Sunday, June 17, 2018

Pitbull has a new track featuring Britney and Marc Anthony called "I Feel So Free With You"

He revealed he has a collaboration with Britney Spears and Marc Anthony coming out called "I Feel So Free With You," which is sure to be epic. He described the track as “volcanic” and now we're counting down until we can hear it.

I don't know how I feel about this. I just hope it's good and gets Britney some traction to release her own stuff.

Wednesday, May 23, 2018


I have been super slack. But I do have reasons why.  I have a youtube channel where I talk music, TV, and movies. Also, I have a new job now so I am back on the work train and have been doing a lot to build my social media following (not great but doing better). I want to do around 2 posts a week. I want to do more and communicate with yall more. Just be patient with me. I merge this with my other blog which I have barely posted on either. I want to talk about me (day to day stuff), music, TV shows, and movies.  If you want to follow me on social media just let me know in the comments.


Thursday, October 26, 2017

Bustle Article on Britney Spears Blackout 10 Years Later

Released during a chaotic year that cemented the singers transformation from America's sweetheart to tabloid curiosity, responses to Britney Spears' Blackout were mostly positive, if steeped in caustic judgment. Impressed reviewers repeatedly commended the playfulness of Blackout, it's striking production and the "bright, brash electropop" of its sound, but did so under the duress of acknowledging the tumult of Spears' personal life. Some critics began their reviews by dragging Spears' various tabloid sins out like criminals in a police line-up, as though attempting to identify the album's focus, or perceived lack thereof. "Two marriages, one annulment, multiple rehab stints, a concussed live-television debacle, a failed custody battle," one Blender review of Blackout said, "and various misadventures in baby-dropping, head-shaving and crotch-exposing."

Based on how Spears was being portrayed in the media, most reviews also took great pleasure in pointing out the irony of the album's title. Rolling Stone's review, for instance, began by calling the title choice, "unfortunate," before sneering, "while judges debate her child-visitation rights, Britney Spears has released an album whose title seems to have been inspired by a major flirtini binge." The low-hanging fruit of Spears' public breakdown was clearly too irresistible for critics who couldn't see past the potential punchline of the album title. But by all accounts, they missed the poin
Taken as a whole, the album isn't one extended retaliatory reference to the tabloid hysteria that followed Spears at the time, despite songs like "Piece Of Me," and "Gimme More," that mention it. Nor is Blackout a tawdry reference to her apparent propensity for partying, regardless of how many of it's songs confidently brag about "dancing tabletop," or hitting the dance floor from "10 pm to 4." Instead, the title choice could be seen as encapsulating the subtle foreboding that creaks out of every song. This was Spears acknowledging that "Miss American dream," had somehow hit a glitch but was embracing her newfound darkness to create something significant. She was working with her anguish instead of against it.

Pitchfork echoed such sentiments in their review of the album which confessed to being "genuinely surprised," by Blackout's "creepiness, its black hole heart," and went on to call its use of autotune, "oddly sinister." Perhaps even more intriguing, is that the music site compared the album's appeal to that of the TV show Twin Peaks. Pointing out that the same clich├ęd "sour secrets of the suburban every girl," and "virginal beauty off the rails," that made Laura Palmer's story so compelling in the show were the same with which we had an "endless appetite" for watching Spears' very own "messy life."
The comparisons are appropriate, and disturbingly, even extend to the lack of agency experienced by both the fictional character of Palmer and by Spears as a performer. In Twin Peaks, for instance, we discover Palmer's story only through the lovelorn testimonies of the town's bereft men and the police detectives investigating her abuse and murder. On Blackout we're mostly given access to Spears' thoughts and experiences as expressed by the various songwriters who contributed to it. Unlike 2004's In The Zone, in which Spears held songwriting credit for nine out of the 13 tracks, Blackout featured only two songs co-written by the singer. For an album that's so unavoidably personal, Blackout is also strangely disembodied from it's subject.
Lyrically, this is most evident on a song like "Piece Of Me." The power of which relied on the conceit that this was Spears' own rallying cry against a media who were profiting heavily from her story while also denying her a voice in it. Though the song is one of the best on the album, it falls flat when you realize that Spears didn't appear to have much of a say in creating it. As Slate put it, "She's capable of delivering bon mots like, “I'm Mrs. 'Extra! Extra! This just in!'/ I'm Mrs. 'She's too big, now she's too thin'” ... (Ironically, this self-reflective ditty is not one of the songs Britney had a hand in writing.)"
Based upon such misfires, it would be all too easy to dismiss the album as being the product of "an artist who simply couldn't be bothered," as Slate also suggested in their review. But musically, Blackout is far beyond the perimeters of default, mainstream pop and hiding something much smarter. As well as that aforementioned foreboding, the album also warps, stretches, and distorts Spears' vocals to such a point that she occasionally sounds robotic. Auto-tune is used to such a high volume that it at times feels sarcastic — the robotized, derisive response to a culture who wanted to see her perform, mess up, and clean up on demand, like the pop superstar equivalent of a Fembot.
  Pop Matters criticized the effect by saying, "she’s reduced to a disembodied voice ... purring disinterestedly into a microphone until someone tells her to stop." MTV speculated that "part of the point," of the effect was to find it hard "to tell where the real Britney begins and ends." You could argue that the effect achieves both, demonstrating the volume with which Spears had become dehumanized and distorted in tabloid media while also taking perverse ownership of that fact. Pushing the effect to ludicrous proportions, Blackout sounds at times like a corrupted sound blaring out of a crashed computer and overriding all attempts to force a hard reboot upon it.In the middle of a phase in Spears' life and career that producer Pharrell Williams once described as being a problematic "reality show that no one's producing, that no one's directing," Blackout had deeper and darker connotations to it that only some critics were savvy enough to hear. And isn't that sort of the point? The blackout expressed in the album's title had little to do with Spears' alleged partying or in silencing tabloid commentary about her, and more to do with a culture that was so obsessed with watching her that they'd forgotten how to hear her.
  With Blackout, Spears was pulling the blinds shut on herself as an object of voyeurism, and was instead begging that we again took notice of her as a musician. And if you listened close enough, the end result was just as disconcerting and desperately compelling as it had all rights to be.

Tuesday, October 10, 2017

Little Mix Working with Electric On rerelease and 5th album.

Perrie Edwards, Jesy Nelson, Leigh-Anne Pinnock and Jade Thirlwall have just kicked off their Glory Days UK tour - vamping it in Aberdeen last night. And with a rerelease of their top selling album Glory Days just around the corner no one can accuse them of slacking when it comes to their work. In fact, the X Factor winners have already started recording album number five. Chatting to Daily Star Online at the BMI Awards in London, writers of their number one smash Black Magic Edvard Erfjord and Henrik Michelsen said: “It seems like the people love them. "If they keep that up then I don’t see why they can’t be around in the charts for a very long time. We are working with them now again actually both on the rerelease album and on their next album." Risking the wrath of label managers, they continued: "We’ve done between five and ten tracks with them so far. There is some exciting stuff. It’s new for them. It’s a new direction for them. In terms of the sound, we are still working out exactly what that is, but it comes as you are going along.” Admitting the girls are determined to shock their fans, the music duo added: “You want something that surprises people and that is what they try to do with every single album and every single song. "I don’t think anybody knows exactly what it’s going to be.”

Wednesday, September 20, 2017

Will and Grace 8 Seasons will on HULU Beginning Tomorrow

The streamer, which beat Netflix for the show, will share the library and upcoming revival episodes with NBC in a deal similar to 'This Is Us.'
Hulu and NBC are reteaming again following their groundbreaking SVOD dealfor This Is Us.

The streaming service and NBC have inked a massive SVOD deal to bring Will and Grace into the digital age. Hulu, fresh off its Emmy win for best drama for The Handmaid's Tale, has secured all 194 episodes of Will and Grace and will air new episodes of the NBC revival each week following their initial broadcast this fall.

The original eight-season run will be available on Hulu starting Sept. 21 — a week before the revival launches on NBC. Like Hulu and NBC's deal for last year's freshman breakout This Is Us, the network will also retain the library to stream on the NBC App as well as pay TV providers with authentication.

"As we gear up for the launch of the upcoming season premiere, I can’t think of a better way to reintroduce Will and Grace to the cultural zeitgeist than by giving audiences the opportunity to watch this historic and hilarious series wherever and whenever they want,” said NBC Entertainment chairman Robert Greenblatt. “With its witty comebacks, pop-culture references and social commentary, Will and Grace is one of the most binge-able comedies in television history, and I am certain fans both old and new will jump on this opportunity to devour it."

Sources tell THR that Netflix was also bidding for the library, with Hulu coming out on top for its willingness to share the rights. Retaining at least some stacking rights has become increasingly valuable as networks look to monetize expensive scripted fare in an era of dwindling lilve viewership.

"There’s no question that Will and Grace has resonated with audiences since the series made its broadcast premiere. To be able to bring such an iconic show into the streaming universe for the first time ever is an opportunity we couldn’t pass up,” said Hulu's newly installed chief content officer Joel Stillerman. “This landmark deal will allow fans to rewatch their favorite moments ahead of the series premiere, as well as bring Will and Grace and its cast of characters to a whole new audience.”

NBC revived Will and Grace for a ninth season after the original cast reunited for a Hillary Clinton-themed election ad. The 16-episode season launches Sept. 28 with the show — created by Max Mutchnick and David Kohan and directed/exec produced by James Burrows already renewed for another season of 13 episodes.

Speaking with THR earlier this summer, Greenblatt said that he hoped to have a streaming deal for the library before the show returned, confirming that conversations with Netflix and Hulu were underway at the time.

"It's a little bit of a tricky bet. If the show goes on the air and blows up and we've pre-sold it, then we're kind of stuck. If it over-performs and we've left money on the table, that's a negative," Greenblatt said of the deal making process. "If it goes on the air and does OK and we've turned away from deals that are already on the table, we may lose money there. We're trying to look at the different scenarios of what could happen and bet on the best scenario. There's lots of estimating going on and things to try to make sure we've thought through what could happen. The new episodes are separate from the 198 that already exist. Or we could put them all together. The new episodes command a different price than the library episodes. It's looking at all of these different possibilities. But there's Hulu, Netflix and our own version of that that we're in the middle of."

The executive noted that retaining on-demand rights to the series was a key factor in making a deal for the library, one of the last remaining proven hits that had not yet been sold.  

Will and Grace was nominated for 83 Emmys, taking home 16 — including best comedy. It joins a Hulu library that also includes The Golden Girls and Seinfeld, among others.

Wednesday, September 13, 2017

Demi Lovato Talks more about her new album and reveals some more of the tracklist

01. Sorry Not Sorry
02. Tell Me You Love Me
03. Sexy Dirty Love
04. You Don't Do It For Me Anymore
05. Daddy Issues
06. Ruin The Friendship
07. Only Forever
08. Lonely
09. Cry Baby
10. Games
11. Concentrate
12. Hitchhiker
13. Instruction
14. TBA
15. TBA
16. TBA - Target bonus track
17. TBA - Target bonus track
Demi Lovato: Fans will know 'exactly who I'm talking about' on my new album
Everyone knows Demi Lovato can sing, but with her upcoming sixth studio album, the 25-year-old will prove to listeners that she can sang. “I wanted to make sure that this album showcased my voice,” says Lovato, who’ll release Tell Me You Love Me on Sept. 29. And if you couldn’t already tell from the album’s sassy belt-athon of a first single, “Sorry Not Sorry,” songs like the gospel-tinged title track and the funky “Sexy Dirty Love” will cement Lovato’s status as one of her generation’s most powerful vocalists.
Instead of rushing to follow up 2015’s Confident, Lovato took a year and a half to pursue a more soulful sound with a new batch of producers, including Warren “Oak” Felder (Kehlani, Alessia Cara) and John Hill (Phantogram, Santigold). “Growing up on the Disney Channel,” she says, “we cranked out an album every year for three years, so this time around I took as much time as I needed.”
And with a new sound — “I think what’ll surprise fans the most for this new album is how R&B I’m going,” she says — comes new subject matter. The singer, who split from actor Wilmer Valderrama in June of 2016 after a six-year relationship, says she’s getting real about her love life in unprecedented ways. “I have never really been so honest,” Lovato says. “You can just hear it through the lyrics. I think my fans are gonna know exactly who I’m talking about.”
Tell Me You Love Me isn’t the only project Lovato has in the works this fall. On Oct. 12 she’ll release the feature-length YouTube documentary Demi Lovato: Simply Complicated, which chronicles the making of the album as well as her activism and philanthropy outside of her music career. Bringing a camera crew into the studio to capture her creative process wasn’t easy: “It’s definitely a challenge, because you just want to be completely open and free, and when you have cameras on you, you don’t feel like you can do that,” she says. “But you get used to it. And once you get past that mentality, you forget the cameras are there and you’re able to be completely vulnerable.”
Lovato also says it may not take another two years for her to release new music. She says that Tell Me You Love Me will be a “living album” and that she may release new tracks as a part of the project even after its September release date. “If you create another song that you like, you put out another song,” she explains. “It doesn’t have to be a single. It can just be added to the mass of music that you’ve already released.”

Tuesday, September 5, 2017

Taylor Swift Gets her 5th #1 for Look What You Made Me Do

Swift scores her fifth Hot 100 No. 1 and breaks the weekly streaming record for a song by a woman. "Look" also stops the record-tying 16-week reign of "Despacito."

Taylor Swift's "Look What You Made Me Do" blasts from No. 77 (where it debuted) to No. 1 on the Billboard Hot 100 chart (dated Sept. 16), following its first full week of data tracking. After its Aug. 25 release, the song soars to the top with the highest weekly streaming and sales sums for a track in 2017 and breaks the record for the most weekly streams ever for a song by a woman.
"Look" -- released on Big Machine/Republic Records and the first single from Swift's album Reputation (her first since 1989 in 2014), due Nov. 10 -- is her fifth Hot 100 No. 1. It also dethrones Luis Fonsi and Daddy Yankee's "Despacito," featuring Justin Bieber, which a week ago tied the record for the most weeks spent at No. 1 (16) in the Hot 100's 59-year history.
Let's run down the numerous achievements for "Look" as it crowns the Hot 100, which blends all-genre streaming, airplay and sales data. Highlights of the rest of the top 10 will post on later today (Sept. 5), and all charts will update on tomorrow (Sept. 6).
Record-breaking streams: Following its first week of streaming, "Look" blasts onto the Streaming Songs chart at No. 1 with 84.4 million U.S. streams in the week ending Aug. 31, according to Nielsen Music. The total is not only the highest for any song this year, passing the 69.6 million with which "Despacito" peaked on the June 17-dated chart, but the highest ever in a week for a song by a female artist, surpassing the debut week of Adele's "Hello" (61.6 million, Nov. 14, 2015).
Only one song has posted a greater weekly total than "Look" on Streaming Songs (which began on March 2, 2013): Baauer's "Harlem Shake," which peaked with 103 million, powered heavily by user-generated clips featuring the song's audio (the week that the survey debuted).
Swift adds her third Streaming Songs No. 1, following "Shake It Off" and "Blank Space." She ties Miley Cyrus for the most by a woman; among all acts, only Bieber has earned more No. 1s (four).
Best weekly sales of 2017: "Look" also launches with the top weekly download sales this year: 353,000 in the week ending Aug. 31, as it starts at No. 1 on the Digital Song Sales chart. That tops the 240,000-download start for Ed Sheeran's "Shape of You" (Jan. 28). "Look" sports the highest weekly sales since Justin Timberlake's "Can't Stop the Feeling!" bowed with 379,000 on May 28, 2016 (and the best total for a woman since Adele's "Hello" sold 480,000 in its third week, reflected on the Nov. 28, 2015-dated Digital Song Sales chart).
Swift scores her 12th Digital Song Sales No. 1, passing Katy Perry (11) for the second-most; Rihanna leads with 14 toppers on the tally.
Swift ascent: With its 77-1 vault on the Hot 100, "Look" makes the fifth-greatest leap to No. 1 of all-time. Kelly Clarkson's "My Life Would Suck Without You" leads with its 97-1 surge (Feb. 7, 2009). Swift replaces herself for the fifth-biggest jump to the summit: her first leader, 2012's "We Are Never Ever Getting Back Together," rocketed 72-1. (Both "Look" and "Never" debuted from initial airplay before bounding to No. 1 following their first full weeks of streaming and sales tracking. Streaming and sales follow a Friday-Thursday measurement week, while airplay is tracked Monday-Sunday for the Hot 100's tabulation.)
High(est) five: Swift first led the Hot 100 with "Never" for three weeks in 2012. She added her second, third and fourth No. 1s from 1989: "Shake It Off" (four weeks, 2014), "Blank Space" (seven, 2014-15) and "Bad Blood," featuring Kendrick Lamar (one, 2015). With "Look" leading in its second week on the Hot 100, all five of Swift's No. 1s have reigned in four or fewer chart weeks.
Swift is the 13th woman (her favorite number!) with at least five Hot 100 No. 1s. Mariah Carey leads all women (and soloists) with 18 No. 1s, second among all artists only to the Beatles' 20.
First singles ranking first: Swift has now topped the Hot 100 with the first single from each of her last three albums. "Look" introduces Reputation; "Shake," which debuted atop the Hot 100, ushered in 1989, and "Never" was released as the first single from Red.
'Look' and listen: As it leads Streaming Songs and Digital Song Sales, "Look" charges 23-14 on the Radio Songs chart with 64 million all-format audience impressions following its first full week of airplay tracking. (It debuted a week ago with 46 million in its first three days.) Most notably, "Look" roars 21-9 on the Pop Songs chart (which is based on total weekly plays on a 164-station panel of mainstream top 40 stations), marking Swift's 14th top 10. It makes the fastest flight to the chart's top 10 since Timberlake's "Feeling" flew 24-10 on May 28, 2016.
Leading lady: More than nine months into 2017, Swift is the first woman to top the Hot 100 this year. She's the first since Halsey reigned, as featured on the Chainsmokers' "Closer," which wrapped its 12-week rule on Nov. 19, 2016. Until "Look," no woman had topped the Hot 100 in a lead role in more than a year: since Sia's "Cheap Thrills," featuring Sean Paul, led for four weeks from Aug. 6 through Aug. 27, 2016.
Further, "Look" is the first song by a woman unaccompanied by a male artist to rule the Hot 100 since Adele's "Hello" led for 10 weeks (Nov. 14, 2015-Jan. 16, 2016). The only other such No. 1s since the start of 2014: Swift's "Shake" and "Space" and Meghan Trainor's "All About That Bass."
Atop the Hot 100, "Look" supplants "Despacito," which on the Sept. 9-dated chart logged its 16th week at No. 1, matching Carey and Boyz II Men's "One Sweet Day" (16 weeks, 1995-96) for the longest command in the chart's archives. On the new Sept. 16 list, "Despacito" dips to No. 2.
Again, highlights of the rest of the Sept. 16-dated Hot 100's top 10 will post on later today (Sept. 5), and all charts will update on tomorrow (Sept. 6).

Thursday, August 31, 2017

Spotify results for Look What You Made Me Do

SPOTIFY 30/8/2017
WW: #1 5,903,329 (-19,859)
US: #1 1,937,789 (-80,358)
UK: #1 493,691 (+10,685)
BR: #1 464,871 (-19,452)
AU: #1 279,732 (-6,270)
PH: #1 264,114 (+4,256)
CA: #1 221,264 (-10,476)
SG: #1 72,942 (-2,194)
MY: #1 60,762 (-278)
NZ: #1 58,789 (-248)
ID: #2 104,858 (+2,905)
TR: #3 63,854 (+1,124)
GE: #4 (+1) 260,557 (+19,176)
NO: #5 (=) 106,542 (+6,811)
SE: #6 (=) 151,781 (+6,664)
MX: #9 (+1) 253,497 (+8,856)
FI: #9 (+1) 63,795 (-198)
FR: #16 (+4) 74,995 (+2,241)
ES: #18 (+3) 113,747 (+7,600)
NL: #19 (+4) 100,332 (+6,998)
IT: #19 (-2) 80,818 (-2,289)

Sunday, August 27, 2017

Wow 200,000 in one day!

After only one day on sale, Taylor Swift's "Look What You Made Me Do" is off to a sizzling start -- and will likely sell a half-million downloads in its first week, according to industry forecasters.

On Friday (Aug. 25), the day of the track's commercial release, the song sold a little less than 200,000 downloads in the U.S., according to initial sales reports to Nielsen Music.

"Look" is also anticipated to hit the upper reaches of the Sept. 16-dated Billboard Hot 100 chart, which blends airplay, sales, and streaming data, after a likely debut on the Sept. 9 list (from just airplay).

Saturday, August 26, 2017

Taylor to sell 500 to 550k with Look What You Made Me Do? OMG

Taylor Swift’s “Look What You Made Me Do” (Big Machine) had an explosive first day in the marketplace, earning huge streams and setting the stage for a first week in the range of 550-550k in sales alone, an impressive feat in the streaming era. Could the track surpass this projection?
Tay-Tay's biggest first week with a single was in 2012, when “We Are Never Ever Getting Back Together” scored 623k downloads. The lead single from 1989, “Shake It Off,” bowed with 544k two years later.
The lyric video for "Look" also got a big look, earning 19m youtube views in 24 hours, a record for lyric videos, breaking the record held by The Chainsmokers f/Coldplay for "Something Just Like This." (As of this writing it's hit almost 26m.) Rather unsurprisingly, it quickly became the #1 trending clip on the video service. It's also Tay's biggest video bow, blowing by the 17m initial views for "Bad Blood."

I saw this on another website so I don't know if this is reliable.  If so then DAMN.

Monday, August 21, 2017


There really hasn't been really any new music that i care about right now but i as soon as one comes up i will make another post asap.


Sunday, August 6, 2017

My review of Camila Cabello OMG Feat Quavo

This song is very good. I love the way the song starts off then that heavy beat kicks in.  I prefer this over Havana.  However, Quavo’s rap is straight stupid. None on lyrics go together or make any damn sense. For example, she looks so small it must be lipo (LOLOLOLOL). Other than that it’s pretty good. It could have had more switch ups and had some adlibs at the end. I will give the song a 8/10.

Tuesday, August 1, 2017

You guys...Double Dutchess has leaked!!!

I will not be posting links to this.  However, I will say that I really only like 3 songs right off the bat.  Those songs are Hungry, Enchanted, and Tension.  Enchanted sounds so freaking weird but it works so well for the song.  That beat for Hungry is everything and Tension has an excellent beat as well.

I will start posting every couple of days starting today.

Monday, June 26, 2017

RED ALERT BoA Just released a song called CAMO

YOU GUYS!!!!! This song CAMO by BoA one of my new favorites songs of 2017. The beat in this song is straight up is EPIC!!!!  The switch ups in the beat and way this song is structured are so freaking good. This going on my immediate workout playlist.  Also the way she hits all of notes are crazy (the FALSETTOS) and going between Korean and English are amazing. This song is a easy 10 of 10. Welcome back BoA, you are truly the queen of K-Pop. You literally just showed how every artist needs to be and the music video is on another level than anything I have seen in a VERY long time.

Wednesday, May 31, 2017

‘Animaniacs’ Reboot Being Developed By Steven Spielberg, Amblin TV and Warner Bros.
‘Animaniacs’ Reboot Being Developed By Steven Spielberg, Amblin TV and Warner Bros. — Exclusive
They're zany to the max, and now Yakko, Wakko and Dot may finally be back with their first new episodes in nearly 20 years.
Hellloooo, nurse: It’s time for “Animaniacs” – again!
Amblin Television and Warner Bros. Animation are kicking around a brand new version of the hit 1990s cartoon, IndieWire has learned. The potential reboot comes as “Animaniacs” has experienced a new surge in popularity since arriving on Netflix last year. Steven Spielberg, who developed the original as a follow-up to the success of his “Tiny Toon Adventures,” is expected to be on board in crafting the updated version.
There’s no home yet for “Animaniacs,” and insiders caution that it’s still in the early stages of development. But 1990s nostalgia is big business these days – witness the success of another Warner Bros. TV title, “Fuller House,” which is one of the most-watched originals on Netflix.
“Animaniacs” ran for 99 episodes – from 1993 to 1995 on Fox Kids, before moving to Kids’ WB from 1995 to 1998. It also spawned the primetime spinoff “Pinky and the Brain,” which aired on The WB.
The cartoon consisted of various segments (including “Pinky and the Brain”), all tied together by the Warner siblings – Yakko, Wakoo and Dot, who were said to have been trapped in the Warner Bros. lot watertower since the 1930s until their escape. Tom Ruegger, who oversaw the show’s creation, was inspired by his own three children in developing the characters. “Animaniacs” was popular with kids, but young adults also gravitated to its sophisticated humor and references.
Voice stars on the series included Rob Paulsen, Tress MacNeille, Jess Harnell, Sherri Stoner and Maurice LaMarche. Each episode was also heavily scored with original songs and music.
“Animaniacs” won eight Daytime Emmy Awards during its run, as well as a Peabody Award. “Too often today, animation on television is produced in a workman-like manner, with little attention paid to characterization, illustration, and above all, narrative storytelling,” the Peabody website says in explaining the 1993 honor.
“This series, with appeal to adults as well as children, reminds us of the glory days of Hollywood animation and brings that period up-to-date with sparkling characters, witty dialogue, and stunning production. The magic touch of executive producer Steven Spielberg is in evidence in the work of senior producers Rich Arons and Sherri Stoner, and the rest of the outstanding production team. For restoring quality to the daily animated television series, and for doing so in a thoroughly engaging and highly kinetic manner, a Peabody to Steven Spielberg Presents Animaniacs.”
The show ended with the 1999 direct-to-video release “Wakko’s Wish.” But the show remains so fondly remembered that Paulsen and the cast recently announced plans to reunite via “Animaniacs Live!” stage shows, including one last month in La Mirada, Calif., with more dates later this year.


Tuesday, May 30, 2017

Fergie parts way with Interscope and signs with BMG

Fergie, the Black Eyed Peas star who embarked on a successful solo career with 2006’s The Dutchess, is no longer on Interscope Records, Variety has learned. Says a label source: “The decision was made to part ways. We were all in concert and want what’s best for Fergie.”
The singer has formed her own label, Dutchess Music, and entered into a global partnership with BMG, joining such acts as Avril Lavigne, Blink-182, Blondie, and At The Drive-In on the company’s recorded music roster. The nearly 10-year-old division of Bertelsmann is based in Berlin, with U.S. offices located in Los Angeles. Recently, BMG was awarded Independent Publisher of the Year at the 34th annual ASCAP Pop Music Awards, winning for the second year in a row.

Whatever gets the record out is fine with me. I hope BMG treats her better.

Wednesday, May 17, 2017

LAWDY Roseanne is coming back to ABC

Roseanne is headed back home.
ABC, the landmark comedy’s original network, has beat out Netflix for rights to an eight-episode present-day revival featuring pretty much the entire original cast, including titular star Roseanne Barr, leading man John Goodman (Dan) and supporting players Sara Gilbert (Darlene), Laurie Metcalf (Jackie), Michael Fishman (D.J.) and Lecy Goranson (original Becky).
Sarah Chalke, who shared the role of Becky with Goranson, will appear in “another role,” per ABC.
“We’re rebooting Roseanne,” ABC president Channing Dungey confirmed Tuesday on a conference call with reporters, adding that the continuation “is planned for midseason.”
The series’ original producing team of Barr, Tom Werner and Bruce Helford are all on board, with Gilbert also taking an EP credit.
Last month, Gilbert staged a mini Roseanne revival with TV dad Goodman on the set of her CBS gabfest The Talk. At the time, Goodman expressed enthusiasm for an official revival. “Oh, hell yes… if we could get everyone together,” he said. “[Roseanne] and I did a pilot about five years ago that didn’t go anywhere…but we were very happy to work together.”
Per the official press release, the revived Roseanne will find the Conner family dealing “with the economic challenges of living pay check to pay check in 2018.”

Saturday, April 29, 2017

Sony ends relationship with Dr. Luke

Sony is pulling the plug on its relationship with Dr. Luke.
The music corporation is discontinuing its partnership with the hit music producer amid his drawn-out legal battle with pop star Kesha, according to The Hollywood Reporter.
Kesha has accused Dr. Luke — whose real name is Lucasz Gottwald — of giving her a date rape drug and sexually assaulting her, as well as allegedly pressuring her to lose weight.
The producer has denied Kesha's claims, and last year a Manhattan judge dismissed the singer's claims of sexual assault, harassment and gender violence against Dr. Luke.

About damn time.


Friday, April 21, 2017

CRAZY ASS NEWS!!!!!!!!!!!!

I just quit my job. It's a long story but here it goes.  Back earlier this month my work put people on Furlough (aka laying people off) because there wasn't a lot of work.  They said to come back May 1st and I was on that list.  We went from 56 hours a week to 32 and I have been working 56 hours a week for THREE FREAKING YEARS and still a freaking temp.  So I have had actual time to decompress and to relax and everyone has told me that I am so much nicer and pleasant since my lay off.  Well they just called me a hour ago telling me to come in this Monday telling to come back in to regular hours (6am to 3:30pm) and I just said I have 4 interviews (I don't but have been applying a lot this past week) and I won't be returning.  Luckily i have some money saved up to float until I can get something and I am crazy nervous but excited about this.

P.S. I'm getting my shit together to start updating again.

Music Heaven

Saturday, November 5, 2016

For once it isn't my fault

I know yall are like why the hell does this idiot not update even though he says he is?  Well for once it literally isn't my fault.  the site I have been going to for years is getting some major upgrades and is taking FOREVER.  It's been down for over a month.  I am going to have to find other means to find my music news. But I legit don't have time most days except Saturday afternoon and Sunday.  Things will more frequent after awhile but for the time being posts will mostly likely being only on the weekends.