Toronto music news from Metronews.ca

Playwright Daniel MacIvor isn't afraid to call in help

Ian Gormely, Metro Toronto — Wed, 28 Mar 2012 20:47:26 -0400

While he remains one of Canada’s most pre-eminent playwrights, Daniel MacIvor’s need to collaborate has pushed him to try his hand at a variety of roles in both the theatre and onscreen.

For example, in between doing press for his latest composition, Was Spring, the jack-of-all-trades was blocking his actor’s movements.

“I’m trying not to block it,” he quips. ““Its more of a psychological reality than a physical reality.”

MacIvor both wrote and directed the play, which he describes as three generations of women trying to work through a tragedy.

“How do we deal with tragedy?” he says. “The only way out is through.”

This hands-on approach is MacIvor’s favoured method. Early on in his 25-year career, he found that his scripts weren’t capturing the imaginations of directors and producers.

“People didn’t get the page, but they got the stage,” he says. “I needed to show them.”

In response, he founded the da da Kamera production troupe. Eschewing traditional theatre roles, da da Kamera put individual egos aside and focused on the final product.

“As a playwright I needed to become a producer,” he admits in retrospect. An actor by training, he learned the rest of his skills on the fly. “I came to it by doing it.”

One of the troupe’s founding members was Caroline Gillis, one of Was Spring’s three stars.

“The first play I’m known for was for Caroline so she’d move from Halifax to Toronto,” he says, noting that he prefers mixing his work and his personal life.

“We need to choose the people we work with,” he says. “How do I get to work with the people I really care about?

“If one approaches it from that point of view, one will be far more satisfied.”

Asking for help

Despite being one of the highest regarded playwrights in the country, MacIvor has recently struck up a relationship with dramaturge Iris Turcott, who acts as a kind of story editor.

“She’s been encouraging me to not make my opinions the opinions of the characters.” MacIvor says that he fell into the working relationship but has found it incredibly fruitful.

“I believe that the play knows more than I do, it’s my job to get out of the way,” he says. “She can see the play past me. My works are getting better as a result.”

Was Spring plays April 4- May 6 at the Tarragon Theatre Extra Space, 30 Bridgman Ave. $23-$30.

Hit song carries Eli Young Band to ACMs, beyond

Chris Talbott, The Associated Press — Wed, 28 Mar 2012 13:48:00 -0400

NASHVILLE, Tenn. - Count the guys in Rascal Flatts among the fans of "Crazy Girl," the song that took the Eli Young Band to the top of the country songs chart and earned the Texas quartet three nominations at the Academy of Country Music Awards on Sunday.

The veteran trio has tapped the act for its "American Band" tour later this year and guitarist Joe Don Rooney recently raved of lead singer Mike Eli's performance on the song: "He sings his butt off."

But as enamoured as they are with the Eli Young Band, the Rascal Flatts members also had some advice for the rising group.

"You've got to follow it up," bassist Jay DeMarcus said. "That's the hard part. The easy part's having one hit, but you've got to follow it up."

"Yeah, but then you've got to follow that up and you've got to follow that up," Gary LeVox said with a laugh.

It's a lot of pressure, but it's a challenge the band — which includes guitarist James Young, bassist Jon Jones and drummer Chris Thompson — seems ready to tackle. After all, they spent a decade of hard work growing from a partnership between two roommates at the University of North Texas into a tight, ambitious outfit that relentlessly toured and grew its fan base one show at a time.

"No matter what comes along — hits or no hits — I think that you can work hard at capitalizing on what you already have built and then try to move forward with it and use your music to get to that point," Eli said. "Hits will definitely make that happen. They're not the only way, but they definitely will help. We've been very fortunate and very lucky to so far have this career and I think that it's turning into something really cool."

They've already experienced some of the cool moments. This week, they wrapped up a trip to Australia, came home for 12 hours, and then jumped on a plane to Las Vegas, where the ACMs are going to be held. "Crazy Girl," a slow-building love song that rolls along like a drive down a lonely two-lane blacktop, is up for song and single of the year and the band is up for vocal group of the year.

Originally scheduled for a one-off festival appearance in Australia, a promoter suggested them to Faith Hill and Tim McGraw and they found themselves as the husband-and-wife superstars' opening act.

"This is definitely one of those situations where it's been a blast to be here," Eli said in a phone interview from Australia. "I didn't realize how many fans we could really make here and how well we'd be embraced coming over from the U.S. It's been really cool."

They earned their way into these opportunities with a rockin' country sound that recalls the mellow smooth of Tom Petty and The Heartbreakers and the raucous nature of the Texas live music scene where bands are required to bring it every night. They had put out four albums and had a hit, "Always the Love Songs," about four years ago. But their latest album, "Life at Best," and the song "Crazy Girl" took off the band to another level; that album was released last year.

Their latest single, "Even If It Breaks Your Heart," cracked the top 20 last week and is one of the fastest rising songs on the Billboard country songs chart. But whether they'll have another No. 1 remains to be seen. To be honest, they're not really sure why "Crazy Girl" captured the imagination of so many people. There was the hard work and the support of label Universal Republic. But there's no explanation for why lightning struck when it did.

"I think anybody that's in the national spotlight, timing is really everything — timing and the people you have behind you," Young said. "There's so many talented musicians and songwriters, it's just we were lucky. We had kind of a top 10 and disappeared for a few years. We never quit touring or making records, and then with 'Crazy Girl' the time was right. It just happened."

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Online:

http://www.acmcountry.com

http://www.eliyoungband.com

Five cringe-worthy rhymes in Justin Bieber’s Boyfriend

Metro — Tue, 27 Mar 2012 21:42:18 -0400

As Justin Bieber emerges from puberty and tries to bring his music along with him, the result is a song with lyrics so ridiculous that it’s actually funny. Behold: Boyfriend.

Since we know the slightest bit of criticism is enough to spark unmeasurable outrage among tween Beliebers, we decided to present evidence to back up our case that this song is downright embarrassing.

Let us begin with the overuse (or just general use) of the words “swag” and “swaggie.” What is swaggie? Are we too old to understand this?

And now, brace yourself for the five worst rhymes in Justin Bieber’s song Boyfriend.

1. “Baby, take a chance or you’ll never ever know, I’ve got money in my hands that I’d really like to blow.”

What is Justin Bieber, the new T.I.? We know the kid is a gazillionaire but is he really going to throw cash into the mix of his most whimsical, romantic song yet?

2. “Swag on you, chillin by the fire while we eatin’ fondue.”

Now, that is some romantic stuff right there. Roaring fire and fondue? See Biebs, with game like that, you don’t need to go around throwin’ down dolla dolla billz.

3. “So say hello to falsetto in three, two, SWAG!”

Well, hello, falsetto! We were so worried you were gone, what with all these big boy lyrics.

4. “Tell me what you like girl, tell me what you don’t. I could be your Buzz Lightyear, fly across the globe.”

So yeah, just in case you needed any more proof that this song is a sad attempt at seeming more “grown up,” Biebs throws in a Toy Story reference.

5. “I don’t never wanna fight, yeah, you already know. I’m a make you shine bright like you’re laying in the snow. Brrrr.”

Aside from the double negative (Come on, Biebs, we know your grammar is better than that), we don’t even understand what this means. Do people get shinier when they’re laying in the snow? If anything, they start to lose colour, right?

Martina McBride to sing as a couple weds at ACMs

The Associated Press — Tue, 27 Mar 2012 08:26:00 -0400

NASHVILLE, Tenn. - Martina McBride is taking on a new role at the Academy of Country Music Awards this Sunday: wedding singer.

She will perform her new single, "Marry Me," with Train lead singer Pat Monahan while a couple from New Jersey gets married on stage. McBride handpicked Christina Davidson and her fiancé Frank Tucci to tie the knot during her performance in Las Vegas.

They both lost their spouses in 2009 and met at a support group for young widows and widowers that Davidson started in their community. Their friendship grew as they dealt with the challenges of being single parents and the struggle to keep their spouses' memories alive.

The ACM Awards air live on CBS April 1.

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Online: http://www.ACMwedding.com

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For the latest country music news from The Associated Press, follow http://www.twitter.com/AP_Country

‘It will be loud’

Sean McKibbon, Metro Ottawa — Tue, 27 Mar 2012 02:28:12 -0400

As workers wheeled in rigging, lights, speakers and other equipment, the people in charge of bringing the 2012 Juno Awards show to life on Sunday promised a concert like no other.

“Where else can you see Nickelback at the same concert as Feist?” said Melanie Berry, president and CEO of the Canadian Academy of Recording Arts and Sciences, during a media tour of the prep work at Scotiabank Place on Monday.

Boasting the ability to kick out 300,000 watts of power to the speakers, the award show will have a full rock-concert feel, said technical producer Karel Noordover.

“It will be loud,” he laughed.

But the show will also be a feast for the eyes and won’t leave out the home television audience as the event will be captured in hi-def video and in 5.1 surround sound, organizers say.

“We’re going to give the audience a 360-degree experience we’ve never had before,” said Juno production designer Peter Faragher of the double-stage show.

About 1,000 fans will be allowed to buy tickets to crowd onto the floor general-admission style. That will let them move about and turn their attention from a performance stage that thrusts out to the audience area and a separate award stage where performers will receive their Junos. There will also be tickets for seats in the stands.

All told, there will be space for about 11,000 people to attend the event.

“Every year we try to up the ante,” said Faragher.

Five reasons to be excited for R. Kelly’s next ‘rap opera’

Metro — Mon, 26 Mar 2012 21:03:43 -0400

Good news everybody: R. Kelly is returning with new chapters of Trapped in the Closet. The U.S. based IFC channel announced that new installments of the self-professed rap opera will be released this year. And, if R. Kelly’s statements to TMZ have any truth to it, there will be 32 vignettes to enjoy in 2012.

1. In his official statement, R. Kelly called the project an “alien” and said it was “not of this earth.”

The song and accompanying videos are so ridiculous that when the rapper introduced the concept of a (originally) 16-minute, multiple part song to his record label, Jive, they didn’t know what to do with it, according to producer Ann Carli.

Now, it’s a unique viral success that has captivated audiences since 2005. Such is the brilliance of R. Kelly.

2. Despite the fact that all the chapters feature the same beats and melody, the story never gets boring. The soap opera-esque plot twists and turns so much that you’ll need notes to keep up with who’s who. But, don’t worry, he often recaps the action every few installments or so.

3. If you manage to get your hands on a copy of the DVD, you can watch R. Kelly sitting on a plush chair while smoking a cigar and watching Trapped in the Closet on a screen. It’s the “Inception” of DVD commentaries – and totally worth watching just to see R. Kelly’s insane thought process behind creating the videos. Also, you’ll find out that, according to R. Kelly, dresser rhymes with Beretta.

4. The videos have such a big cultural influence that they’ve been performed live by multiple U.S. theatre groups, were performed live by R. Kelly at the 2008 MTV Music Video Awards and been spoofed by South Park.

According to HitFix, it’s “morphed into one of the strangest items in pop culture history.”

5. The first 22 chapters revolved around a one-night stand, a cheating woman, a whole lot of bad wigs, a mysterious “package” that may or may not be alluding to an STD, a gay pastor, a spatula, and Bridget… who’s hooking up with a midget. Yep, you read that right.

Bobby Womack out of hospital after pneumonia scare

John Carucci, The Associated Press — Mon, 26 Mar 2012 20:10:00 -0400

NEW YORK, N.Y. - Soul singer Bobby Womack has been released from the hospital following a successful recovery from pneumonia.

The cancer-stricken Womack also is scheduled to undergo surgery at a later date.

In a statement through his New York publicist, the 68-year-old Womack thanked his fans for their prayers, love and well wishes, and says he looks forward to when he tours in support of his upcoming album.

The Rock and Roll Hall of Fame inductee is known for such hits as "Lookin' For a Love," and "That's the Way I Feel About Cha." Womack also wrote the early Rolling Stones' hit "It's All Over Now."

"The Bravest Man in the Universe" comes out later this summer on XL Recordings. It's produced by Womack, Damon Albarn and Richard Russell.

Deconstructing MDNA

Pat Healy, Metro — Mon, 26 Mar 2012 20:07:02 -0400

Madonna is a bitch out of order, a bat out of hell and a fish out of water. At least that’s what she compares herself to in the song Gang Bang, off her brand new album, MDNA. Madge’s claim about being broken, angry and alienated is a succinct self-analysis.

It’s been four years since her last album of new material, the longest gap of her nearly 30-year career, which would explain the fish-out-of-water feeling — to say nothing of the fact that her last album came out a full six months before the debut of another Italian-American with a stage name, a penchant for shock value and a monster-load of blond ambition, Lady Gaga.

As far as the bitch-out-of-order and the bat-out-of-hell, her venomous personal lyrics on this album make it difficult to distinguish Madonna — the pop legend — from Madonna, the mortal whose eight-year marriage to director Guy Ritchie ended in a bitter divorce.

“I tried to be a good girl, I tried to be your wife,” she sings on I Don’t Give A.

It is this vulnerability that gives MDNA its vitality. And this uneasiness of being thrown into a different life situation almost makes it acceptable for her to sing like a teenager about drinking too much Tanqueray and “Tweetin’ in the elevator.”

Comparing a new love to Mike Jordan and Abe Lincoln in the same song? Well, that’s just silly. But she seems to acknowledge there’s a personal crisis at hand, where impulsive behaviour is the norm, singing, “I know I shouldn’t act this way” in Girl Gone Wild.

This confessional intimacy also makes it difficult to criticize Madonna for imitation, which she does indulge in a bit on MDNA.

To that charge, the material girl is just as much of a smart shopper as she’s always been, using the baddest guest stars (including Nicki Minaj and M.I.A.) and the best producers (including Martin Solveig and William Orbit) to bring her sound into now. If she can’t define the times, she’s certainly not going to be behind them. And really, anybody she’s borrowing from wouldn’t even be making music if it weren’t for her. The racecar bass lines, pumping beats and Skrillex-style monster breakdown would seem forced if not done properly.

But it’s Madonna, and even if she is a fish out of water, she can always get into the groove.

Little Big Town to spotlight child hunger at ACMs

The Associated Press — Fri, 23 Mar 2012 04:05:00 -0400

NASHVILLE, Tenn. - The members of Little Big Town are sending a message with their Academy of Country Music Awards performance.

They will sing a song called "Here's Hope" with a children's choir to raise awareness about child hunger in the United States. ACM new artist of the year nominee Hunter Hayes co-wrote the song and will introduce the performance.

It's all part of the ACM Lifting Lives Moment that will take place during the April 1 awards show.

Hayes and Little Big Town are encouraging people to participate in the ConAgra Foods Child Hunger Ends Here campaign. It will donate up to five million meals to Feeding America this school year.

The ACMs will air live from Las Vegas on CBS.

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Online: http://www.childhungerendshere.com

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For the latest country music news from The Associated Press, follow: http://www.twitter.com/AP_Country

How much can I earn as a YouTube musician?

Alan Cross, Metro — Fri, 23 Mar 2012 00:57:58 -0400

I’ve been following the progress of Burlington, Ontario’s Walk Off the Earth ever since they posted their five people/one guitar performance of Gotye’s Somebody That I Used to Know back in January. As I write this, the video has been viewed 74,423,421 times. That’s about one-tenth the number of people who have seen Justin Bieber’s Baby, but it’s still a magnificent achievement, especially for an indie band.

If you’ve watched any music video on YouTube, you’ll have seen the ads that come with each one. YouTube is the world’s largest streamer of music and these ads have allowed it to monetize what many once believed was un-monetizable.

I was curious about what this means in financial terms to artists like Walk Off the Earth, so I talked to some people in the industry who know how such things work. Let’s try to estimate things, shall we?

YouTube’s payment rate is approximately $2.50 CPM, which means for every one thousand views of a video, it pays out $2.50 US. YouTube keeps 50 per cent of all revenues. Fifteen per cent goes to the rights holder of the song (the publisher/copyright holder) while the remaining amount — 35 per cent — goes to the performer.

Now let’s do the math. First, divide 74.5 million views by 1,000 to get the CPM number. Multiply that number (74,500) by $2.50 and you have total gross advertising revenues of $186,250. Of that, YouTube keeps half, which is $93,125. The rest is divided between the publisher

(15 per cent of $186,250 or about $28,000; Gotye gets a piece of this) and the band (35 per cent of $186,250 or a shade over $65,000). Finally, divide that amount amongst the five members of the band and you have earnings of $13,000 each.

Not bad when you consider that this is the product of 14 hours work in front of a video camera but a little sobering when you consider how difficult it is to get that many people to watch a single video.

But then we have to factor in all the spin-off revenues like the tens of thousands of downloads through iTunes, increased attendance at gigs, more merch sales and licensing opportunities. And how can you put a price on the worldwide publicity? What was that featured spot on Ellen worth? I’d say things are working out very well.

And Bieber? He’s made over $628,000 in YouTube bucks from Baby.