Music Artists

Archive for November 12th, 2009

For the college kids on MTV’s College Life, it’s all about balance. If you decide to go out on a Tuesday night you better be prepared to deal with a nasty hang over the next day and pull through it. If you decide to sleep over at a guy’s place, you better be prepared to study all day the next day to make up for lost time. No matter what decisions are made on MTV’s College Life what these students might not realize is that they must also deal with the consequences.

They no longer have the comforts of home and mommy and daddy to fall back on. Football games, flipcup, RA’s, ragers and everything in between are the norm for these students and they must figure out to get through freshmen year without doing too much damage to their livers, parents, and social lives. In order to get through their college let alone freshmen year, these college students must figure out a way to get through the school part, to somehow manage their relationships, and obtain that college degree or finish freshmen year the way their parents are expecting them to.

College is a time for kids to turn into adults, college is a time to learn more about yourself, and to these college students college is a time to party, a time for the opposite sex, and a time to try to get through the studying without having a hangover. There is no doubt about it that these college students on MTV’s College life are living the college life, but they are also living it while taping it at the same time. Madison Wisconsin is now being seen in a different light as their college students are taping themselves in their daily life at college. Whether it is a good or bad thing for the town of Madison, one thing is for sure drama is bound to occur. MTV College life is based around the lives of four college freshmen and being able to deal with being away from home.
Read the rest of this entry »

Great billboard artwork is a combination of simple concepts steeped in decades of research. As long as you follow these basic, time-proven steps, you will always deliver your client a billboard that is attractive and effective. And if you fail to utilize this information, brought to you by billboard company research beginning in the 1920s, your client’s billboard may be illegible and ineffective.

You should not put more than a few words on a billboard. Why? Two reasons. First, you can’t grasp more than a few words while reading and driving at 55 mph. Secondly, the size of the words is very important – you want to keep the main copy at approximately 36” character height – so the fewer the words, the larger the type and the better the visibility. To make this happen, you have to distill the advertiser’s message down to its simplest form. This is one of your key goals in creating great artwork – what is the key message and how can you express it in the fewest possible words?

There are a lot of typestyles out there – and most of them should never be used on a billboard. The typestyles you use must be easy to read. Those include simple styles such as times roman and universe. Always use styles that have very bold, thick strokes – they are easier to read at far distances. Most of the highly stylized typestyles that are popular in print advertising are completely inappropriate in billboards, although many graphic designers refuse to acknowledge this. If the viewer can’t read your copy, what it the point of the billboard?
Read the rest of this entry »

If you’re looking for the all-time number one purveyor of mainstream romantic soul, Smokey Robinson may well be the man, in the face of some towering competition. With the Miracles in the 1960s, he paced dozens of tuneful Motown hits with his beautiful high tenor. As a solo performer from the 1970s onward, he was one of the staples of urban contemporary music. But his singing gifts, as notable as they are, comprise only one of his hats: he’s also one of pop’s best and most prolific songwriters. As a songwriter and producer, he was the most important musical component to Motown’s early success, not only on the hits by the Miracles, but for numerous other acts as well (especially Mary Wells and the Temptations). Robinson first crossed paths with Motown founder Berry Gordy, Jr., in the late ’50s in Detroit. In retrospect, this may have been the most important meeting in both men’s lives. Robinson needed a mentor and an outlet for his budding talents as a singer and songwriter; the ambitious Gordy needed someone with multi-faceted musical vision. Gordy encouraged and polished Robinson’s songwriting in particular in the early days, in which the Miracles were one of many acts bridging the doo wop and early soul eras. Before solidifying their relationship with the embryonic Motown operation, the Miracles issued a few singles on the End and Chess labels, the most successful of which was “Got a Job.” There was no national action for the Miracles until “Shop Around” in late 1960. Gordy withdrew the original single in favor of a faster, more fully produced version of the song; it made number two, doing much not only to establish the Miracles, but to establish the Motown label itself. The song also heralded many of the important elements of the Motown sound, with its gospel-ish interplay between lead and backup vocals, its rhythmic groove, and its blend of R&B and pop. While Robinson is most often thought of as a romantic balladeer, the Miracles were also capable of grinding out some excellent uptempo party tunes, particularly in their early days. “Mickey’s Monkey” (which the group gave an athletically electrifying performance of in the 1964 T.A.M.I. Show movie), a 1963 Top Ten hit, is the most famous of these; there was also “Going to a Go-Go” and smaller hits like “I Gotta Dance to Keep from Crying.” The 1962 Top Ten hit “You’ve Really Got a Hold on Me,” however, was the key cut in forming Robinson’s romantic persona, with its pleading, soaring vocals, exquisite melody, and carefully crafted lyrics. Bob Dylan was impressed enough by Robinson’s facility for imaginative wordplay to dub him “America’s greatest living poet” (a phrase which has possibly become the most quoted example of one rock giant praising another). Surveying Robinson’s achievements during the 1960s, one wonders if the man ever slept. While the Miracles were never Motown’s biggest act at any given time, they were one of its very most consistent, entering the Top 40 25 times over the course of the decade. “I Second That Emotion,” “The Love I Saw in You Was Just a Mirage,” “The Tracks of My Tears,” “Ooo Baby Baby,” and “Baby, Baby Don’t Cry” were some of their biggest singles, and usually represented Motown at its most sophisticated and urbane. Robinson also was extremely active at Motown as a songwriter and producer for other acts. The number one singles “My Guy” (Mary Wells) and “My Girl” (Temptations) were each Robinson songs and productions (the latter with fellow Miracle Ronnie White), and Robinson also did some excellent work with the Marvelettes and Marvin Gaye. He also toured with the Miracles, and started a family with the Miracles’ female singer, Claudette Rogers, whom he married in 1964. Rogers stopped touring with the group in the mid-’60s, although she continued to sing on their records. Starting in 1967, the billing on Miracles releases was changed to Smokey Robinson & the Miracles, presaging Robinson’s solo career. The group continued to spin out hits until the early ’70s, however, getting their only number one in 1970 with the upbeat “The Tears of a Clown” (which had actually been recorded back in 1966). Robinson left the group to go on his own in 1972; the Miracles continued without him with limited success, although they had a number one hit in 1976 with “Love Machine, Pt. 1.” Robinson had been made a vice president at Motown near the beginning of his career in 1961. He recorded frequently as a solo artist for Motown in the ’70s and ’80s, in a considerably mellower vein than his Miracles work, in keeping with the general shift of Motown and soul toward urban contemporary. Robinson, in fact, provided that genre with one of its catch phrases with the title of his 1975 album, A Quiet Storm. “Cruisin’” (1979) and “Being with You” (1981) were his biggest solo hits, although artistically and commercially his solo era wasn’t nearly as successful as his music with the Miracles. ~ Richie Unterberger, All Music Guide
Read the rest of this entry »

• 23 songs and one silly joke

Product Description
Toddler Favorites is a well-produced and fun CD for your little ones. The songs feature both grown-up and kid vocals.

Songs include: I’m a Little Tea Pot, The Wheels on the Bus, Where is Thumbkin, Happy Birthday to You, This Little Pig, Mary had a Little Lamb, The More We Get Together, Skip to my Lou, This Old Man, Frere Jacques, Monkeys on the Bed, Engine Number Nine, Down by the Station, Peas, Porridge Hot, Ring-Around-The-Rosy, 7,8,9 Joke, If you’re Happy and you Know It, Fuzzy Wuzzy, Old MacDonald had a Farm, Baa Baa Black Sheep, Alphabet Song, It’s Raining/Itsy Bitsy Spider Medley, Twinkle Twinkle Little Star
Read the rest of this entry »