Emarosa have announced a fall tour. Dates can be found below.
Im writing this because I want to go on record and say I find it utterly disgusting the way everybody on Music Row is coming up with any reason they can to hitch their wagon to his name while knowing full and damn well what he thought about them. If the ACM wants to actually celebrate the legacy and music of Merle Haggard, they should drop all the formulaic cannon fodder bullshit they’ve been pumping down rural America’s throat for the last 30 years along with all the high school pageantry, meat parade award show bullshit and start dedicating their programs to more actual Country Music.
Gene Wilder has passed away. He was 83.
Gene Wilder, who regularly stole the show in such comedic gems as “The Producers,” “Blazing Saddles,” “Young Frankenstein,” “Willie Wonka and the Chocolate Factory” and “Stir Crazy,” died Monday at his home in Stamford, Conn. His nephew Jordan Walker-Pearlman said he died of complications from Alzheimer’s disease. He was 83.
I’m a bookworm, so I read about a book a month. The last great book I read, actually, Mark [Hoppus] gave to me. There’s this writer called Erik Larson that we both love, and he wrote Devil in the White City. It’s all non-fiction, and Martin Scorsese and Leonardo DiCaprio are making the film version of it. It’s about the first serial killer in America. Read it, do yourself a favour.
A Day To Remember’s much anticipated new album, Bad Vibrations, will be out this Friday, September 2nd. A Day To Remember (vocalist Jeremy McKinnon, guitarists Kevin Skaff and Neil Westfall, bassist Joshua Woodard and drummer Alex Shelnutt) recorded Bad Vibrations with producers Bill Stevenson (Descendents, Black Flag) and Jason Livermore (Rise Against, NOFX). Released on the band’s own ADTR Records and distributed by Epitaph, the album was mixed by Grammy winner Andy Wallace (Foo Fighters, Slayer) and is the follow-up to 2013’s Common Courtesy.
A Day To Remember are currently on tour with Blink 182, all of the tour dates are below.
Leo Barraclough, writing for Variety, on the revenue that “Carpool Karaoke” creates:
Digital is central to how the show is funded, primarily through brand integrations. For example, the “Carpool Karaoke” segment with Selena Gomez included a visit to a McDonald’s drive-thru, which was the result of a deal with the fast-food outlet. “That was an integration and it was incredibly profitable for the show,” Winston said, adding that it also generated 45 million views on YouTube. “We made sure it was incredibly subtle so our viewers would not for a second think that this was a sponsored bit. James and I debated it for many hours.”
The emphasis is mine. I really like Corden and his bit, but I really hate deceptive advertising. I’m actually surprised this isn’t a violation of some kind.
Peter Kafka, writing for Recode, reports that Spotify denies that they are demoting songs in search that have been exclusives on other streaming platforms:
Spotify doesn’t like it when big-name acts take their music to Apple or Tidal first.
But it’s not punishing them when they do, by making their stuff harder to find in the music service’s search results, the company says.
That accusation, sourced to anonymous sources in a Bloomberg report out today, is “unequivocally false,” says a Spotify rep.