Artist: Robbie Rivera Feat. Aha
Genre(s):
Other
Discography:
Take On This
Year: 2007
Tracks: 2
Tuesday, 1 July 2008
Thursday, 26 June 2008
Fun and games among most-watched shows on broadcast networks
NEW YORK - Broadcast networks are the place to be for prime-time competitions - if little else.
Nine of the 20 most-watched programs on the networks last week involved some sort of game, from the Boston Celtics clinching the National Basketball Association title to the eager guys seeking a date on "The Bachelorette," according to Nielsen Media Research. ABC, CBS, NBC and Fox are heading into their slowest weeks of the year.
NBC's "America's Got Talent" opened a new season with 12.8 million viewers, by far the most popular prime-time show after the Celtics-Lakers. The talent competition and "Deal or No Deal" enabled NBC to claim the status of No. 1 network for the first time since the first week of the year.
Disney's rollout of the new kids' movie "Camp Rock" was the week's biggest event, shown to a total of 16.1 million people over three networks on three nights.
More people watched "Camp Rock" on its Disney Channel debut Friday (8.9 million) than the 3.7 million who watched on ABC Family Sunday. The smallest audience, 3.5 million, was on ABC Saturday - illustrating how the distinction between broadcast and cable networks mean little to young viewers.
Illustrating ABC's problems in getting viewers to watch its reruns, last week's "Grey's Anatomy" airing reached 3.2 million people, a smaller audience than 14 programs that aired on Univision. ABC's "Desperate Housewives" had virtually the same size audience as Univision's "Amas Casa Desperados."
For the week, NBC averaged 6.5 million viewers (4.2 rating, 7 share). CBS had 6.4 million viewers (4.3, 8), Fox 6.1 million (3.8, 7), ABC 5.4 million (3.6, 6) and the CW 1.7 million (1.1, 2).
A ratings point represents 1,128,000 households, or one per cent of the estimated 112.8 million TV homes in the U.S. The share is the percentage of in-use televisions tuned to a given show.
For the week of June 16-22, the top 10 shows, their networks and viewerships: NBA Finals, Game 6: L.A. Lakers vs. Boston, ABC, 16.88 million; "America's Got Talent," NBC, 12.78 million; "60 Minutes," CBS, 9.1 million; "Two and a Half Men," CBS, 8.95 million; "So You Think You Can Dance" (Thursday), Fox, 8.87 million; "So You Think You Can Dance" (Wednesday), Fox, 8.86 million; "Deal or No Deal" (Tuesday), NBC, 8.72 million; "House," Fox, 8.63 million; "Deal or No Deal" (Wednesday), NBC, 8.34 million; "Hell's Kitchen," Fox, 8.25 million.
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Wednesday, 25 June 2008
Madonna Gets Her Way -- As Usual -- In 1994, In The Loder Files
Where do old interviews go to die? Since 1988 they've gone into the MTV News vault, but we've been exhuming them to bring you these classic natterings. Here's the latest in the series, which runs every Tuesday.
November of 1994 was cold, damp and windy up in Ronda, a fairly ancient town perched on a mountain cliff in the south of Spain. Madonna had gone there to shoot a video for "Take a Bow," her next single, so we, of course, dutifully followed. Ronda is promoted to tourists as the birthplace of modern bullfighting — meaning it was there, around 200 years earlier, that some brave/insane matador had decided to climb down from the relative safety of horseback to do battle with a bull face to face (or horn-to-groin, just as likely). "Take a Bow," the song, had nothing to do with bullfighting, but in the world of music videos this was a fact of gnat-like insignificance.
Madonna and her crew (which included cinematographer Harris Savides, who went on to shoot "American Gangster") set up in Ronda's old stone bullring, with Maddy's friend Donatella Versace, the fashion personage, flitting around up in the gallery. Congregated in a street outside the ring was a troupe of bullfighting pros — picadors, banderilleros, and so forth — who were awaiting the arrival of Madonna's video costar, the dark and sultry Emilio Muñoz, an actual, well-known torero. The sun had come out, and the afternoon proceeded in the usual way. Madonna, looking very 1940s in a little black-veiled hat (she was lobbying for the lead role in the movie version of the hit musical "Evita" at the time), was situated in a seat looking down on the dusty ring, where Muñoz twirled about, baffling a bovine opponent with his shiny cape. She was playing the role of a woman who'd been dumped by this guy, and was now blinking away tears of heartbreak. Since tears and heartbreak were two commodities rarely associated with Madonna, it had been decided to intersperse the video with other scenes showing her writhing around on a bed in her underwear. That was more like it.
Our interview later on proceeded in the usual way as well. Our own camera crew spent hours setting up a flattering shot on the edge of a courtyard garden in a beautiful old building filled with gleaming carved wood and weathered brick. Then Madonna arrived — well past the appointed time, as usual — and marched straight up to the cameras to check the out the angles and the lighting, which, as usual, she found to be wanting. After much scurrying about, everything was adjusted to ... well, not to her satisfaction, probably, but to a point where she was willing to put up with it without feeling compelled to punch anybody.
She was wearing some beautiful outfit — I forget exactly what it consisted of, but it looked great on the monitors. Then, however, she pronounced herself chilly, and suddenly pulled on a nondescript white sweater that obliterated the look we'd been hoping to capture. For good measure, she also flopped a fur lap robe over her legs, completing the impression of a person being nursed back to health following some frigid Arctic mishap. She then began talking about her family, her voice, and her then-trashy image while we blinked away tears of professional heartbreak.
Enjoy digging through The Loder Files? You'll find more here, and there's much more to come from the vaults — check back every Tuesday!
November of 1994 was cold, damp and windy up in Ronda, a fairly ancient town perched on a mountain cliff in the south of Spain. Madonna had gone there to shoot a video for "Take a Bow," her next single, so we, of course, dutifully followed. Ronda is promoted to tourists as the birthplace of modern bullfighting — meaning it was there, around 200 years earlier, that some brave/insane matador had decided to climb down from the relative safety of horseback to do battle with a bull face to face (or horn-to-groin, just as likely). "Take a Bow," the song, had nothing to do with bullfighting, but in the world of music videos this was a fact of gnat-like insignificance.
Madonna and her crew (which included cinematographer Harris Savides, who went on to shoot "American Gangster") set up in Ronda's old stone bullring, with Maddy's friend Donatella Versace, the fashion personage, flitting around up in the gallery. Congregated in a street outside the ring was a troupe of bullfighting pros — picadors, banderilleros, and so forth — who were awaiting the arrival of Madonna's video costar, the dark and sultry Emilio Muñoz, an actual, well-known torero. The sun had come out, and the afternoon proceeded in the usual way. Madonna, looking very 1940s in a little black-veiled hat (she was lobbying for the lead role in the movie version of the hit musical "Evita" at the time), was situated in a seat looking down on the dusty ring, where Muñoz twirled about, baffling a bovine opponent with his shiny cape. She was playing the role of a woman who'd been dumped by this guy, and was now blinking away tears of heartbreak. Since tears and heartbreak were two commodities rarely associated with Madonna, it had been decided to intersperse the video with other scenes showing her writhing around on a bed in her underwear. That was more like it.
Our interview later on proceeded in the usual way as well. Our own camera crew spent hours setting up a flattering shot on the edge of a courtyard garden in a beautiful old building filled with gleaming carved wood and weathered brick. Then Madonna arrived — well past the appointed time, as usual — and marched straight up to the cameras to check the out the angles and the lighting, which, as usual, she found to be wanting. After much scurrying about, everything was adjusted to ... well, not to her satisfaction, probably, but to a point where she was willing to put up with it without feeling compelled to punch anybody.
She was wearing some beautiful outfit — I forget exactly what it consisted of, but it looked great on the monitors. Then, however, she pronounced herself chilly, and suddenly pulled on a nondescript white sweater that obliterated the look we'd been hoping to capture. For good measure, she also flopped a fur lap robe over her legs, completing the impression of a person being nursed back to health following some frigid Arctic mishap. She then began talking about her family, her voice, and her then-trashy image while we blinked away tears of professional heartbreak.
Enjoy digging through The Loder Files? You'll find more here, and there's much more to come from the vaults — check back every Tuesday!
Tuesday, 24 June 2008
Love: Thy neighbor
Like cheese steaks, G. Love & Special Sauce will always be linked with Philadelphia. Yet Boston can also lay claim to the raspy-voiced music veteran: it was Beantown where he formed his band; it’s also the place G. Love (real name: Garrett Dutton III) now calls home.
Back in 1992, G. Love, whose new album “Superhero Brother” comes out tomorrow, was playing on the streets of Boston and Cambridge, busking his hip-hop/blues hybrid in Harvard Square. He soon met bassist Jim Prescott and drummer Jeffrey Clemens and formed G. Love & Special Sauce and started landing gigs at clubs on Lansdowne Street and pubs like the Plough & Stars and the now-departed Tam O’Shanter.
The band’s star didn’t truly rise until the band relocated to Philadelphia. But 15 years later, G. Love is back living in Boston, the place of his musical birth.
“I definitely come from Philly and always represent Philly,” said Love from his home in the South End last week, “but it was just a nice time for me to relocate up here for the last couple years. I just find Boston to be a tremendous music town. There’s so many people performing music. I feel like I tap into the musical energy that’s floating around in the air around here.”
Reminiscent of his early Boston days, Love has returned to the pub scene recently, performing incognito at Matt Murphy’s under the pseudonym The Phamily.
“It’s obviously been a different experience because when I first got here I was a struggling street musician and now I’m a recording artist,” said Love. “We kept it on the down low, didn’t advertise it, and it was awesome. It’s a great outlet for me.”
The band’s next show under the name G. Love & Special Sauce will be a grander affair: an Aug. 14 date headlining the Bank of America Pavilion.
Surviving 15 years in the music business is an accomplishment - and Love has managed his longevity without a commercial hit. He and Special Sauce came closest when their “Cold Beverages” video made it to MTV in 1994, but their success has been more slow burn than sudden meteor.
“We’ve always been on the edge of breaking out,” Love said. “Because we’ve never had a huge commercial hit, we never had the, ‘Oh they sold out, they’re too commercial now’ reaction. So that has always been special for the fans, people who’ve found us on their own. They feel like they own the music more, which is cool.”
When G. Love and Special Sauce’s debut came out, there was nothing else like it. No one was combining gutbucket acoustic blues with hip-hop. Today, their influence is pervasive, from Jason Mraz to Jack Johnson (whose career G. Love helped start).
“We originated that sound, and over the years you’ve seen a lot of people cop the style a little bit,” Love said. “But you can’t claim music like that. That’s how music is. It gets passed along.”
For the new record, Love didn’t reinvent the wheel. “Superhero Brother” may be less raw and minimalist than the band’s first albums, but it’s still the same G. Love & Special Sauce, with maybe a dash of social consciousness. As Love puts it, “The record is funky and a good time, but it also makes you think a little bit.”
Back in 1992, G. Love, whose new album “Superhero Brother” comes out tomorrow, was playing on the streets of Boston and Cambridge, busking his hip-hop/blues hybrid in Harvard Square. He soon met bassist Jim Prescott and drummer Jeffrey Clemens and formed G. Love & Special Sauce and started landing gigs at clubs on Lansdowne Street and pubs like the Plough & Stars and the now-departed Tam O’Shanter.
The band’s star didn’t truly rise until the band relocated to Philadelphia. But 15 years later, G. Love is back living in Boston, the place of his musical birth.
“I definitely come from Philly and always represent Philly,” said Love from his home in the South End last week, “but it was just a nice time for me to relocate up here for the last couple years. I just find Boston to be a tremendous music town. There’s so many people performing music. I feel like I tap into the musical energy that’s floating around in the air around here.”
Reminiscent of his early Boston days, Love has returned to the pub scene recently, performing incognito at Matt Murphy’s under the pseudonym The Phamily.
“It’s obviously been a different experience because when I first got here I was a struggling street musician and now I’m a recording artist,” said Love. “We kept it on the down low, didn’t advertise it, and it was awesome. It’s a great outlet for me.”
The band’s next show under the name G. Love & Special Sauce will be a grander affair: an Aug. 14 date headlining the Bank of America Pavilion.
Surviving 15 years in the music business is an accomplishment - and Love has managed his longevity without a commercial hit. He and Special Sauce came closest when their “Cold Beverages” video made it to MTV in 1994, but their success has been more slow burn than sudden meteor.
“We’ve always been on the edge of breaking out,” Love said. “Because we’ve never had a huge commercial hit, we never had the, ‘Oh they sold out, they’re too commercial now’ reaction. So that has always been special for the fans, people who’ve found us on their own. They feel like they own the music more, which is cool.”
When G. Love and Special Sauce’s debut came out, there was nothing else like it. No one was combining gutbucket acoustic blues with hip-hop. Today, their influence is pervasive, from Jason Mraz to Jack Johnson (whose career G. Love helped start).
“We originated that sound, and over the years you’ve seen a lot of people cop the style a little bit,” Love said. “But you can’t claim music like that. That’s how music is. It gets passed along.”
For the new record, Love didn’t reinvent the wheel. “Superhero Brother” may be less raw and minimalist than the band’s first albums, but it’s still the same G. Love & Special Sauce, with maybe a dash of social consciousness. As Love puts it, “The record is funky and a good time, but it also makes you think a little bit.”
Amor Antiquita
Artist: Amor Antiquita
Genre(s):
Electronic
Discography:
Metallic Sonatas
Year: 2005
Tracks: 6
Pt. Ganapati Bhat Hasanagi
Amy Winehouse undergoing more tests
Singer fainted earlier this week
LONDON -- A spokesman for Amy Winehouse says the 24-year-old soul diva is having more hospital tests after fainting earlier this week.
Spokesman Chris Goodman says Winehouse had more scans and tests Thursday.
Winehouse collapsed Monday at her north London home after signing autographs for a group of fans. An assistant caught her before she hit the ground.
She is scheduled to sing at a June 27th concert to celebrate Nelson Mandela's 90th birthday, and is due to take part in the Glastonbury music festival the next day.
Her spokesman says that although Winehouse still plans to perform at both concerts, the decision "will be made entirely on the advice of her doctors and in her best interests."
LONDON -- A spokesman for Amy Winehouse says the 24-year-old soul diva is having more hospital tests after fainting earlier this week.
Spokesman Chris Goodman says Winehouse had more scans and tests Thursday.
Winehouse collapsed Monday at her north London home after signing autographs for a group of fans. An assistant caught her before she hit the ground.
She is scheduled to sing at a June 27th concert to celebrate Nelson Mandela's 90th birthday, and is due to take part in the Glastonbury music festival the next day.
Her spokesman says that although Winehouse still plans to perform at both concerts, the decision "will be made entirely on the advice of her doctors and in her best interests."
Tom Hanks supports AFTRA contract deal
LOS ANGELES —
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Tom Hanks has thrown his support behind a contract deal reached by the smaller of two actors unions, putting his high-profile name against plans by the larger union to wring more concessions from the major Hollywood studios.
Hanks added his name to an e-mail petition urging members to vote for a deal reached May 28 by the American Federation of Television and Radio Artists and avoid another Hollywood work stoppage on the heels of the 100-day writers' strike, which put many actors out of work.
The Screen Actors Guild continued to negotiate with studios Monday and has urged its members to vote down the AFTRA deal.
Both unions' contracts on prime-time TV shows and movie productions expire June 30.
The AFTRA petition said a "no" vote would effectively shut down Hollywood.
"Either our employers will lock us out, or SAG will strike," it said. "There really is no alternative if the AFTRA deal is defeated."
Among other prominent backers of the petition are former SAG president Richard Masur, Loretta Swit from "M-A-S-H", James Cromwell from "L.A. Confidential" and other actors including Adam Arkin, Morgan Fairchild and Tess Harper.
Cromwell, a former SAG board member, told The Associated Press he felt SAG was pressing for demands that could not be met.
"You bargain as hard as you can. But when you make promises you can't keep and then you hold this town hostage by your belligerence and intransigence to the realities of the industry ... it ain't gonna fly," he said. "Let's get what we can get."
A representative for Hanks confirmed Monday the actor had added his name to the petition but was unavailable to comment because he was filming in Europe.
AFTRA mailed out ballots to its some 70,000 members last week and the results are expected to be announced July 8.
SAG, representing 120,000 members, has said that talks with Hollywood studios could extend past the end of the current contract on June 30, but it was willing to keep actors working without a deal. Some 44,000 are members of both unions.
The guild has said it would push for higher wage increases, increased fees for Internet and DVD content, better mileage reimbursements and more protection for actors who refuse to consent to the use of clips of their images online.
"When unions compete with different contract terms, actors lose," said SAG's chief negotiator Doug Allen, in a statement urging members to vote against the deal.
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