains essentially even in plays for the tracking week compared with the week prior.
 
 
 "Residuals" is from the April 2024 deluxe edition of Brown's most recent studio album,
 11:11
 . The song was nominated for this year's Grammy Award for best r&b performance, while
 11:11
 won for best R&B album, the singer's second career trophy.
 
</div>
<div>
 <div>
 
 More from DIwida.Blog & News
 
 </div>
 <ul>
 <li>
 Chris Brown Unveils Breezy Bowl XX Stadium World Tour Featuring Summer Walker & Bryson Tiller
 </li>
 </ul>
</div>

Chris Brown's "Residuals" Tops the Adult R&B Airplay Chart

Unknown celebrity and music, music, music and lyrics, music charts, music industry

Chris Brown crowns DIwida.Blog & News 's Adult R&B Airplay The song "Residuals" has reached the top spot for a sixth consecutive time, moving up from second place to lead the chart date…

경서, 첫 번째 곡 '그러니 내 옆에' 발표...싱어송ライター로서 데뷔

Unknown korean, music, music and lyrics, music industry, musicians

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 가수 경서는 처음으로 작사와 작곡을 맡은 노래 '그러니 내 옆에'를 통해 자신의 음악적인 발전을 보여주었다.


 경서는 4월 6일 각종 음원 사이트를 통해 새 싱글 ‘그러니 내 옆에’를 발매했다.


 '그러니까 내 편에 있어'는 4월 벚꽃처럼 조용하게 피어나는 따뜻한 봄 기분을 느낄 수 있는 발라드입니다. 경서는 부드럽게 울리는 목소리와 섬세한 해석력을 통해 애절함 넘치는 멜로디를 이끕니다. 거의 넘어갈 것 같은 순간에도 가깝게 도움의 손길을 내밀며 함께 있을 거라는 위안받을 만 한 내용의 가사는 들어보는 사람들의 찌든 마음을 다독여줍니다.


 특히 경서는 직접 진심을 담아 쓴 진정성 어린 가사와 멜로디로 자신만의 서정적인 음악색을 드러냈다. ‘그러니 내 옆에’로 음악적 성장을 증명하며, 싱어송라이터로 성공적인 첫발을 뗀 경서의 앞으로 음악 여정과 행보에도 기대감이 집중되고 있다.


 이에 이번 ‘그러니 내 옆에’를 감상한 음악 팬들은 각종 SNS와 음원 플랫폼 댓글을 통해 “숨 고를 수 있는 노래”, “진짜 위로받았다”, “목소리에 녹아내린다”, “꿈을 향해 달려가는 이들에게 전하는 위로송” 등 다양한 호평을 보내고 있다.


 그간 경서는 ‘밤하늘의 별을(2020)’, ‘봄이야’, ‘나의 X에게’, ‘첫 키스에 내 심장은 120BPM’, ‘고백연습’ 등 대표곡으로 탄탄한 가창력과 호소력 짙은 감성을 증명해왔다. 이어 ‘그러니 내 옆에’를 시작으로 또 다른 음악적 도전을 선보이며 스펙트럼을 넓혀갈 예정이다.


 경서는 최근 국내뿐만 아니라 일본에서 활발한 음악과 공연 활동을 펼치며 글로벌 행보를 보였다. 일본 데뷔 싱글 ‘夜空の星を(밤하늘의 별을)’, 싱글 2집 ‘First Kiss ~ 初キスでハ?トは120BPM～(첫 키스에 내 심장은 120BPM)’을 발매했으며 도쿄에서 단독 콘서트를 성황리에 마쳤다.


 이외에도 현지 애니메이션 OST ‘運命線で抱きしめて(운명선에서 안아줘)’ 가창에도 참여하며 글로벌 팬들의 주목을 받았다.

경서, 첫 번째 곡 '그러니 내 옆에' 발표...싱어송ライター로서 데뷔

Unknown korean, music, music and lyrics, music industry, musicians

가수 경서는 처음으로 작사와 작곡을 맡은 노래 '그러니 내 옆에'를 통해 자신의 음악적인 발전을 보여주었다. 경서는 4월 6일 각종 음원 사이트를 통해 새 싱글 ‘그러니 내 옆에’를 발매했다. '그러니까 내 편에 있어'는 4월 벚꽃처럼 조용하게 피어나는 따뜻한 봄 기분을 느낄 수 있는 발라드입니다. 경서는 부드럽게 울리는 목소리와 섬세한 해석력을…

20일만에 1억 껑충! 임영웅, 멜론 누적 스트리밍 115억회 돌파

Unknown celebrity and music, entertainment, korean, music, music industry

20일만에 1억 껑충! 임영웅, 멜론 누적 스트리밍 115억회 돌파

Unknown celebrity and music, entertainment, korean, music, music industry

가수 임영웅이 불과 20일 만에 멜론 누적 스트리밍 기록을 또 한 번 갈아치웠다. 임영웅은 4월 6일 국내 주요 음원 플랫폼 멜론(Melon)에서 누적 스트리밍 115억 회를 넘어섰다. 이날 기준 임영웅의 멜론 누적 스트리밍 수는 115억 66만 회였다. 임영웅은 지난 3월 18일 멜론 누적 스트리밍 114억 회 돌파 이후 20일 만에 1억 회 …

Alison Krauss Unveils the Transformative Magic of Breakup Songs

Unknown concerts, music, music and lyrics, music industry, musicians

Several years back, I attended an Alison Krauss and Union Station performance not long after going through a breakup. As soon as they started playing perhaps "So Long So Wrong," or possibly "Ghost in This House" or "Every Time You Say Goodbye"—the floodgates opened, with tears streaming down my face just as those lyrics describe them doing. My companion sitting beside me gave me a knowing look; she understood completely. Who could listen to Alison Krauss under such circumstances without shedding a tear?


 This year, fans get a fresh opportunity to prove themselves as the mystical vocalist and her unparalleled band come back with a brand-new album.
 Arcadia
 , set for release on March 28, followed by a 77-stop North American tour.
 kicking off April 17
 Krauss, who was notably signed by Rounder Records at the age of 14 due to her exceptional talent as a fiddler, has been entertaining audiences for close to forty years. However, on
 Arcadia
 Her crystal-clear Baccarat soprano remains unscathed, along with the group’s musicianship and their fusion of bluegrass, roots, rock, and adult contemporary music styles. (Formerly, Dan Tyminski, who was both a guitarist and lead vocalist for the band, has moved on to pursue a solo career, and he has been succeeded by skilled bluegrass singer Russell Moore.)


 Arcadia
 Krauss's initial collaboration with Union Station in 14 years came about through this project. During the interim, she worked on an album featuring classic country cover tunes.
 Windy City
 , and two albums alongside Led Zeppelin’s Robert Plant—including the 2007 release
 Raising Sand
 This resulted in Grammy wins for both Album of the Year and Record of the Year. Holding a total of 27 Grammys as a performer and producer, Krauss isn’t merely the most acclaimed artist in bluegrass; she’s also among the most honored women in music overall—Beyoncé stands above her with only more awards to her name.


 When reached at her residence in Tennessee during an overcast day in early spring, Krauss becomes animated while discussing the collaborations central to her career (including both her ongoing work with the changing lineup of Union Station and iconic duets with artists such as Dolly Parton and Taylor Swift). When questioned about her accomplishments and future aspirations, she exhibits genuine humility. "Each album we produce and each tour feels brand new," she explains, "as if they're my first and final ventures." Her aim remains simple: "I strive for excellence; however, achieving this isn’t effortless. My hope is merely that everyone who attends will enjoy themselves thoroughly." Be prepared for potential tears though.

<h3 class="body-h3">
 You're recognized as a brilliant song curator rather than a songwriter—you excel at discovering songs and assembling them effectively. Could you walk us through your typical approach to compiling an album, specifically for this new one?
</h3>

 Oh, this might be my favorite part—finding a song that fits just right for the band is incredibly thrilling. Many songwriters struggle with crafting their work; it can be quite emotionally taxing. The whole experience tends to weigh heavily on them. However, whenever I discover such a piece, it brings nothing but joy. I get to skip all the hardship they had to endure during the creative process.
 laughs
 It feels as though once I discover one of these songs, there's this immediate urge to perform it myself or listen to others performing and playing it. Occasionally, you come across a song that has lingered for ages but hasn't quite fit into your collection alongside the rest until now. You must locate what means most to you—a starting point for an entire musical journey. Hence, the song I discovered
 Arcadia
 It was titled "Looks Like the End of the Road." When I listened to it, I might have lost track after the first half of the initial verse. That moment marked the beginning, and subsequently, every piece I had collected over many years converged into something significant.

<h3 class="body-h3">
 I often connect you with ballads about heartbreak, but "Looks Like the End of the Road" appears to delve into more profound life disappointments—choices and errors from which there’s no turning back. Does this resonate as an accurate understanding, or am I projecting some personal struggles onto it?
</h3>

 Something I often consider is how individuals form their personal interpretations. When I listened to the song, I also sensed themes of unrequited love. For instance, my mother mentioned that upon hearing this particular track, it made her reflect on what it was likely like for my father to move to America post-World War II, leaving behind everything familiar. People tend to latch onto specific verses, which can transform these lines into narratives they identify with personally. Sipping directly from a container might not resonate as strongly with me; however, feelings of deceit and being entangled in situations devoid of truth certainly strike chords within me. There are numerous aspects where such tales echo common human experiences. Despite varying contexts, we humans share similar emotional landscapes.

<h3 class="body-h3">
 When it comes to shifting situations, reaching your fifties often prompts reflections on both the past and the future. Would a tune such as "Looks Like the End of the Road" resonate more profoundly now compared to two decades earlier?
</h3>

 I'm not sure! Throughout your life, there are numerous instances where you can connect with the lyrics of that song. However, as someone who has aged more, it all seems quite amusing. My mother once said, "When you hit 50, things change dramatically." Just today, I entered the incorrect entrance at the library and triggered an alarm, but I couldn't have cared less! That's what hitting 50 feels like. I’m eagerly anticipating experiencing this shift personally.

<img data-document-id="cms/api/amp/image/AA1BM0Cy" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BM0Cy.jpg"/>
<h3 class="body-h3">
 On this album, Russell Moore often performs the lively tracks, followed by more somber ballads. What draws you to performing melancholic tunes?
</h3>

 I adore the sense of hope conveyed in those lyrics. Whenever you perform such a song—it embodies resilience. It serves as an inspiration when listening to it. This has been my constant feeling: Such melancholic melodies instill a yearning and optimism about what lies ahead within me.

<h3 class="body-h3">
 Is that why you believe break-up songs hold such significant influence?
</h3>

 The lyrics speak of a wonderful event that occurred and the potential for another such occurrence. These moments possess therapeutic qualities. By being shared through song, they become indelible memories. Many of these experiences are too challenging to express verbally. Over time, this has been evident; numerous traditional folk songs ensure we recall events that would otherwise remain unknown without their immortalization in enchanting melodies. This is how stories endure across generations.

<h3 class="body-h3">
 Specifically, bluegrass music focuses on chronicling that history and weaving a connection to the past, be it personal stories or the broader narrative of this nation.
</h3>

 Individuals desire to recall and pay tribute to earlier times. Many within the musical community express similar sentiments: "I feel as though I should have been born in another era." These individuals often reminisce about days gone by—when these classic tunes came into existence—and ponder upon the lifestyle prevalent during those epochs. It has long been evident that folks tend to wax nostalgic over their predecessors' youthful years. This period remains sufficiently distant yet intimately linked with us today. Consequently, the significance of art globally cannot be overstated; it shapes one’s mental landscape and fuels imaginative musings. The question lingers: To what extent do experiences sculpt an individual’s identity versus aspirations conjured up through reverie? When immersed in melodies, many find themselves engrossed in tales spun from imagination—a substantial component contributing to personal development according to my belief.

<h3 class="body-h3">
 Which musicians have you been enjoying lately?
</h3>

 Someone new who has really won me over is Sierra Ferrell. She impresses me as much as any artist out there. Though I haven’t had the chance to see her perform live yet, once our current tour wraps up, catching one of her shows will be at the top of my list.

<h3 class="body-h3">
 Have you found yourself taking on a mentoring role for newer artists who seek your guidance on music or career matters?
</h3>

 Oh, I’m not sure about feeling that way. However, whenever someone asks for my advice, I always tell them, "Ensure you enjoy the songs you're performing." Since whatever comes out of your mouth matters—a lot. Whether it's spoken or sung, you must connect with it, as ultimately, it’s all you have left when you lie down alone at night.

<h3 class="body-h3">
 It appears that collaboration runs through the core of your professional journey. Could you share what motivates you to team up with numerous other creators?
</h3>

 Sure, you understand that in bluegrass music, harmony vocals are crucial. It’s like, folks wouldn’t miss out on attending their high school prom just to sing harmonies together. These melodies aren’t worth skipping such significant occasions for.
 laughs
 It’s truly enchanting to replicate someone else’s way of speaking. While enjoying music, one appreciates its aesthetic appeal effortlessly. However, in a recording studio setting where matching an artist can be challenging, every subtle detail becomes apparent. This effect is particularly striking with legendary vocalists. For instance, working on several albums alongside Dolly Parton throughout my career, I noticed how she incorporates minute nuances into her performances. These subtleties seem effortless and organic upon first listen but become dauntingly complex under scrutiny. Similarly demanding yet rewarding was capturing the essence of Cyndi Lauper’s style. Her approach shares similarities with Dolly’s—both possess this distinctive sparkle that sets them apart.

<img data-document-id="cms/api/amp/image/AA1BMdOh" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BMdOh.jpg"/>
<h3 class="body-h3">
 I was also just viewing your acoustic performance
 performance of “Red”
 —when discussing breakup tunes—at the CMA Awards,Taylor Swift performed alongside Vince Gill, blending their voices together.
</h3>

 Allow me to share an experience involving her during a performance we both took part in right here in Nashville. She performed at the arena and invited several guest artists. During one segment, they harmonized on "When You Say Nothing At All" as part of the 1989 World Tour with Union Station. Hundreds of crew members bustled about preparing for the event, each displaying exceptional kindness from your first step inside. This created an atmosphere that was not only classy but also incredibly welcoming.
 On this occasion, I brought along a little girl—she happens to be the child of another collaborator in my recording sessions—and they permitted both her and my own young son to attend the soundcheck session. Taylor made sure to greet them personally; everyone present was deeply impressed. Witnessing all these interactions left quite an impact on me. Though our encounters have been limited, what I've seen has convinced me that she truly stands out as a remarkable individual.

<h3 class="body-h3">
 I understand you've faced some difficulties with your voice before, yet it sounds remarkably crisp on this album. Can you share how you maintain it? Does having such a distinctive voice make you feel an obligation to look after it carefully?
</h3>

 Oh! Sometimes folks just feel all knotted up inside. Many individuals experience this—even big names like Shania Twain and the impeccable Renée Fleming. This condition is known as dysphonia; essentially, your throat becomes constricted and remains that way. Often, it stems from being overly stressed about various matters. So, ensuring you declutter both physically and mentally can help. Interestingly, research suggests it occurs more frequently among women. I visited a vocal coach named Ron Browning locally, whom I affectionately refer to as "Yoda." He’s truly the master, much like a Jedi. After some time under his guidance, whenever I showed up for lessons, my throat was perfectly relaxed. Singing requires freedom, and without it, tension takes over.


 The interview has been revised and shortened for clarity.

Alison Krauss Unveils the Transformative Magic of Breakup Songs

Unknown concerts, music, music and lyrics, music industry, musicians

Several years back, I attended an Alison Krauss and Union Station performance not long after going through a breakup. As soon as they started playing perhaps "So Long So Wrong," or possibly "Ghost i…

Ariel Bebaskan Lagunya Dinyanyikan, Ahmad Dhani: Jangan sok Kaya, Banyak yang Hidup dari Royalti

Unknown music and lyrics, music industry, musicians, news, politics

<img data-document-id="cms/api/amp/image/AA1zduys" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1zduys.jpg"/>

 
 JAKARTA,
 
 - Polemik mengenai hak royalti dan izin menyanyikan lagu semakin memanas di industri musik Indonesia.


 Ariel NOAH baru-baru ini menyatakan bahwa siapa pun boleh menyanyikan lagu ciptaannya tanpa perlu meminta izin.


 Menurut Ariel, dirinya tidak khawatir karena tetap mendapatkan hak ekonomi melalui Lembaga Manajemen Kolektif (LMK), badan hukum yang bertugas menghimpun dan mendistribusikan royalti pencipta lagu.


 Namun, pernyataan Ariel itu langsung mendapat tanggapan keras dari Ahmad Dhani.




 Sebagai Dewan Pembina Asosiasi Komposer Seluruh Indonesia (AKSI), Ahmad Dhani menilai bahwa Ariel hanya memikirkan kepentingan pribadi tanpa mempertimbangkan nasib pencipta lagu lain yang menggantungkan hidup pada royalti.


 "Dia (Ariel) memikirkan diri sendiri. Dia memang tidak tercipta untuk memikirkan orang lain dan hajat orang banyak," ujar Dhani saat ditemui di kawasan Senayan, Jakarta Pusat, Jumat (21/3/2025) mengutip
 
 Tribunnews.
 


 Dhani menegaskan bahwa AKSI dibentuk bukan untuk kepentingan pribadi, melainkan sebagai wadah perjuangan bagi pencipta lagu yang merasa haknya tidak dihargai.


 "Saya dan Piyu Padi memikirkan banyak pencipta lagu. Kalau tidak memikirkan pencipta lain, jangan sok kaya," ucap pentolan Dewa 19 tersebut.


 Sementara itu, Piyu Padi Reborn juga turut angkat bicara. Ia menilai banyak pencipta lagu yang tidak memiliki penghasilan lain selain royalti lagu mereka.


 "Kasihan pencipta lagu yang menggantungkan hidupnya hanya dari lagu, tidak seperti kami yang masih bisa dapat tawaran manggung," ujar Piyu.


 Menurutnya, jika sistem direct license tidak diterapkan, maka akan ada banyak pencipta lagu yang kesulitan secara ekonomi.


 "Kami memperjuangkan hak mereka, bukan untuk kepentingan pribadi. Apa salahnya jika kami berjuang demi hak pencipta lagu?" tambahnya.




 Pernyataan Ariel NOAH yang memperbolehkan semua orang menyanyikan lagunya tanpa izin memicu kontroversi besar. Ahmad Dhani dan Piyu bersikeras bahwa sistem royalti harus lebih adil dan berpihak kepada pencipta lagu, bukan hanya penyanyi.


 Bagaimana menurutmu? Apakah musisi wajib meminta izin pencipta lagu sebelum membawakan karyanya?

Ariel Bebaskan Lagunya Dinyanyikan, Ahmad Dhani: Jangan sok Kaya, Banyak yang Hidup dari Royalti

Unknown music and lyrics, music industry, musicians, news, politics

JAKARTA, - Polemik mengenai hak royalti dan izin menyanyikan lagu semakin memanas di industri musik Indonesia. Ariel NOAH baru-baru ini menyatakan bahwa siapa pun boleh menyanyikan lagu cipta…

Britain’s oldest pop band to split after farewell show at Glastonbury

Unknown music, music industry, musicians, news, pop culture

<img data-document-id="cms/api/amp/image/AA1BrDYu" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BrDYu.jpg"/>

 The Searchers
 , the longest-running band in pop history, have decided to call it a day after 68 years.


 The group rose to fame in the early
 Sixties
 as part of
 Liverpool
 ’s
 Merseybeat
 scene, where they were contemporaries of
 The Beatles
 .


 Yet they formed three years before the Fab Four, in 1957, beginning as a skiffle group and later sold millions of records, with hits such as their Jackie DeShannon cover “When You Walk in the Room”, their No 1 “Sweets for My Sweet”, and their No 2 single “Sugar and Spice”.

<img data-document-id="cms/api/amp/video/AA1Brz3F" data-reference="video"/>

 They announced this week that they plan on retiring after what will be their first and only show at
 Glastonbury Festival in June
 .


 Speaking to
 
 The Guardian
 
 , guitarist John McNally, 83, and bassist and singer Frank Allen, 81, said they had decided to retire partly because of their age, but also because they were sick of driving up and down motorways in heavy traffic.


 “Age slows you down a bit,” Allen, who joined the band in 1964, said. “We did between 180 and 200 shows a year. But driving up and down the motorways is the hard part because the traffic is so much heavier than it ever was…


 “There was never a problem with recovering from a show because that’s the thing that brings you to life. We were always fit to do a show. It’s just the driving up and down motorways.”


 Original member McNally, who formed the band when he was 16, agreed: “The traffic is now an absolute nightmare.”


 Allen told
 
 The Independent
 
 last year
 that The Searchers initially decided to call it a day in 2019, after growing weary of non-stop touring.


 We figured, after six decades of performing, it was high time we took a break," he stated. "We were advancing in years and comfortably beyond retirement age, having averaged around 200 shows each year till then.


 After five years of “retirement” however, the band’s jokes about a comeback tour became reality, and the consequent shows turned out to be “a lot fun”.


 “By the end of it, we finished on an epic night in Liverpool at the Philharmonic and it was probably the best night we’ve had of our careers,” Allen said. “We were on such a high.”


 Asked about the secret to The Searchers’ longevity, he said it was down to being “being a part of one of the most important periods in pop history”.


 “If you made it during that period, people are never gonna forget you,” he said. “We’ve influenced so many American names, from The Byrds to Tom Petty, Marshall Krenshaw,
 Bruce Springsteen
 . We’ve had our time in the sun.”


 The band’s current lineup comprises Allen, McNally, Spencer James and Richie Burns.


 Allen said no one had asked them to play Glastonbury until now: “No one’s asked us. The Searchers are finally performing at the greatest music festival of them all. What a way to round off a tour and a career.”


 The Searchers will appear on the Acoustic Stage at Glastonbury on 27 June.
 This year’s festival is being headlined by Neil Young, Olivia Rodrigo and The 1975
 , with Rod Stewart in the Legends’ Slot.


 The Independent is the world’s most free-thinking news brand, providing global news, commentary and analysis for the independently-minded. We have grown a huge, global readership of independently minded individuals, who value our trusted voice and commitment to positive change. Our mission, making change happen, has never been as important as it is today.

Britain’s oldest pop band to split after farewell show at Glastonbury

Unknown music, music industry, musicians, news, pop culture

The Searchers , the longest-running band in pop history, have decided to call it a day after 68 years. The group rose to fame in the early Sixties as part of Liverpool ’s Merseybeat scene, w…

Lagu Dewa 19 vs Judika: Ahmad Dhani Ketahuan, Bukan Pencuri tapi Inginnya Lebih

Unknown music, music and lyrics, music industry, news, politics

<img data-document-id="cms/api/amp/image/AA1BrOmK" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BrOmK.jpg"/>

 
 JAKARTA, —
 
 Penyanyi Judikan merespons tuduhan musisi Ahmad Dhani bahwa ia telah mengambil lagu Dewa 19 tanpa izin dan hanya ingin mempersembahkan karya tersebut secara cuma-cuma.


 Judikan menanggapi respons terhadap tuduhan itu dan menyatakan dirinya paham dengan sifat Ahmad Dhani.


 “
 
 Sebenarnya dia (Ahmad Dhani) mengerti bahwa saya bukan pencuri yang gemar merampas milik orang lain dan tidak pernah ingin mendapatkan sesuatu secara cuma-cuma,"
 
 Judiki, sebagaimana dikutip dari akun Instagram-nya, pada hari Sabtu (22/3/2025).




 Judika menegaskan bahwa ia tak ingin memperpanjang masalah tersebut.


 Terlebih, Dhani merupakan salah satu panutannya dalam dunia musik.


 
 “Jadi kalaupun dia marah-marah, aku nggak masalah dan nggak usah dibalas,”
 
 tulis Judika lagi.




 
 “Ahmad Dhani (aku panggilnya Pakde) itu panutan aku di musik, pernah bareng di Mahadewa band,”
 
 tambahnya.


 Walaupun memiliki pendapat yang berbeda dengan Dhani, Judika tegas menyatakan bahwa dia memiliki metode tersendiri untuk menghadapi masalah royalti musik, yakni dengan mematuhi peraturan pemerintah.


 
 Sebelum segalanya menjadi jelas dan memiliki kekuatan hukum, saya memang belum bernyanyi untuk para penulis lagu yang mendukung direkt lisensi.
 
 tulis Judika.




 
 Hanyalah bahwa saya berusaha dengan metode yang beragam, menyerahkan hak suara kepada LMKN sebagai institusi yang didirikan oleh pemerintah,
 
 imbuhnya.


 Di masa mendatang, Judiki menginginkan perdebatan ini dapat mendorong Lembaga Manajemen Kolektif Nasional (LMKN) untuk memperbaiki diri dan tumbuh semakin maju.


 
 Dan meminta LMK-LMKN dapat beroperasi dengan lebih efisien, terbuka, bertanggung jawab, serta dilengkapi dengan sistem dan peralatan yang handal untuk merekap, mengumpulkan, dan mendistribusi hak cipta performa -- tidak hanya acara luar layar, tapi juga di tempat komersial seperti karoake, restoran/kafe, hotel, mall, dan lainnya,
 
 tulis Judika lagi.

Lagu Dewa 19 vs Judika: Ahmad Dhani Ketahuan, Bukan Pencuri tapi Inginnya Lebih

Unknown music, music and lyrics, music industry, news, politics

JAKARTA, — Penyanyi Judikan merespons tuduhan musisi Ahmad Dhani bahwa ia telah mengambil lagu Dewa 19 tanpa izin dan hanya ingin mempersembahkan karya tersebut secara cuma-cuma. Judikan mena…

ケニー大倉「父ジョニーとの約束」BS朝日番組で「Rock'n roll Magic」熱唱

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ケニー大倉「父ジョニーとの約束」BS朝日番組で「Rock'n roll Magic」熱唱

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歌手で俳優のケニー大倉（52）が22日、BS朝日「人生、歌がある」（土曜午後7時）に初出演する。自分で作詞・作曲したオリジナル曲「Rock'n roll Magic（ロックンロールマジック）」を熱唱する。ケニーは「ファンとのパフォーマンスで、手にしたタオルをクルクル回して『幸せのタオル回し』と呼んでいます。今回はご一緒した大御所の先輩たちが、応援で一緒にやってくださいました」と話してい…

BIGBANG・D-LITE「KCON JAPAN 2025」出演決定

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【＝2025/03/22】5月9日〜5月11日の3日間、千葉県・幕張メッセで開催されるK-POP Fan ＆ Artist Festival「KCON JAPAN 2025」に、BIGBANG（ビッグバン）のD-LITE（ディライト）が出演することがわかった。


 <img data-document-id="cms/api/amp/image/AA1BqkA5" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BqkA5.jpg"/>


 （写真 : D-LITE（C）CJ ENM Co., Ltd, All Rights Reserved）


 
 ◆「KCON JAPAN 2025」BIGBANG・D-LITE出演へ
 


 BIGBANGのメンバーとしてデビューし、ユニークなボーカルと卓越したステージパフォーマンスで、多方面から才能と実力を兼ね備えたアーティストとして知られるD-LITEは今回初めてKCONに出演。直近では1年ぶりとなるソロカムバックを告知し、4月には1stミニアルバム「D’s WAVE」の発売とアジアツアーの開催を控えている。昨年、日本の10都市で巡るライブツアー「D’s IS ME」でファンを虜にしたのに続き、再び日本で圧巻のパフォーマンスを披露することが期待される。


 新たに追加された「X STAGE」で繰り広げられる「SHOWCASE」には、様々なジャンルのアーティストがステージを披露する。「SHOWCASE」のラインナップには、K-HIPHOPの魅力を存分にアピールする実力派アーティストSIKKOO（YOSHI、200、KOOMINJAE）、BIG Naughty、lIlBOI、pH-1や、繊細な感性が魅力のシンガーソングライターSo Soo Bin、次世代のグローバルK-POPシーンをリードしていくルーキーグループ82MAJOR（エイティーツーメジャー）、ARrC（アーク）、DXTEEN（ディエックスティーン）、KickFlip（キックフリップ）、NEWBEAT（ニュービート）、ODD YOUTH（オッドユース）、RESCENE（リセンヌ）、SAY MY NAME（セイマイネーム）など様々なジャンルと色を持つアーティストが名を連ねた。K-POPルーキーアーティストをはじめ、CJ文化財団のインディーズミュージシャン支援事業「TUNE UP」を通じて発掘された新進アーティストをグローバルステージへの橋渡しをしてきた「KCON」は、アーティストにはグローバルファンと密接にコミュニケーションをする機会を提供し、K-POPファンに新しいアーティストを発見する体験を与えるものと期待されている。


 2012年を皮切りに韓国の文化と音楽を世界に紹介し、新人アーティストの海外進出など登竜門としての役割を続けてきた「KCON」は今年初のアジア拠点である日本でファンダムプログラムを拡大し、より多角化されたコンテンツを披露する計画だ。その一環としてアーティストとファンダム間の交流を最大化する革新的なステージはもちろん、新たな看板コンテンツ「SHOWCASE」を準備中だ。


 なお、「KCON JAPAN 2025」はこれまでにBOYNEXTDOOR（ボーイネクストドア）、CRAVITY（クレビティ）、JO1（ジェイオーワン）、JOYURI（チョ・ユリ）、Kep1er（ケプラー）、ME:I（ミーアイ）、TAEMIN（テミン）、ZEROBASEONE（ゼロベースワン）、EVNNE（イブン）、INI（アイエヌアイ）、IS:SUE（イッシュ）、izna（イズナ）、QWER（キューダブリューイーアール）、TWS（トゥアス）、DXTEEN、HIGHLIGHT（ハイライト）、KiiiKiii（キキ）、KickFlip（キックフリップ）、P1Harmony（ピーワンハーモニー）、tripleS（トリプルエス）、YENA（イェナ）の出演を発表している。（modelpress編集部）


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BIGBANG・D-LITE「KCON JAPAN 2025」出演決定

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'칸타빌레: 박보검과 이승윤부터 조남지까지, 특별한 무대로 관객 사로잡다'

Unknown entertainment, korean, music, music and lyrics, music industry

<img data-document-id="cms/api/amp/image/AA1Bq3AH" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1Bq3AH.jpg"/>
 곽진언과 이승윤, 그리고 조남지대(조세호·남창희)는 밴드 드래곤포니와 함께 '더 시즌즈 - 박보검의 칸타빌레'에서 환상적인 호흡을 보여주었다.


 지난 21일에 방영된 KBS 2TV 음악토크쇼 '더 시즌즈-박보검의 칸타빌레'에서는 가수 곽진언, 이승윤, 그리고 코미디언 조세호와 남창희가 함께하는 트윈 유닛인 조남지대로 활약했고, 밴드 드래곤포니(Dragon Pony)도 참여하여 다양한 스타일의 공연을 선사했다.


 이 날 처음으로 등장한 게스트는 데뷔 10주년을 기념하는 곽진언이었으며, 그는 '일종의 고백'이라는 공연으로 행사의 문을 엶니다. 박보검은 이어서 넷플릭스 시리즈 '폭싹 속았수다'의 오리지널 사운드 트랙인 '이름'에서 곽진언이 노래와 작사 작업을 담당하였음을 소개하며 "곽진언의 목소리를 듣게 되니까 감동적인 내용들이 더욱 강조되었다"라고 말했습니다. 또한, 곽진언도 "노래를 쓰려면 녹음된 것이 없는 버전을 볼 때인데 그것 때문에 매우 슬펐어요. 그렇게까지 집중해서 연습했더니 한 주 동안은 모두 관식이(박보검 분)처럼 지냈습니다."라는 재치 있는 대답으로 현장을 활짝 웃겼습니다.


 곽진언은 현장을 방문해 즉석으로 신청곡을 받아 '자랑', '더 멋지게', 그리고 '걱정하지 마세요 그대'라는 곡들을 자신의 기타 반주로 들려줬습니다. 이러한 공연들은 진하게 느껴지는 감성과 함께 전달되었습니다. 한편, 박보검은 "곽진언 씨의 음악을 정말 사랑합니다"라고 말하며 합동 무대로 협업하는 것을 제안했습니다. 이를 듣고 큰 감명을 받은 곽진언은 박보검의 훌륭한 피아노 연주에 맞추어 '함께 걷는 길'이라는 노래를 불렀으며, 박보검의 기량 있는 연주의 솜씨에 탄복하였습니다. 이후에는 곽진언이 처음으로 선보이는 '이름'이라는 새롭게 준비된 라이브 무대가 진행되었는데, 이것은 관중에게 오랫동안 먹먹한 기억으로 남게 되었습니다.


 이승윤은 강렬한 에너지의 ‘폭포’ 무대를 선보인 뒤 “3관왕 이승윤”이라고 자신을 소개해 ‘한국대중음악상’ 수상을 자축했다. 이에 박보검은 “결혼도 하셨다”며 이승윤의 겹경사를 축하했다. 앞서 ‘한국대중음악상’ 최초로 록 노래, 모던록 노래 두 개 장르에서 동시 수상한 이승윤은 “이번 앨범을 만들기 위해 태어난 게 아닌가 싶다. 그만큼 의미가 크다”고 전했다. 박보검은 이승윤의 앨범 글귀까지 직접 소개하는 정성을 보였고 이승윤은 “몸 둘 바를 모르겠다”며 감동했다.


 이승윤은 앞서 곽진언의 무대를 언급하며 “피아노를 쳐주지 않으셨냐”고 박보검에게 넌지시 연주를 부탁했고 박보검은 요청을 받아들였다. 즉흥적인 제안에도 망설임 없는 모습에 이승윤은 오히려 당황해하면서도 “미담들이 다 진짜였다”며 감사한 마음을 전했다. 두 사람은 함께 콜드플레이의 ‘Yellow(옐로우)’ 무대를 꾸민 뒤 맞절까지 나눠 웃음을 자아냈다. 이승윤은 “본업이 배우인데 음악을 공부하고 만끽하고 소개해주셔서 영광이다”라고 인사를 전한 뒤 ‘역성’ 무대를 선보였다.


 이어서 조남주 대표가 '거기 지금 어디야' 공연을 펼쳤으며, 박보검은 조남주의 브랜드 의상을 입고 그들을 환영했습니다. 조세호는 '더 시즌즈 - 박보검의 칸타빌레' 참여와 관련하여 "첫 회 진행을 정말 멋지게 해줘서 박보검씨에게 모든 것을 맡길 수 있을 것 같았다"면서 "단순히 보는 것만으로도 웃음이 난다"고 말해 자신이 '보검앓이' 중이라고 인정하였습니다.


 조남지대는 좋은 무대로 보컬 레슨에도 참여하고 있음을 언급하면서 그 날 이문세의 '빗속에서' 생방송 이후 박보검의 피아노 반주로 '좋은 집이 무슨 상관이에요'를 부르기도 했다. 또 소개하고픈 조남지대의 잊혀진 명곡 중 하나인 '새마을주점'을 열창하여 행복한 분위기를 전해주었다. 조세호는 조남지대의 새 노래 '아직 못 들었는데'가 실제 자신의 꿈 속에서 겪었던 이별 이야기라고 말하며 작곡 과정의 배경을 공유하였다. 그러면서 진심 어린 무대까지 선사하여 관중들로부터 큰 환영을 받았다.


 마지막 스테이지를 마무리한 것은 드래곤포니였다. 그들은 처음으로 방영되는 '더 시즌즈 - 박보검의 칸타빌레'에서 'Not Out(낫 아웃)' 무대로 관객들에게 파격적인 감동을 전달했다. 박보검은 "정말 특별한 인연이 있습니다"라고 말하면서 메인 보컬 안태규와 자신의 군 복무 때 동기였다는 사실을 알렸고, 이것은 많은 사람들에게 놀람과 함께 주목받았다. 또한 두 사람이 군대에 있을 적에 찍은 영상도 예상치 못하게 소개되어 큰 호응을 받았습니다. 특히 안태규는 입대 초기 이발사를 맡았던 박보검이 자신에게 직접적으로 커ット해주었던 이야기를 공유하여 따뜻하고 독특한 분위기를 연출했습니다.


 
 박보검은 "선배와 후배로서 처음 마주했지만, 이런 무대에서 재회하게 되어 매우 소중하다"라고 말했다. 그는 드래고포니의 잠시적인 키보ード멤버로 활약하며 태연의 'I' 무대를 함께 준비하여 조화롭게 호흡을 맞추었다. 드래__,__포니팀은 자기들만의 스타일로 리메이크한 지드래곤의 'TOO BAD' 이후에도 박보검에게 특별히 제작된 노래를 발표해 많은 찬사를 받았다. 마지막으로 데뷔곡인 'POP UP'을 선택해서 관객들과 더욱 친밀하게 교감하였으며, 청중들이 있는 공간까지 달려가는 등의 행동으로 록페스티벌 같은 분위기를 만들어 모든 사람들을 환호하게 만들었다.
 
 *Note: The term "키보디스트"(keyboards member) was used instead of directly translating keyboardeist as it might not be commonly understood.*


 한편, KBS 2TV '더 시즌즈-박보검의 칸타ビル레'은 매 주금요일 오후 10시에 방영됩니다.

'칸타빌레: 박보검과 이승윤부터 조남지까지, 특별한 무대로 관객 사로잡다'

Unknown entertainment, korean, music, music and lyrics, music industry

곽진언과 이승윤, 그리고 조남지대(조세호·남창희)는 밴드 드래곤포니와 함께 '더 시즌즈 - 박보검의 칸타빌레'에서 환상적인 호흡을 보여주었다. 지난 21일에 방영된 KBS 2TV 음악토크쇼 '더 시즌즈-박보검의 칸타빌레'에서는 가수 곽진언, 이승윤, 그리고 코미디언 조세호와 남창희가 함께하는 트윈 유닛인 조남지대로 활약했고, 밴드 드래곤포니(Dra…

'Rush 50': More Than Just Hits — An Epic Musical Odyssey

Unknown music, music and lyrics, music history, music industry, rock music

<img data-document-id="cms/api/amp/image/AA1BkcPD" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BkcPD.jpg"/>
<div class="pmc-paywall">
 
 Forty-seven tracks into
 Rush 50
 - A comprehensive career-spanning compilation featuring 50 tracks over almost five hours introduces an intriguing auditory surprise. Early in "Headlong Flight," a song from Rush’s last studio album released in 2012, this hidden gem can be discovered.
 Clockwork Angels
 , Alex Lifeson delivers a cutting guitar solo, which Geddy Lee and Neil Peart respond to with swift synchronized bass and drum hits. This instance is
 deliberate
 , nearly identical to a section from "Bastille Day," which was initially released 37 years earlier and placed as track 10 on the compilation. It serves not only as an entertaining revisit but also demonstrates, when heard in this new setting, how
 Rush 50
 chronicles the group's extensive, over-four-decades journey as a single grand narrative.
 
 
 This narrative quality is
 Rush 50
 Its main advantage isn’t a compilation akin to what was seen in 1990’s.
 Chronicles
 Although it includes several of the band's most recognizable tunes, this compilation isn’t just another greatest hits package. It’s not solely focused on rare tracks either; instead, it offers a chronological musical journey through Rush’s discography, featuring both studio recordings from all their albums and choice live performances—culminating with the final medley they played during their last concert in 2015. Offered in multiple formats such as a four-disc CD set and a seven-record LP edition, it stands out as the inaugural post-breakup anthology from Rush, brimming with content fans will find deeply gratifying.
 death of Peart
 In 2020, this collection was thoughtfully selected, arranged, and presented. It serves perfectly as both a final chapter for one’s journey and a starting point for newcomers, all while being a valuable resource alongside previous works for dedicated fans.
 
 
 For individuals belonging to the latter group, one significant attraction is the very first re-release of Rush’s inaugural single. This 45rpm record came out in 1973 under the band's independent label, Moon Records, featuring a rendition of Buddy Holly's "Not Fade Away" alongside "You Can't Fight It." The latter track was penned collaboratively by Neil Peart—referred to as Lee—and founding drummer John Rutsey. Individually, these recordings do not stand out much; however, considering that this same period saw the release of albums like Led Zeppelin's, things take an interesting turn.
 Houses of the Holy
 , Genesis'
 Selling England Based on Weight
 And other achievements by bands that paved the way for Rush. (The band apparently concurs: "My God, we
 hated
 "It," Lifeson explains to David Fricke about the single in one of two liner-note essays featured within a comprehensive, over-100-page hardbound book accompanying the collection. The volume also includes numerous photographs and fresh, track-specific artwork crafted by long-time Rush illustrator Hugh Syme. However, these recordings provide crucial insight into the remarkable transformation that would unfold in the coming years.
 
 
 Rush 50
 Does justice to Rutsey, particularly through "Need Some Love" and "Before and After," which are live recordings from an October 1974 performance at a high school in Ontario—these tracks were notably featured in the 2010 documentary about Rush.
 Beyond the Lighted Stage
 - which stomps significantly harder than the studio versions on their eponymous first album. Nonetheless, the compilation’s beginning segment serves mainly as an introduction to what could be considered the most significant drum replacement in rock music: the addition of Peart in August 1974.
 
 
 It's fascinating to contrast a pair of previously unreleased tracks from a Cleveland gig that took place less than two weeks after Peart's debut - R&B cover "Bad Boy" and the early original "Garden Road" - with a live-in-studio version of
 Fly by Night
 The opener, "Anthem," was recorded just four months afterward. In the earlier track, Peart presents his authoritative style with Rush during their initial phase; conversely, the latter demonstrates his signature mix of intense power and astonishing accuracy, setting the groundwork for the group’s developed sound.
 
 
 Rush 50
 It beautifully captures the band's significant growth during the mid-to-late seventies via both well-known tracks ("2112"'s beginning segments, "Closer to the Heart") and intense live performances. By 1976’s rendition of “Something for Nothing” performed at Toronto’s Massey Hall, all components defining them as the definitive power trio had solidified: Neil Peart’s powerful drumming, Alex Lifeson’s aggressive guitar work, and Geddy Lee’s distinctive vocals. The exceptionally cohesive performance of the complex instrumental piece "La Villa Strangiato" from the 1979 concert at Holland's Pinkpop Festival demonstrates not only their enhanced compositional skills but also their capacity to push boundaries without losing audience appeal—evident in fans' roaring approval post-performance. This edition includes an unreleased version of “The Trees,” previously restricted to private vault releases.
 Rock Band
 The video game includes an alternative Lifeson guitar solo; much like a comparable version of "Working Man" featured earlier in the compilation, which was released digitally before, this serves as a small incentive for buyers.
 
 
 The first half of
 Rush 50
 includes many of the band's well-recognized hits, making space for a comprehensive look at the lesser-appreciated periods that came after the American commercial high point of their 1981 album.
 Moving Pictures
 Selections from the group's synthesizer-focused late Eighties era now resonate more firmly than ever when placed within the broader timeline.
 Rush 50
 , challenging the conventional rock purist view that the trio ventured too far during this phase. "The Big Money," from 1985's
 Power Windows
 , showcases some of Lifeson's most innovative guitar performances – such as a solo characterized by its dazzling textural brilliance – whereas “Time Stand Still,” from 1987’s
 Hold Your Fire
 , discovers Peart skillfully adjusting his exceptional agility to suit the style of modern, sophisticated pop-rock.
 
 
 Similarly, the sections dedicated to the Nineties and 2000s strongly advocate for underappreciated albums such as the one from 1993.
 Counterparts
 (the raw intensity of 'Stick It Out' truly stands out here) from 2007's
 Snakes & Arrows
 (represented by the vibrant, exotic instrumentals like "The Main Monkey Business" and a lively version of the moving track "Working Them Angels.") It’s delightful to witness the band energetically delving back into their older material during performances, such as an intense snippet from the progressive rock journey “Cygnus X-1” released in 1977, captured live in Rio in 2002, along with a somber take on "Between the Wheels,” a lesser-known song from 1984.
 Grace Under Pressure
 (The aforementioned song is one of multiple tracks on
 Rush 50
 Whose lyrics written by Peart now appear ominously prophetic?
 Moving Pictures
 For instance, the song "Witch Hunt," when experienced in an intense live performance, inevitably brings to mind Trump-era xenophobia through lyrics such as, "They warn of outsiders who menace us / Our immigrants and non-believers."
 
 
 In addition to the introductory "NotFadeAway" single, the most historically significant track on this album is the last one – a never-before-released recording that captures an earlier performance.
 The final roughly 10-minute performance that Lee, Lifeson, and Peart shared on stage.
 Wrapping up their R40 tour, where the setlist followed a chronological order starting from recent releases backward, they revisited their beginnings by performing a medley of songs from their debut album—namely "What You're Doing" and "Working Man"—and ended with a piece of "Garden Road." These performances were powerful, yet what came next left an even deeper impact. Halfway through expressing gratitude toward both the audience and the team, Lee exclaimed, “Whoa, what a surprise.” This reaction stemmed from the surprising presence beside him of Peart—a move unprecedented for the drummer who typically adhered to his own rule known as the "back-line meridian,” avoiding appearing upfront alongside his fellow musicians post-show. By capturing this touching instant effectively,
 Rush 50
 celebrates both a sense of fraternity and a collection of albums, ultimately wrapping up an appropriately grand journey through one of rock's most enriching and satisfying eras.
 
</div>
<div>
 <div>
 
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 </li>
 <li>
 Jimmy Page on the 'Confidence' of Led Zeppelin's 'Physical Graffiti'
 </li>
 <li>
 Phil Collins Says He’s No Longer Eager to Record New Music
 </li>
 </ul>
</div>

'Rush 50': More Than Just Hits — An Epic Musical Odyssey

Unknown music, music and lyrics, music history, music industry, rock music

Forty-seven tracks into Rush 50 - A comprehensive career-spanning compilation featuring 50 tracks over almost five hours introduces an intriguing auditory surprise. Early in "Headlong Flight,…

Polemik Seputar Royalti, Ariel NOAH: Kebiasaan Lama vs Saran Baru

Unknown business, entertainment industry, music industry, news, popular culture

<img data-document-id="cms/api/amp/image/BB1pEmB6" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/BB1pEmB6.jpg"/>

 
 –
 
 Ariel dari grup band NOAH membahas tentang keadaan industri hiburan setelah munculnya berbagai kasus terkait royalti.


 Sekarang ini, sektor hiburan di Indonesia, khususnya bidang musik, sedang berurusan dengan masalah yang berkaitan dengan sistem royalti untuk para artis dan penulis lagu.




 Ariel dari NOAH menyatakan bahwa kekacauan dalam masalah royalti terjadi akibat adanya modifikasi pada jalannya atau sistimnya.


 "Banyak orang masih tidak mengetahui apa yang sedang berlangsung. Kami, mereka yang bekerja dalam industri hiburan, memiliki tradisi lama yang telah berjalan cukup lama dan kemudian muncullah ide segar," jelas Ariel seperti dilansir dari saluran YouTube StarPro pada hari Senin, 17 Maret 2025.




 "Nah, setelah muncul saran terbaru itu, tentunya kita harus bertanya dong, siapa yang seharusnya kita ikuti, begitu kan," tambah Ariel.


 Ariel menyinggung tentang adanya tradisi lama yang sudah bertahan cukup lama di sektor tersebut, dan saat ada ide segar yang bermunculan, pihak-pihak yang terlibat dalam industri itu merasa penting untuk mendapatkan pemahaman lebih jauh tentang pedoman yang harus dipatuhi.




 Maka dari itu, mereka mencoba berkonsultasi dengan otoritas yang tepat, yaitu Mahkamah Konstitusi (MK), guna memperoleh penjelasan yang lebih rinci tentang ketentuan-ketentuan tersebut.


 "Nah, atas dasar itu, mari kita minta klarifikasi kepada otoritas terkait, karena menurut kami, yang paling menguasai masalah pasal-pasal tersebut adalah MK," ungkap Ariel NOAH.




 Sekarang dulu, Ariel dari NOAH bersama teman-temannya yang menjadi bagian dari organisasi musisi VISI telah mengajukan ujian materi di Mahkamah Konstitusi berkaitan dengan Undang-Undang Hak Cipta.


 Ariel menggarisbawahi bahwa langkah tersebut dilakukan guna mendapatkan penyelesaian optimal dengan mempertimbangkan seluruh opsi yang ada.




 Dua puluh sembilan artis terkenal di Indonesia telah menyerahkan permohonan pengujian substansial UU Hak Cipta kepada Mahkamah Konstitusi atau MK.


 Berdasarkan situs web resmi Mahkamah Konstitusi, permohonan banding terhadap UU No. 28 Tahun 2014 mengenai Hak Cipta diserahkan pada hari Jumat, tanggal 7 Maret 2025.




 Berdasarkan informasi tersebut, gugatan yang dimaksud telah diregistrasi dengan nomor 33/PUU/PAN.MK/AP3/03/2025.


 Ada lima ketentuan dalam Undang-Undang Hak Cipta yang dituntut oleh Ariel dkk.; Ketentuan Pasal 9 bab III, Pasal 23 bagian V, Pasal 81 poinnya, Pasal 87 ayat pertama, serta Pasal 113 paragraf kedua.


 Satu aspek krusial yang menjadi perdebatan adalah cara kerja dan prosedur performing rights di Undang-Undang Hak Cipta.




 Sebelumnya pula, permasalahan royalti dalam industri musik Indonesia memang bukan sesuatu yang baru.


 Sudah sejak dulu, para seniman berjuang untuk memperoleh hak-hak ekonominya dengan adil.


 Sistem bagi hasil royalti yang dianggap kurang jelas serta kekurangan pengetahuan tentang hak cipta merupakan sebagian dari faktor-faktor utama masalah tersebut.




 Ternyata, sejumlah seniman berpengalaman seperti Yon Koeswoyo dan Didi Kempot dikabarkan tak pernah menikmati keuntungan dari royalti karena pola pembelian hak cipta secara penuh yang digunakan oleh label musik.


 Di tahun 2021, pemerintah menerbitkan Peraturan Pemerintahan No. 56 terkait Manajemen Royalti atas Kekayaan Intelektual dalam Musik guna mendukung UU No. 28 Thn. 2014 seputar Hak Cipta.




 Akan tetapi, penerapannya di lapangan masih menemui beberapa hambatan.


 Satu masalahnya adalah cara manajemen royalti oleh Lembaga Manajemen Kolektif (LMK), hal ini menciptakan keraguan di antara para musisi.


 Keterbukaan dalam penanganan royalti, pelatihan tentang hak kekayaan intelektual, serta penyempurnaan peraturan yang mendukung para artis merupakan tindakan krusial agar bisa membentuk lingkungan bisnis musik yang lebih adil dan bertahan lama.

Polemik Seputar Royalti, Ariel NOAH: Kebiasaan Lama vs Saran Baru

Unknown business, entertainment industry, music industry, news, popular culture

– Ariel dari grup band NOAH membahas tentang keadaan industri hiburan setelah munculnya berbagai kasus terkait royalti. Sekarang ini, sektor hiburan di Indonesia, khususnya bidang musik, seda…

'불명' 조째즈, '우상' 린 꺾고 최종 우승…전국 5.0%

Unknown entertainment, korean, music, music and lyrics, music industry

KBS2 '불후의 명곡'의 조째즈가 이변의 우승 주인공이 됐다. 조째즈는 감격의 눈물을 펑펑 쏟으며 '우상' 린이 건네는 트로피를 품에 안는 영예를 누렸다.


 <img data-document-id="cms/api/amp/image/AA1BsZe9" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1BsZe9.jpg"/>


 22일(토) 방송된 KBS2 '불후의 명곡' 698회는 '작사-작곡가 윤명선 편'으로 꾸며져 다혜, 크래비티(CRAVITY), 정인X라디, 린, 조째즈가 차례로 무대에 올라 윤명선이 작사-작곡한 명곡에 새 호흡을 불어넣었다.


 시청률 조사기관 닐슨코리아에 따르면 '불후의 명곡' (연출 박형근 김형석 최승범) 697회 시청률은 전국 5.0%, 수도권 4.4%로 동시간 시청률 1위를 기록했다. 이는 무려 111주 부동의 1위로, 적수 없는 토요 예능 정상을 지키고 있다.


 다혜의 이름이 가장 먼저 뽑히며 포문을 열었다. 13년 연인이자 매니저인 서동진의 응원을 받으며 무대에 오른 다혜는 장윤정의 '어머나'를 선곡했다. 다혜는 무대 초반 재즈 편곡으로 단숨에 이목을 사로잡았다. 고혹적인 무드를 이어가던 다혜는 2절부터는 댄스 버전으로 '어머나'를 소화하며 다채로운 매력을 발산했다. 탄탄한 가창력과 무대 중간 퍼포먼스가 높은 짜임새를 자랑했다.


 다혜의 무대에 윤명선은 "처음에 재즈 느낌이라 상당히 놀랐다. '어머나'를 해석할 때 음악성이 좋다고 생각했다. 비주얼이 좋으신데, 트롯 시장에 이 시장이 비어있다. 초석을 던진 게 아닌가 싶다"라고 칭찬했다.


 크래비티(CRAVITY)가 두 번째로 호명돼 슈퍼주니어-T의 '로꾸거!!!'를 불렀다. 크래비티(CRAVITY)는 원곡의 맛을 살리면서도 트렌디한 편곡으로 넘치는 중독성을 자랑했다. 특히, 무대 중간 형준의 댄스 브레이크가 감탄을 자아냈다. 크래비티(CRAVITY)는 시계를 형상화한 안무를 칼군무로 소화하며 강력한 퍼포먼스를 선보였다. 그 속에서도 흔들림 없이 라이브를 소화, 실력파 아이돌의 면모를 발산했다.


 윤명선은 크래비티(CRAVITY)의 무대에 대해 "2025년 버전으로 트렌디하게 잘 바꾸신 거 같다"라며 "곡 한 번 쓰고 싶다"라고 말해 기대감을 자아냈다. 크래비티(CRAVITY)가 다혜를 제치고 1승에 성공했다.


 세 번째 무대에 정인X라디가 호명돼 무대를 밟았다. 윤미래의 '떠나지 마…'를 선택한 이들은 각자의 정체성을 나타냄과 동시에 하모니를 자랑하는 무대를 선보였다. 보컬 개성이 확실한 정인과 감성이 풍부한 미성이 돋보이는 라디의 목소리가 멜로디를 켜켜이 쌓으며 곡의 절정을 향해 달렸다. 멜로디를 끌고 나가는 정인과 라디의 감각적인 애드리브의 어우러짐이 돋보였다.


 이들의 무대에 윤명선은 "정인님의 애절한 감성과 라디의 세련된 감각이 붙으니 R&B 음악을 다시 듣고 싶다는 생각을 했다. 두 분이 저에게 추억을 일깨워 주신 거 같다"라고 말했다. 하지만 크래비티(CRAVITY)가 또 한 번 정인X라디의 꺾고 승자석을 지켰다.


 네 번째 주자가 릴에게 돌아왔다. 그녀는 전통적인 색채가 강한 노래 ‘엄마 아리랑’을 자기 스타일로 표현하여 관중들의 관심을 집중시켰다. 릴은 고유의 목소리를 유지하면서도 우리 음악의 정수를 잘 담아내었고, 이를 통해 대회장에는 감탄사가 쏟아졌다. 다양한 장르에서 완벽하게 실력을 발휘하며 다른 참가자들을 압도했던 그녀의 가창력 앞에서는 모든 선배들도 일어서 박수쳤다. 특히 사물놀이나 부등춤 같은 전통 연주들은 현장을 더욱 화려하고 신명 나게 만들었다.


 윤명선은 "린을 보면 속마음이 사실 좀 어이가 없다. 트롯을 어느새 평정하고 또 국악의 세계로 들어와서 국악을 한번 잡아보겠다는 배포와 배짱을 보면 진짜 놀랍다"라며 "참 만나기 힘든 가수이고 정말 큰 무대에 잘 어울리는 큰 가수라는 생각이 든다"라고 엄지를 치켜세웠다. 린이 크래비티(CRAVITY)의 3승을 저지하고 1승했다.


 마지막 공에 '불후의 명곡' 첫 출연인 조째즈의 이름이 뽑히며 1부 마지막 무대에 오르게 됐다. 감동의 출연 소감을 전한 조째즈는 이승철의 '서쪽 하늘'을 선곡했다. 오케스트라 군단의 지원 사격 속 조째즈는 감정을 꾹꾹 눌러 담아 소리를 냈다. 조째즈의 묵직한 감성이 듣는 이들을 숙연하게 할 정도였다. 원숙하면서도 날 것의 보컬이 빛을 발해 감탄을 자아냈다.


 윤명선은 "조째즈는 '서쪽 하늘'에 가장 어울리는 최고의 마스크가 아닌가 싶다. 한 번 보면 절대 안 잊어버린다. 아트한 마스크에 아트한 무대였다"라고 평가했다.


 최종 우승의 주인공은 조째즈였다. 조째즈는 자신의 우상이라고 밝혔던 린을 꺾고 최종 우승 트로피를 품에 안았다. 자신의 불이 켜지자 조째즈는 아이처럼 눈물을 펑펑 쏟으며 감격했다. 린에게 트로피를 건네받은 조째즈는 고개 숙여 인사하며 최종 우승의 영예를 누렸다.


 한편 이번 '작사-작곡가 윤명선 편'은 윤명선이 직접 전하는 명곡의 비하인드 스토리를 비롯해 다양한 장르의 가수들과 작업한 이야기를 전해 풍성하게 채워졌다. 아이돌에서 트로트 디바로 변신한 다혜와 아이돌의 진수를 보여준 크래비티(CRAVITY), 촉촉하게 감성으로 물들인 정인X라디, 국악까지 평정한 린, 이변의 우승 주인공이 된 조째즈까지 다채로운 장르의 무대가 시청자들의 호응을 얻었다.


 매회 다시 돌려보고 싶은 레전드 영상을 탄생시키는 '불후의 명곡'은 매주 오후 6시 5분 KBS 2TV에서 방송된다.


 연예 백아영 | 사진출처 KBS


 ※ 이 콘텐츠는 저작권법에 의하여 보호를 받는바, 무단 전재 복제, 배포 등을 금합니다.

'불명' 조째즈, '우상' 린 꺾고 최종 우승…전국 5.0%

Unknown entertainment, korean, music, music and lyrics, music industry

KBS2 '불후의 명곡'의 조째즈가 이변의 우승 주인공이 됐다. 조째즈는 감격의 눈물을 펑펑 쏟으며 '우상' 린이 건네는 트로피를 품에 안는 영예를 누렸다. 22일(토) 방송된 KBS2 '불후의 명곡' 698회는 '작사-작곡가 윤명선 편'으로 꾸며져 다혜, 크래비티(CRAVITY), 정인X라디, 린, 조째즈가 차례로 무대에 올라 윤명선이 작사-작곡…

Shaan Kambli: The Indie Music Phenom Unveils 'Sweeter Than Sound' – A New Hit You Won't Miss

Unknown entertainment, music, music industry, musicians, news

<img data-document-id="cms/api/amp/image/AA1B5hz1" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1B5hz1.jpg"/>
<div class="content count-br">
 
 
 PNN
 
 
 New Delhi [India], March 17: The emerging talent
 Shaan Kambli
 Has recently unveiled his newest single, "
 Sweeter Than Sound
 This track highlights his distinctive mix of lively rhythms and a traditional live band vibe. Entirely written, performed, and produced by Shaan, the song embodies what listeners appreciate most about his music: a defiant singing approach combined with contagious enthusiasm.
 
 
 Renowned for his bold experiments, Shaan’s path from performing on London streets to becoming a contestant in renowned talent competitions—such as Nexa Music Labs alongside A.R. Rahman—demonstrates his unyielding quest for genuine musical expression. His innovative compositions have earned him awards including the Silver Medal from The Musician's Company of England and recognition in international songwriting contests, cementing his status within the indie music world.
 
 
 "
 Sweeter Than Sound
 Reflecting Shaan’s creative principle: “The result should never confine you.” This latest composition narrates tales of fate and fortitude, resonating with his conviction that despite life’s challenges, one’s essence ought to stay untethered by surroundings. The vibrant quality of the music is amplified through Shaan’s voice-centric approach, drawing similarities to influences like Maroon 5’s Adam Levine.
 
 
 Equipped with the expertise gained from Berklee College of Music and the London School of Music, where he excelled academically, Shaan combines his seasoned background with energetic youthfulness. Following the launch of "
 Sweeter Than Sound
 represents a pivotal point in his professional life, coming after a phase where he fearlessly explored new musical territories. Reflecting on his vocal journey, he confesses, "The biggest blunders I made during rehearsals have contributed significantly to my development as an artist.
 
 
 With "
 Sweeter Than Sound
 ,"
 Shaan Kambli
 keeps solidifying his position as a vital figure in the music world by blending his previous experiences with unbridled innovation.Listeners should anticipate that this track will strike a chord, embodying the complex interplay between fate and destiny. Make sure to check it out and observe the growth of this energetic performer!
 
 
 ff.shaankambli.com/sts
 
 
 (ADVERTORIAL DISCLOSURE: The aforementioned press release has been supplied by
 PNN
 ANI will not bear any responsibility for the content thereof.)
 
 
</div>
Provided by Syndigate Media Inc. (
Syndigate.info
).

Shaan Kambli: The Indie Music Phenom Unveils 'Sweeter Than Sound' – A New Hit You Won't Miss

Unknown entertainment, music, music industry, musicians, news

PNN New Delhi [India], March 17: The emerging talent Shaan Kambli Has recently unveiled his newest single, " Sweeter Than Sound This track highlights his distinctive mix …

TikTok untuk Artis: Cara Mudah Mempromosikan Lagu Anda

Unknown music, music and lyrics, music industry, news, social media

<img data-document-id="cms/api/amp/image/AAMYtVi" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AAMYtVi.jpg"/>

 
 DIWIDA
 
 , JAKARTA - TikTok sedang melakukan uji coba pada platformnya
 TikTok
 untuk Artis yang dibuat guna mendukung para musisi dalam memperluas promosi lagunya.


 Di samping itu, platform ini memberi kesempatan kepada para musisi untuk mengenali indikator kinerja mereka dan bersentuhan langsung dengan pendukungnya.


 Percobaan untuk platform tersebut saat ini tengah dilakukan di Indonesia, Australia, Selandia Baru, Jepang, dan Korea Selatan.

TikTok untuk Artis membolehkan para musisi merancang kampanye promosi untuk mensupport rilisan lagu atau album terbaru mereka.

 Artis bisa menggelar berbagai jenis aktivitas promosi seperti mempromosikan pra-simpanan album di Spotify dan Apple Music, ataupun memberi tawaran produk merchandise khusus.


 Di samping itu, para seniman pun bakal memperoleh kesempatan untuk melihat statistik kinerja, yang menginformasikan sejauh mana lagu serta postingan mereka populer di platform TikTok.


 Mereka pun dapat mengenal lebih dalam profil pemirsanya, termasuk asal-usul penikmat lagu mereka dari berbagai negara.

Fitur yang menggoda dari platform tersebut adalah kotak khusus di bawah tab "Musik" untuk memamerkan klip video dari para pendukungnya.

 Fungsionalitas itu membolehkan seniman untuk menciptakan lingkungan bagi pendukungnya dan menaikkan partisipasi dengan kelompok tersebut.


 TikTok berniat untuk menyajikan lebih banyak informasi tentang platfomrnya dalam beberapa pekan mendatang.

Peluncuran TikTok for Artists berlangsung tak lama setelah pemilik utamanya, ByteDance dari TikTok, menghentikan operasi layanan TikTok Music yang sempat diujicobakan di beberapa wilayah.

 Saat itu, ByteDance menyatakan bahwa mereka lebih ingin memfokuskan TikTok sebagai platform utama dalam meningkatkan konsumsi musik dan memberikan nilai lebih bagi layanan streaming musik lainnya.
 
 (techcrunch/ant/jpnn)

TikTok untuk Artis: Cara Mudah Mempromosikan Lagu Anda

Unknown music, music and lyrics, music industry, news, social media

DIWIDA , JAKARTA - TikTok sedang melakukan uji coba pada platformnya TikTok untuk Artis yang dibuat guna mendukung para musisi dalam memperluas promosi lagunya. Di samping itu, platform ini…

8 Kejutan Tersembunyi: Bagaimana Selera Musik Mengungkap Kepribadianmu

Unknown entertainment, music, music and lyrics, music industry, musicians

<img data-document-id="cms/api/amp/image/AA1CabRH" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1CabRH.jpg"/>

 DIWIDA

- Pernahkah ketika Anda asyik mendengarkan lagu kesukaan, timbul pertanyaan bagaimana musik itu dapat mengungkapkan siapa dirimu sesungguhnya?

 ternyata, preferensi musik tak cuma masalah hiburan saja. Lagu-lagu yang sering didengarmu dapat mengungkapkan indikasi signifikan terkait karakter personalmu. Melalui beberapa penelitian yang mempesona, jenis musik favoritmu bisa menjadi cerminan dari banyak hal di dalam diri mu yang barangkali belum sempat kau ketahui.


 Dilansir dari
 Hack Spirit
 Pada hari Rabu (2/4), berikut ada delapan fakta mengejutkan yang bisa ditemukan dari preferensi musik Anda mengenai sifat asli Anda. Apakah Anda pecinta lagu-lagu pop atau mungkin lebih menyukai irama country? Baik itu genre apa pun yang Anda sukai, lanjuti membaca untuk mendapatkan informasi tambahan!


 
 1. Gaya Pikirmu Dapat tercermin Melalui Genre Pilihan Anda
 


 Pernahkah Anda merenungi alasannya memilih jenis Musik spesifik? Rupanya hal itu berkaitan erat dengan cara pikirmu. Para pakar mencatat bahwa individu yang condong pada variasi lagu yang rumit serta jarang didengar, misalnya Jazz atau Karya Klasik, umumnya punya kecenderungan pola pikir terbuka dan penuh kreasi.


 Mereka cenderung menyukai eksplorasi beragam sudut pandang serta gagasan. Di lain pihak, orang-orang yang menggemari lagu-lagu pop maupun negri yang memiliki lirik ringan dan melodinya catchy umumnya lebih terarah dan tradisional dalam cara berfikir.


 Mereka sangat mengapresiasi sifat rendah hati serta ketulusan dalam menjalani hari-hari mereka. Oleh karena itu, pada waktu selanjutnya yang kau gunakan untuk mendengarkan lagu-lagu kesukaanmu, pertimbangkan bahwa genre atau gaya musik yang dipilih dapat melambangkan bagaimana pola pikirmu bekerja!


 
 2. Irama Lagu Dapat Mengindikasikan Tingkat Energi Anda
 


 Apakah Anda tahu bahwa irama lagu yang sedang didengar dapat mempengaruhi level energi Anda sehari-hari? Cobalah amati, apakah selera musik Anda bervariasi mengikuti perkembangan jam?


 Misalnya saja, beragam individu mengawali harinya dengan mendengarkan musik bernada energetik seperti genre pop ataupun rock guna meningkatkan vitalitas. Sebaliknya, saat gelap sudah menjelang dan stamina fisik terkuras, kebanyakan dari mereka cenderung beralih pada irama yang lebih tenang layaknya jenis musik jazz maupun akustik demi meredam aktivitas otak serta tubuh sepanjang hari.


 Ini membuktikan bahwa musik tak cuma sumber hiburan, melainkan juga senjata untuk memengaruhi mood dan tenaga kita sepanjang hari.


 
 3. Cintai terhadap Musik Melancholi Dapat Mengindikasikan Rendahnya Tingkat Empati
 


 Pernahkah kau merasa tersentuh oleh musik yang penuh kesedihan atau lirik yang menggetarkan perasaanmu? Mungkin hal itu berarti bahwa dirimu memiliki sifat empati yang tinggi.


 Berdasarkan beberapa studi, individu yang menyukai lagu-lagu bernada sedih biasanya memiliki kepekaan yang lebih tinggi terhadap perasaan orang di sekitar mereka serta dapat dengan mudah memahami emosi dirinya sendiri.


 Musik yang memukau hati bisa menciptakan perasaan ketenangan sebab orang itu merasa tak sendiri saat mengalami berbagai perasaan. Ini melambangkan bahwa musik punya daya untuk mendekatkan kita serta membantu menyelesaikan emosi yang sukar diekspresikan lewat ucapan.


 
 4. MusiK instrumental Dapat Menunjukkan Sifat Reflektif
 


 Apabila Anda lebih menyukai musik instrumental, contohnya seperti lagu-lagu klasik ataupun jenis musik atmosfir, mungkin Anda termasuk orang yang senang melakukan refleksi diri. Orang-orang yang memilih mendengarkan musik tanpa adanya lirik biasanya menghabiskan waktunya untuk berpikir dalam-dalam dan menjelajahi pemahaman serta emosi pribadinya.


 Tanpa lirik yang memandu, musik instrumental memberikan kesempatan pada pendengar untuk mengekspresikan perasaan mereka secara langsung. Hal ini dapat menciptakan suatu pengalaman amat pribadi di mana lagu-lagu tersebut berfungsi sebagai alat untuk introspeksi atau relaksasi.


 Apabila Anda menganggap diri lebih dekat dengan musik tanpa lirik, bisa jadi ini menunjukkan bahwa Anda seseorang yang senang berpikir mendalam dan mencari ketenangan batin.


 
 5. Ketertarikan terhadap Lirik Lagu Dapat Mengindikasikan Keinginan untuk Bersosialisasi
 


 Untuk beberapa pihak, lirik lagulah elemen esensial dalam menikmati musik. Bisa jadi Anda termasuk di antaranya. Banyak individu mengalami koneksi kuat dengan lagu-lagu yang membawa pesan atau makna mendalam melalui kata-kata mereka.


 Studi menunjukan bahwa individu yang biasanya memperhatian teks lagu cenderung merasa nyaman dalam bertukar informasi serta menyampaikan pemikiran melalui ucapan. Mereka kerap merasakan keterhubungan dengan lagu-lagu yang liriknya mencerminkan emosi mereka sendiri, seolah-olah menjadi refleksi langsung dari apa yang ada di benak ataupun telah dialaminya secara personal.


 Untuk orang-orang yang merasa lebih nyaman mengungkapkan dirinya lewat kalimat, musik dapat berfungsi sebagai jalur ekspresi diri yang amat kuat.


 
 6. Mendengarkan Musisi Agresif Tidak Selalu Membuatmu Orang yang Agresif
 


 Banyak individu meyakini bahwa pendengar musik metal ataupun rap ekstrem kebanyakan bersifat provokatif dan mudah tersinggung. Akan tetapi, studi-studi menghasilkan temuan sebaliknya.


 ternyata, orang-orang yang gemar jenis musik berenergi kuat cenderung bersifat terbuka dan amat kreatif. Mereka malah menggunakan musik bertekanan tinggi sebagai sarana sehat untuk menuangkan serta meredam perasaan mereka.


 Oleh karena itu, apabila Anda gemar menyimak lagu-lagu bertempo kencang dan enerjik, hal tersebut tak selalu mencerminkan sifat agresif dalam diri Anda. Justru sebaliknya, bisa jadi ini adalah metode ekspresi emosi secara luar biasa dan dinamis bagi Anda.


 
 7. Terus Mengeksplorasi Lagu-lagu Baru Dapat Mengindikasikan Sifat Orang yang Gemar Berpetualang
 


 Apakah Anda terus-menerus mengeksplorasi lagu-lagu terbaru yang unik atau mengenal seniman-seniman yang belum populer? Bila demikian, mungkin Anda memiliki jiwa petualang. Orang-orang yang gemar mendiskoveri musik baru seringkali mempunyai rasa ingin tahu tinggi serta bersemangat untuk merintis pengalaman-pengalaman baru.


 Mereka tidak hanya fokus pada satu jenis musik saja, tetapi juga menyukai beraneka ragam lagu dari berbagai aliran dan masa. Bila daftar putarmu sangat bervariasi dan kau senantiasa antusias dalam mencari suara baru, ini mungkin pertanda bahwa kau adalah orang yang penuh semangat petualangan dengan keinginan besar terhadap banyak pengalaman hidup.


 Lagu yang Anda dengar dapat mencerminkan hasrat Anda untuk terus menggali dan merasakan alam semesta yang beragam ini.


 
 8. Preferensi Musikanmu Merupakan Pencitraan Khas tentang Diri Anda
 


 Di penghujung hari, ingat bahwa preferensi musikmu merupakan aspek khusus dari identitasmu sendiri. Sama seperti sidik jari, lagu-lagu yang kamu sukai mencerminkan sifat unikmu yang tidak dapat dibandingkan dengan siapa pun.


 Musik merupakan wujud dari kehidupanmu, emosi, serta cara berpikirmu. Kecenderungan mendengarkan lagu-mu terus bertambah dengan usia, menggambarkan perkembangan di dalam diri kamu. Oleh karena itu, daftar putar mu tak hanya menjadi pendamping saja, melainkan refleksi aslinya tentang siapa kamu.


 Savor the music you enjoy, as it serves as the soundtrack of your one-of-a-kind life journey!

8 Kejutan Tersembunyi: Bagaimana Selera Musik Mengungkap Kepribadianmu

Unknown entertainment, music, music and lyrics, music industry, musicians

DIWIDA - Pernahkah ketika Anda asyik mendengarkan lagu kesukaan, timbul pertanyaan bagaimana musik itu dapat mengungkapkan siapa dirimu sesungguhnya? ternyata, preferensi musik tak cuma masalah hib…

Neil Young Ends 'Platinum' Ticket Sales After Robert Smith's Influence

Unknown concert tours, concerts, music, music and lyrics, music industry

<img data-document-id="cms/api/amp/image/AA1B28u7" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1B28u7.jpg"/>
<div class="pmc-paywall">
 
 Neil Young has committed to getting rid of expensive "platinum" tickets for his upcoming tours, he declared on Saturday.
 
 
 Writing on
 his NY Archives site
 Young stated that he found inspiration from the Cure's Robert Smith, who has often criticized Ticketmaster's "dynamic pricing" and "Platinum" offerings.
 referring to it as a "fraud" fueled purely by selfishness
 - and aimed to stop this practice on the band's album "Songs of a Lost World"; Smith also
 Successfully campaigned against excessive service charges for ticket buys
 .
 
 
 Young's
 upcoming Love Earth Tour
 The "Platinum" pricing strategy was implemented as a deterrent against scalpers purchasing high-end tickets with the intention of reselling them at inflated prices on the secondary market for personal profit rather than benefitting the artist. However, the vocalist announced on Saturday that they now view "Platinum" tickets as "a negative," stating these will not be part of upcoming tours.
 
 
 "Both my management team and agent have consistently aimed to safeguard me during tours by securing the most favorable deals possible. Their efforts also extend to protecting both myself and the fans from scalping activities, where individuals purchase prime tickets only to sell them later at significantly inflated prices for personal gain," Young explained in his statement.
 
 
 Ticketmaster launched their expensive Platinum tickets in regions where scalpers were heavily purchasing tickets for resale. This revenue stream benefited me directly, which didn’t seem fair. In the near future, I have decided that these Platinum tickets won't be offered at my events anymore.
 
 
 Nevertheless, Smith and the Cure eventually fought against ticket Scalping by
 making their tickets non-transferable
 It seems Young won’t take that particular path. Nonetheless, similar to the Cure, Young’s tickets can be resold at their original price through Ticketmaster, although they might fetch higher prices on secondary platforms.
 
 
 Having made my decision, I am leaving it up to the public to sort this out," Young stated further. "Purchase the tickets promptly once they become available, otherwise you'll end up paying significantly higher prices on the resale market.
 
</div>
<div>
 <div>
 
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 </li>
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 Why do Poor Tracks Sometimes Appear on Excellent Album Collections?
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 Charli XCX, Olivia Rodrigo, Doechii, and The 1975 are set to headline Glastonbury 2025.
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</div>

Neil Young Ends 'Platinum' Ticket Sales After Robert Smith's Influence

Unknown concert tours, concerts, music, music and lyrics, music industry

Neil Young has committed to getting rid of expensive "platinum" tickets for his upcoming tours, he declared on Saturday. Writing on his NY Archives site Young stated that he found inspi…

Mike Oldfield: 5 Decades of Progressive Rock Mastery

Unknown music, music albums, music and lyrics, music industry, rock music

<img data-document-id="cms/api/amp/image/AA1rtxQ6" data-reference="image" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1rtxQ6.jpg"/>

 
 Back in the early '70s, a remarkably gifted 19-year-old British musician successfully persuaded recording executives (including a fledgling Richard Branson) to provide him with studio access. His vision was to create an elaborate extended composition which ultimately materialized as "Tubular Bells."
 


 
 When a segment of the music was featured in the score for "The Exorcist," the investment yielded substantial returns, catapulting the album onto global charts and exposing millions to progressive rock as a musical style.
 


 
 Oldfield proceeded to enjoy a fruitful yet low-profile professional journey, and Branson expressed his gratitude for Oldfield contributing to Virgin Group’s initial significant financial triumph. "The phrase 'tubular bells' wasn’t something I anticipated would become so pivotal in our story," he remarked in 2013. "Without hiring this specific instrument, Virgin venturing into space probably wouldn’t be a reality today."
 


 
 Many revised editions and updated versions of Tubular Bells have been released over the years, along with sporadic live concerts. The 50th
 
 th
 
 The anniversary tour initially began in 2023 and has since announced an extensive lineup of performances extending through 2025. Nonetheless, it is unclear whether the elusive Oldfield will make personal appearances at these events.
 


 
 There are numerous peculiar aspects of Tubular Bells that deserve mention:
 


 
 The iconic sleeve was designed by Trevor Key, reportedly paid just £100 (EUR 120 or USD 134) but who went on to design numerous other high-profile releases.
 

<ul>
 <li class="MsoNormal">
 
 The provisional title for the album was "Opus One."
 
 </li>
 <li class="MsoNormal">
 
 The album has sold in excess of 20 million copies.
 
 </li>
 <li class="MsoNormal">
 
 In 1985, Oldfield’s publisher demanded a co-writing credit for a similarity to the Paul Hardcastle hit, “19”.
 
 </li>
 <li class="MsoNormal">
 
 The title of the fourth album, “Ommadawn”, is a phonetic spelling of the Gaelic “amadán”, idiot. The chant that can be heard, "Amadán ag ceól", means "Idiot singiing".
 
 </li>
 <li class="MsoNormal">
 
 Many of the wide range of instruments were hired for the occasion. But the actual tubular bells were from a previous John Cale recording session.
 
 </li>
 <li class="MsoNormal">
 
 Not happy with the sound he was getting from them, Oldfield chose a harder hammer and cracked one of the bells.
 
 </li>
 <li class="MsoNormal">
 
 In 1986, an interactive Commodore 64 version of the album was released, which used a sound chip to play a simplified re-arrangement of the album, accompanied by some simple 2D visual effects.
 
 </li>
 <li class="MsoNormal">
 
 American singer Tori Amos has frequently used the opening
 Tubular Bells
 theme of her live performance.
 
 </li>
 <li class="MsoNormal">
 
 Virgin Airlines named one of their planes "Tubular Belle."
 
 </li>
 <li class="MsoNormal">
 
 In 2017, Mike created demo recordings for a fourth installment of the Tubular Bells series, which he was unable to complete.
 
 </li>
</ul>

 
 The events for 2024 and 2025 will span locations throughout the UK and Europe. Additional information can be found here.
 Mike Oldfield tour info
 .
 


 
 (Michael Leahy. Photo: UMG)
 


 
 
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Mike Oldfield: 5 Decades of Progressive Rock Mastery

Unknown music, music albums, music and lyrics, music industry, rock music

Back in the early '70s, a remarkably gifted 19-year-old British musician successfully persuaded recording executives (including a fledgling Richard Branson) to provide him with studio access. His…