#Brittany Hazzard

[mitjalovse]

Some probable retirements feel like this thanks to the passage of time. For instance, Madonna never had a longer hiatus than the current one. Yes, Madame X should've been followed up by now, yet I'm sure the pandemic might be one of the reasons for the lack of that and the fact she entered the greatest hits era of her career, where she doesn't need another album. Moreover, she's currently battling a perception of her without actually being listened to. I mean, Madame X is not her best work at all, though for someone at her stature? Much better than anticipated. Had she said the disc might be her last, no one would've been upset. Sure, she didn't make her Blackstar, but Madame X might've been a great finish for a really intriguing pop opus.

[pierppasolini]

The Dukes of Hazzard - 3.04 - The Hazzardville Horror

[nofatclips]

Coming Back by James Blake (featuring SZA) from the album Friends That Break Your Heart - Samples Lake Shore Drive by Aliotta Haynes Jeremiah

[my-chaos-radio]

Release: May 30, 2018

Lyrics:

Spent 24 hours, I need more hours with you

You spent the weekend getting even, ooh

We spent the late nights making things right between us

But now it's all good, babe

Roll that back wood, babe

And play me close

'Cause girls like you run 'round with guys like me

'Til sun down when I come through

I need a girl like you, yeah yeah

Girls like you love fun and, yeah, me too

What I want when I come through

I need a girl like you, yeah yeah

Yeah yeah yeah, yeah yeah yeah

I need a girl like you, yeah yeah

Yeah yeah yeah, yeah yeah yeah

I need a girl like you

I spent last night on the last flight to you (ey ya)

Took a whole day up trying to get way up, ooh

We spent the daylight trying to make things right between us

But now it's all good, babe

Roll that back wood, babe

And play me close, yeah

'Cause girls like you run 'round with guys like me

'Til sun down when I come through

I need a girl like you, yeah yeah

Girls like you love fun and, yeah, me too

What I want when I come through

I need a girl like you, yeah yeah

I need a girl like you, yeah yeah

Yeah yeah yeah, yeah yeah yeah

I need a girl like you, yeah yeah

Yeah yeah yeah, yeah yeah yeah

I need a girl like you, yeah yeah

I need a girl like you

Maybe it's 6:45

Maybe I'm barely alive

Maybe you've taken my shit for the last time, yeah

Maybe I know that I'm drunk

Maybe I know you're the one

Maybe you thinking it's better if you drive

Oh, 'cause girls like you run 'round with guys like me

'Til sun down when I come through

I need a girl like you, yeah

'Cause girls like you run 'round with guys like me

'Til sun down when I come through

I need a girl like you, yeah yeah

Girls like you love fun and, yeah, me too

What I want when I come through

I need a girl like you, yeah yeah

Songwriter:

Yeah yeah yeah, yeah yeah yeah

I need a girl like you, yeah yeah

Yeah yeah yeah, yeah yeah yeah

I need a girl like you

Adam Levine / Henry Walter / Jason Gregory Evigan / Brittany Talia Hazzard / Gian Stone

SongFacts:

👉📖

[jules-has-notes]

Disney Girls Like You (Disney Evolution) — PattyCake Productions music video

Art is often inspired by other art. When the PattyCake guys saw the music video for Maroon 5's "Girls Like You", they got the urge to recreate its visual style with their own established roster of Disney princesses, heroines, and villainesses. Come along for a journey through 80 years of animation brought to life.

Details:

title: Disney Girls Like You – The Evolution of Disney Ladies (feat. Maleficent Mistress of Evil)

performers: Mike Marin (animator), Olivia Adkins (Snow White), Michelle Knight (Evil Queen), Leah Lowman (Cinderella / Elsa), Andrea Stack (Lady Tremaine), Rachel Copeland-Evans (Alice / Vanessa), Jaimz Dillman (Queen of Hearts), Anna Ricks (Aurora), Helaina Wize (Maleficent / Mother Goethel), Tiffany Trilli (Cruella De Vil), Emma Dahlin (Ariel), Emoni Wilkins (Ursula), Tiana Akers (Belle), Briana Fogden (Jasmine / Esmerelda), Ciara de Leon (Pocahontas), Raven Wynn (Mulan), Katie Leatherbury (Giselle), Breauna Horsham-Washington (Tiana), Allee Otwell (Rapunzel), Emily Gorsuch (Merida), McKenzie Helene Callahan (Anna), Darian Taylor Waes (Moana), & Tony Wakim (featured vocals)

original song / performers: "Girls Like You" by Maroon 5, feat. Cardi B

written by: Adam Levine, Henry "Circut" Walter, Brittany "Starrah" Hazzard, Jason Evigan, & Gian Stone

arranged by: Layne Stein & Tony Wakim

release date: 15 March 2019

My favorite bits:

swapping out the pop-rock instrumentation for more a Disney-esque orchestral sound

the panning of the echoed lyrics to match the movement of the camera

getting a closer look at so many of the amazing costumes they'd made over the previous few years

the flash from Vanessa to Ursula and back (and Emoni's fantastic villain laugh 😈)

those octaves on ♫ "Maybe I know that I'm done…" ♫

reversing the direction of rotation after the bridge

Trivia:

Most of the actors reprised their roles from PattyCake's "Unexpected Musicals", "Villains Lair", and "Princess Academy" series. Some have doubled up or subbed for someone else due to availability issues.

There are a few new characters, though. Alice, Esmerelda, and Giselle all make their debut here. Giselle returned later in the year for the Princess Academy holiday special, and the following spring for the third episode.

The video title makes special note of Maleficent because the live-action sequel was released later in the year. Ironically, that was one of the roles they recast. Leah, who played the sorceress in their "Unexpected Musicals" series, was already doing double duty as Cinderella and Elsa. Alejandra, who plays her in "The Villains Lair" wasn't available during the filming schedule for this.

In addition to providing the vocals and costumes, Tony also drew the artist's sketches. He'd studied animation at the Rhode Island School of Design with the ambition of working at Disney before the studio shut down its 2D division.

The circling movements were created with help from The Strolling Piano, who Layne knew through his sister-in-law.

Sharp-eyed VoicePlay fans will recognize the studio as Rayne's Room, where the guys have filmed many of their music videos, particularly before PattyCake had a space of its own.

This video reached 200,000 views in less than a week, which Layne and Tony were pretty excited about.

PattyCake released a nifty making-of video a week after this one.

The first Royal Vanity video that the guys teased was released three weeks later.

[adelleandlaura4ever]

HAVANNA

.

Hey

Havana, ooh na-na (ay)
Half of my heart is in Havana, ooh-na-na (ay, ay)
She took me back to East Atlanta, na-na-na
Oh, but my heart is in Havana (ay)
There's somethin' 'bout his manners (uh huh)
Havana, ooh na-na (uh)

.

She didn't walk up with that "how you doin'?" (uh)
(When she came in the room)
She said there's a lot of girls I can do with (uh)
(But I can't without you)
I knew her forever in a minute (hey)
(That summer night in June)
And papa says he got malo in her (uh)
Sje got me feelin' like

.

Ooh-ooh-ooh, I knew it when I met her
I loved her when I left her
Got me feelin' like
Ooh-ooh-ooh, and then I had to tell her
I had to go, oh na-na-na-na-na

.

Havana, ooh na-na (ay, ay)
Half of my heart is in Havana, ooh-na-na (ay, ay)
She took me back to East Atlanta, na-na-na (uh huh)
Oh, but my heart is in Havana (ay)
My heart is in Havana (ay)
Havana, ooh na-na

.

Jeffery
Just graduated, fresh on campus, mm
Fresh out East Atlanta with no manners, damn
Fresh out East Atlanta
Bump on her bumper like a traffic jam
Hey, I was quick to pay that girl like Uncle Sam (here you go, ay)
Back it on me, shawty cravin' on me
Get to diggin' on me (on me)
She waited on me (then what?)
Shawty cakin' on me, got the bacon on me (wait up)
This is history in the makin' on me (on me)
Point blank, close range, that be
If it cost a million, that's me (that's me)
I was gettin' mula, man they feel me

.

Havana, ooh na-na (ay, ay)
Half of my heart is in Havana, ooh-na-na (oh, ay, ay)
She took me back to East Atlanta, na-na-na (oh no)
Oh, but my heart is in Havana (ay)
My heart is in Havana (ay)
Havana, ooh na-na

.

Ooh na-na, oh na-na-na (oo-ooh)
Take me back, back, back like
Ooh na-na, oh na-na-na (yeah, babe)
Take me back, back, back like
Ooh na-na, oh na-na-na (yea, yeah)
Take me back, back, back like
Ooh na-na, oh na-na-na (yea, babe)
Take me back, back, back
(Hey, hey)
Ooh-ooh-ooh
Ooh-ooh-ooh
Take me back to my Havana

.

Havana, ooh na-na
Half of my heart is in Havana, ooh-na-na (oh, yeah)
He took me back to East Atlanta, na-na-na (ay, ay)
Oh, but my heart is in Havana
My heart is in Havana (ay)
Havana, ooh na-na

.

Uh huh
Oh na-na-na (oh na, yeah)
Oh na-na-na
Oh na-na-na
No, no, no, take me back
Oh na-na-na
Havana, ooh na-na

(Songwriter: Adam King Feeney / Alexandra Leah Tamposi / Andrew Wotman / Brandon Perry / Brittany Talia Hazzard / Camila Cabello / Jeffery Lamar Williams / Louis Russell Bell / Pharrell L. Williams / Brian Dong Ho Lee / Kaan Gunesberg – adapted by Ellen Docherty-Fitzgerald)

❤️ ❤️ ❤️   ❤️ ❤️ ❤️  

 

 

My Love,

You are the music in my ears, the rhythm in my body and the love in my heart. You conjure the most beautiful things into me and make me completely happy.

 

I love you deeply my beautiful Girl  ❤️ ❤️ ❤️ 🌈

@adelle4ever

@adelleandlaura4ever

[kickmag]

Body Count, Fantastic Negrito, Thundercat, Brittany Howard, Nas, Megan Thee Stallion, Ledisi & More Take Home Grammys

The 63rd Grammy Awards took place at the Los Angeles Convention center with Trevor Noah as the host. There were performances from Bruno Mars with anderson.paak, Doja Cat, Megan Thee Stallion and Cardi B. Beyonce made history and became the woman with the most Grammys after taking her home her 28th one.  She joined Megan The Stallion onstage for their joint win for Best Rap Song for "Savage" which Jay-Z also won his 23rd Grammy for because he helped write the song. Their daughter Blue Ivy became the second-youngest winner ever at 9-years old for Best Music Video for "Brown Skin Girl." Megan Thee Stallion became the first woman to win Best Rap Song. Ice-T's Body Count took the award for Best Metal Performance. Nas won his first Grammy after 14 nominations over his almost 30-year career. Fantastic Negrito picked up his third Grammy for Contemporary Blues Album. Fans questioned why Taylor Swift became the first woman to win album of the year three times and why Billie Eilish won Record Of The Year two years in a row. See all the winners below:

Song Of The Year:

"I Can't Breathe" - WINNER Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)

Best New Artist:

Megan Thee Stallion

Best Dance Recording:

"10%" Kaytranada Featuring Kali Uchis Kaytranada, producer; Neal H. Pogue, mixer

Best Dance/Electronic Album:

BUBBA - Kaytranada

Best Metal Performance:

Bum-Rush - Body Count

Best Rock Song:

"Stay High" - Brittany Howard, songwriter (Brittany Howard)

Best R&B Performance:

"Black Parade"-Beyoncé

Best Traditional R&B Performance:

"Anything For You" - Ledisi

Best R&B Song:

"Better Than I Imagined" - Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, songwriters (Robert Glasper Featuring H.E.R. & Meshell Ndegeocello)

Best Progressive R&B Album:

It Is What It Is -Thundercat

Best R&B Album:

Bigger Love -John Legend

Best Rap Performance:

"Savage"-Megan Thee Stallion Featuring Beyoncé

Best Melodic Rap Performance:

"Lockdown"-Anderson.Paak

Best Rap Song:

"Savage" -Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)

Best Rap Album:

King's Disease -Nas

Best Contemporary Christian Music Album:

Jesus Is King-Kanye West

Best Gospel Album:

Gospel According To PJ -PJ Morton

Best Contemporary Blues Album:

Have You Lost Your Mind Yet? -Fantastic Negrito

Best Traditional Blues Album:

Rawer Than Raw - Bobby Rush

Best Reggae Album:

Got To Be Tough-Toots & The Maytals

Best Global Music Album:

Twice As Tall - Burna Boy

Best Music Video:

"Brown Skin Girl"-Beyoncé, Blue Ivy & WizKid Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaida, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers

[thelastuniverse]

GRAMMYs Awards 2021

GENERAL FIELD

Record Of The Year: ‘EVERYTHING I WANTED’ — Billie Eilish Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; John Greenham, mastering engineer

Album Of The Year: ‘FOLKLORE’ — Taylor Swift Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Jack Antonoff, Aaron Dessner, Serban Ghenea, John Hanes, Jonathan Low & Laura Sisk, engineers/mixers; Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer

Song Of The Year: ‘I CAN’T BREATHE’ — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)

Best New Artist: Megan Thee Stallion

POP

Best Pop Solo Performance: ‘WATERMELON SUGAR’ — Harry Styles

Best Pop Duo/Group Performance: ‘RAIN ON ME’ — Lady Gaga with Ariana Grande

Best Traditional Pop Vocal Album: ‘AMERICAN STANDARD’ — James Taylor

Best Pop Vocal Album: ‘FUTURE NOSTALGIA’ — Dua Lipa

DANCE/ELECTRONIC MUSIC

Best Dance Recording: ‘10%’ — Kaytranada Featuring Kali Uchis Kaytranada, producer; Neal H. Pogue, mixer

Best Dance/Electronic Album: ‘BUBBA’ — Kaytranada

CONTEMPORARY INSTRUMENTAL MUSIC

Best Contemporary Instrumental Album: ‘LIVE AT THE ROYAL ALBERT HALL’ — Snarky Puppy

ROCK

Best Rock Performance: ‘SHAMEIKA’ — Fiona Apple

Best Metal Performance: ‘BUM-RUSH’ — Body Count

Best Rock Song: ‘STAY HIGH’ — Brittany Howard, songwriter (Brittany Howard)

Best Rock Album: ‘THE NEW ABNORMAL’ — The Strokes

ALTERNATIVE

Best Alternative Music Album: ‘FETCH THE BOLT CUTTERS’ — Fiona Apple

R&B

Best R&B Performance: ‘BLACK PARADE’ — Beyoncé

Best Traditional R&B Performance: ‘ANYTHING FOR YOU’ — Ledisi

Best R&B Song: ‘BETTER THAN I IMAGINED’ — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, songwriters (Robert Glasper Featuring H.E.R. & Meshell Ndegeocello)

Best Progressive R&B Album: ‘IT IS WHAT IT IS’ — Thundercat

Best R&B Album: ‘BIGGER LOVE’ — John Legend

RAP

Best Rap Performance: ‘SAVAGE ‘— Megan Thee Stallion Featuring Beyoncé

Best Melodic Rap Performance: ‘LOCKDOWN’ — Anderson .Paak

Best Rap Song: ‘SAVAGE’ — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)

Best Rap Album: ‘KING’S DISEASE’ — Nas

COUNTRY

Best Country Solo Performance: ‘WHEN MY AMY PRAYS’ — Vince Gill

Best Country Duo/Group Performance: ‘10,000 HOURS’ — Dan + Shay & Justin Bieber

Best Country Song: ‘CROWDED TABLE’ — Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)

Best Country Album: ‘WILDCARD’ — Miranda Lambert

NEW AGE

Best New Age Album: ‘MORE GUITAR STORIES’ — Jim “Kimo” West

JAZZ

Best Improvised Jazz Solo: ‘ALL BLUES’ — Chick Corea, soloist Track from: Trilogy 2 (Chick Corea, Christian McBride & Brian Blade)

Best Jazz Vocal Album: ‘SECRETS ARE THE BEST STORIES’ — Kurt Elling Featuring Danilo Pérez

Best Jazz Instrumental Album: ‘TRILOGY 2’ — Chick Corea, Christian McBride & Brian Blade

Best Large Jazz Ensemble Album: ‘DATA LORDS’ — Maria Schneider Orchestra

Best Latin Jazz Album: ‘FOUR QUESTIONS’ — Arturo O’Farrill & The Afro Latin Jazz Orchestra

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC

Best Gospel Performance/Song: ‘MOVIN’ ON’ — Jonathan McReynolds & Mali Music; Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters

Best Contemporary Christian Music Performance/Song: ‘THERE WAS JESUS’ — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters

Best Gospel Album: ‘GOSPEL ACCORDING TO PJ’ — PJ Morton

Best Contemporary Christian Music Album: ‘JESUS IS KING’ — Kanye West

Best Roots Gospel Album: ‘CELEBRATING FISK! (THE 150TH ANNIVERSARY ALBUM)’ — Fisk Jubilee Singers

LATIN

Best Latin Pop or Urban Album: ‘YHLQMDLG’ — Bad Bunny

Best Latin Rock or Alternative Album: ‘LA CONQUISTA DEL ESPACIO’ —Fito Paez

Best Regional Mexican Music Album (Including Tejano): ‘UN CANTO POR MÉXICO, VOL. 1’ — Natalia Lafourcade

Best Tropical Latin Album: ‘40’ — Grupo Niche

AMERICAN ROOTS MUSIC

Best American Roots Performance: ‘I REMEMBER EVERYTHING’ — John Prine

Best American Roots Song: ‘I REMEMBER EVERYTHING’ — Pat McLaughlin & John Prine, songwriters (John Prine)

Best Americana Album: ‘WORLD ON THE GROUND’ — Sarah Jarosz

Best Bluegrass Album: ‘HOME’ — Billy Strings

Best Traditional Blues Album: ‘RAWER THAN RAW’ — Bobby Rush

Best Contemporary Blues Album: ‘HAVE YOU LOST YOUR MIND YET?’ —Fantastic Negrito

Best Folk Album: ‘ALL THE GOOD TIMES’ — Gillian Welch & David Rawlings

Best Regional Roots Music Album: ‘ATMOSPHERE’ — New Orleans Nightcrawlers

REGGAE

Best Reggae Album: ‘GOT TO BE TOUGH’ — Toots & The Maytals

GLOBAL MUSIC

Best Global Music Album: ‘TWICE AS TALL’ — Burna Boy

CHILDREN’S

Best Children’s Music Album: ‘ALL THE LADIES’ — Joanie Leeds

SPOKEN WORD

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): ‘BLOWOUT: CORRUPTED DEMOCRACY, ROGUE STATE RUSSIA, AND THE RICHEST, MOST DESTRUCTIVE INDUSTRY ON EARTH’ — Rachel Maddow

COMEDY

Best Comedy Album: ‘BLACK MITZVAH’ — Tiffany Haddish

MUSICAL THEATER

Best Musical Theater Album: ‘JAGGED LITTLE PILL’ — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard, composer; Alanis Morissette, composer & lyricist) (Original Broadway Cast)

MUSIC FOR VISUAL MEDIA

Best Compilation Soundtrack For Visual Media: ‘JOJO RABBIT’ — (Various Artists) Taika Waititi, compilation producer

Best Score Soundtrack For Visual Media: ‘JOKER’ — Hildur Guðnadóttir, composer

Best Song Written For Visual Media: ‘NO TIME TO DIE [FROM NO TIME TO DIE]’ — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)

COMPOSING/ARRANGING

Best Instrumental Composition: ‘SPUTNIK’ — Maria Schneider, composer (Maria Schneider)

Best Arrangement, Instrumental or A Cappella: ‘DONNA LEE’ — John Beasley, arranger (John Beasley)

Best Arrangement, Instruments and Vocals: ‘HE WON’T HOLD YOU’ —Jacob Collier, arranger (Jacob Collier Featuring Rapsody)

PACKAGE

Best Recording Package: ‘VOLS. 11 & 12’ — Doug Cunningham & Jason Noto, art directors (Desert Sessions)

Best Boxed Or Special Limited Edition Package: ‘ODE TO JOY’ — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)

NOTES

Best Album Notes: ‘DEAD MAN’S POP’ — Bob Mehr, album notes writer (The Replacements)

HISTORICAL

Best Historical Album: ‘IT’S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS’ — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)

PRODUCTION, NON-CLASSICAL

Best Engineered Album, Non-Classical: ‘HYPERSPACE’ — Drew Brown, Julian Burg, Andrew Coleman, Paul Epworth, Shawn Everett, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Jaycen Joshua, Greg Kurstin, Mike Larson, Cole M.G.N., Alex Pasco & Matt Wiggins, engineers; Randy Merrill, mastering engineer (Beck)

Producer Of The Year, Non-Classical: ANDREW WATT

• Break My Heart (Dua Lipa) (T) • Me And My Guitar (A Boogie Wit Da Hoodie) (T) • Midnight Sky (Miley Cyrus) (S) • Old Me (5 Seconds Of Summer) (T) • Ordinary Man (Ozzy Osbourne Featuring Elton John) (T) • Take What You Want (Post Malone Featuring Ozzy Osbourne & Travis Scott) (T) • Under The Graveyard (Ozzy Osbourne) (T)

Best Remixed Recording: ‘ROSES (IMANBEK REMIX)’ — Imanbek Zeikenov, remixer (SAINt JHN)

PRODUCTION, IMMERSIVE AUDIO

Best Immersive Audio Album: Due to the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category

PRODUCTION, CLASSICAL

Best Engineered Album, Classical: ‘SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)

Producer Of The Year, Classical: DAVID FROST

 Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss) • Gershwin: Porgy And Bess (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus) • Gluck: Orphée & Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra & Chorus) • Holst: The Planets; The Perfect Fool (Michael Stern & Kansas City Symphony) • Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra & Chorus) • Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner) • Shostakovich: Symphony №13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra & Chorus)

CLASSICAL

Best Orchestral Performance: ‘IVES: COMPLETE SYMPHONIES’ — Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording: ‘GERSHWIN: PORGY AND BESS’ — David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Best Choral Performance: ‘DANIELPOUR: THE PASSION OF YESHUAH’ — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)

Best Chamber Music/Small Ensemble Performance: ‘CONTEMPORARY VOICES’ — Pacifica Quartet

Best Classical Instrumental Solo: ‘THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA’ — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

Best Classical Solo Vocal Album: ‘SMYTH: THE PRISON’ — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

Best Classical Compendium: ‘THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK & MEDITATIONS ON RILKE’— Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

Best Contemporary Classical Composition: ‘ROUSE: SYMPHONY NO. 5’ — Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

MUSIC VIDEO/FILM

Best Music Video: ‘BROWN SKIN GIRL’ — Beyoncé, Blue Ivy & WizKid , Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaida, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers

Best Music Film: ‘LINDA RONSTADT: THE SOUND OF MY VOICE’ — Linda Ronstadt, Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers

[gibsonmusicart]

5 Tips for Improving Your Song’s Melodic Hooks

Melodic hooks can be the heart of a song. These tasty bits of ear candy can make the difference between an “almost” – and a life-changing hit. They can be instrumental or sung and can occur in any section of a song – the intro, verse, chorus, pre-chorus, post-chorus, bridge, or outro. Catchy musical phrases hook in your listeners and keep them on the proverbial line. They can occur in multiple sections of a given song (i.e., a verse, a pre-chorus, and chorus) and although it is not typical, there can be more than one musical and/or vocal hook per section. But they are most frequently found in choruses and post-choruses. Ideally, unforgettable hooks pop into our heads–or pour out of our keyboards or guitars–spontaneously. But when they don’t, we can apply craft to create these extra-memorable melodic moments and add additional hooks to maximize our songs’ chances for success. Let’s look at five ways to embellish our melodies and help them burn into listeners’ brains. 1. Use a Stutter A stutter in a song occurs when melody is crafted so that part of a word—typically the first syllable—is repeated one or more times by the vocalist. A perfect example of a song with a st-st-st-stutter is Carrie Underwood’s smash hit, “Undo It” (written by Underwood with Kara DioGuardi, Marti Fredericksen, and Luke Laird). The title is sung “Uh-Uh-Uh-Uh-Uh-Uh-Uh-Undo It,” turning the stutter into the primary hook in the chorus. For another example, listen to Elton John’s “Bennie and the Jets” (written by Sir Elton John and Bernie Taupin). It’s hard to imagine that #1 song without its signature stutter, the “Buh-Buh-Buh” that precedes the name “Bennie.” 2. Repeat a Rhythm Write a melody that includes a unique, instantly memorable rhythm in the vocal melody of a given section of your song (i.e., verse, chorus …). Then repeat this rhythm multiple times within the same part of the song. In order to accomplish this, each line that has the same rhythm needs to have the same—or approximately the same—number of syllables in the lyric that accompanies it. This technique resulted in a powerhouse hook in GRAMMY winning Best Rock Song, “When I’m Gone” (recorded by 3 Doors Down and written by band members Brad Arnold, Todd Harrell, Matt Roberts, and Chris Henderson). Note how the last note of each line of the chorus is emphasized, and that every line of the chorus melody repeats almost the same rhythm, creating a melody that delivered it to the top of Billboard’s Top 40 Mainstream and Hot Mainstream Rock charts. To hear another great example of the power of this technique, listen to the quirky rhythms in the melodic phrases that repeat in the verses of Old Dominion’s “No Such Thing as a Broken Heart” (written by Jesse Frasure, BMI’s reigning Country Songwriter of the Year, with Matthew Ramsey, Trevor Rosen, and Brad Tursi). Also note the musical phrase that repeats in the choruses. 3. Include a “Nonsense Syllable” In this context, a nonsense syllable refers to a sound that is sung but has no meaning. These include: “Ooh,” Oh,” Yo,” “Ay,” “Ahh,” “Ooh,” and “I.” These (and other sounds) can be joined together to create vocal hooks that combine melodies with sounds such as, “Oh-I, Oh-I, Oh,” “Ooh, Oh, Oh, Oh, Oh,” and “Ay-Ay-Ay-Ay-Oh-Ay-Oh.” Camila Cabello’s breakthrough smash, “Havana” (featuring Young Thug, and written by Cabello with Jeffrey Williams, Frank Dukes, Brittany Hazzard, Ali Tamposi, Brian Lee, Andrew Watt, Pharrell Williams, Kaan Gunesberk, and Louis Bell) added the sound “ooh-na-na (ay, ay)” to the title to create an unforgettable hook. Similarly, Sugarland used “Whoa-oh, whoa-oh” to take their song, “Stuck Like Glue” (written by Jennifer Nettles, Kristian Bush, Kevin Griffin, and Shy Carter) to the #1 slot on Billboard’s Country Digital Songs Chart, racking up more than 2.6 millions digital sales along the way. 4. Add a catchy post-chorus A post-chorus can be defined as a part of a song that occurs after the chorus, providing an additional hook that typically includes vocals. It introduces melody that is not heard in the chorus or elsewhere in the song, and in many instances, it has few lyrics that have not previously been heard in the song. It often reiterates the title and incorporates nonsense syllables. Examples of strong post-choruses include Keith Urban’s “Wasted Time” (written by Urban with James Abrahart and William Wells). For more information about post-chorus references, check out “The Power of Post-Choruses.” 5. Include a Catchy Instrumental Lick A musical motif, sometimes referred to as a signature lick, is a melodic phrase that is typically introduced in a song’s intro and recurs throughout the song. Some hit songs, such as Vanessa Carlton’s “Thousand Miles” and Jason Derulo's "Talk Dirty" have multiple instrumental phrases that serve as hooks. Carlton’s #1 hit includes a motif that is played on piano during the intro and in the verses, as well as the instrumental hook played by the strings in the second half of the verses. One of my favorite instrumental hooks is the guitar lick that introduces Rascal Flatts’ recording of “What Hurts the Most” (written by Jeffrey Steele and Steve Robson). This version of the song reached #1 on Billboard’s Hot Country Songs and Adult Contemporary charts and received a Country Song of the Year GRAMMY nomination. The same lick can be heard (with slight variations) played on a synthesizer in Cascada’s pop/dance recording of the same song. At a recent songwriting workshop, I led my students through an exercise during which they applied each of these techniques to one of their songs. They explored including a stutter, repeating hooky rhythms, adding nonsense syllables, writing a post-chorus, and incorporating a catchy musical lick. One unforgettable hook can be your song’s ticket to the top of the charts. But why stop at one, when multiple hooks can maximize your chances of success? Try these tools in your own songs. Not every song will be benefit from each of these techniques; the decision needs to be made on a song-by-song basis. But you won’t know whether one or more of these melodic tools might take your song to the next level unless you try.

https://www.songwriting.net/blog/5-tips-for-improving-your-songs-melodic-hooks

[jotmadonna]

Cd extra de Madame X

Todos nos preguntábamos qué 3 canciones traería el segundo cd de la edición especial de #MadameX. Pues ahí va. 3 temas inéditos:

-Funana – Written by Madonna Ciccone, Mirwais Ahmadzai. Produced by Madonna Ciccone, Mirwais Ahmadzai.

-Back That Up To The Beat – Written by Madonna Ciccone, Brittany Talia Hazzard, Pharrell Williams. Produced by Madonna, Jeff Bhasker, Mike Dean, Pharrell Williams.

-Ciao Bella – Written by Madonna Ciccone, Mirwais Ahmadzai. Produced by Madonna Ciccone, Mirwais Ahmadzai.#Madonna

[adelleandlaura4ever]

https://www.youtube.com/watch?v=YGhnyLbwLVQ

HAVANNA

.

Hey

Havana, ooh na-na (ay) Half of my heart is in Havana, ooh-na-na (ay, ay) She took me back to East Atlanta, na-na-na Oh, but my heart is in Havana (ay) There's somethin' 'bout his manners (uh huh) Havana, ooh na-na (uh)

.

She didn't walk up with that "how you doin'?" (uh) (When she came in the room) She said there's a lot of girls I can do with (uh) (But I can't without you) I knew her forever in a minute (hey) (That summer night in June) And papa says he got malo in her (uh) Sje got me feelin' like

.

Ooh-ooh-ooh, I knew it when I met her I loved her when I left her Got me feelin' like Ooh-ooh-ooh, and then I had to tell her I had to go, oh na-na-na-na-na

.

Havana, ooh na-na (ay, ay) Half of my heart is in Havana, ooh-na-na (ay, ay) She took me back to East Atlanta, na-na-na (uh huh) Oh, but my heart is in Havana (ay) My heart is in Havana (ay) Havana, ooh na-na

.

Jeffery Just graduated, fresh on campus, mm Fresh out East Atlanta with no manners, damn Fresh out East Atlanta Bump on her bumper like a traffic jam Hey, I was quick to pay that girl like Uncle Sam (here you go, ay) Back it on me, shawty cravin' on me Get to diggin' on me (on me) She waited on me (then what?) Shawty cakin' on me, got the bacon on me (wait up) This is history in the makin' on me (on me) Point blank, close range, that be If it cost a million, that's me (that's me) I was gettin' mula, man they feel me

.

Havana, ooh na-na (ay, ay) Half of my heart is in Havana, ooh-na-na (oh, ay, ay) She took me back to East Atlanta, na-na-na (oh no) Oh, but my heart is in Havana (ay) My heart is in Havana (ay) Havana, ooh na-na

.

Ooh na-na, oh na-na-na (oo-ooh) Take me back, back, back like Ooh na-na, oh na-na-na (yeah, babe) Take me back, back, back like Ooh na-na, oh na-na-na (yea, yeah) Take me back, back, back like Ooh na-na, oh na-na-na (yea, babe) Take me back, back, back (Hey, hey) Ooh-ooh-ooh Ooh-ooh-ooh Take me back to my Havana

.

Havana, ooh na-na Half of my heart is in Havana, ooh-na-na (oh, yeah) He took me back to East Atlanta, na-na-na (ay, ay) Oh, but my heart is in Havana My heart is in Havana (ay) Havana, ooh na-na

.

Uh huh Oh na-na-na (oh na, yeah) Oh na-na-na Oh na-na-na No, no, no, take me back Oh na-na-na Havana, ooh na-na

(Songwriter: Adam King Feeney / Alexandra Leah Tamposi / Andrew Wotman / Brandon Perry / Brittany Talia Hazzard / Camila Cabello / Jeffery Lamar Williams / Louis Russell Bell / Pharrell L. Williams / Brian Dong Ho Lee / Kaan Gunesberg – adapted by Ellen Docherty-Fitzgerald)

❤️ ❤️ ❤️   ❤️ ❤️ ❤️

  My Love,

You are the music in my ears, the rhythm in my body and the love in my heart. You conjure the most beautiful things into me and make me completely happy.

 I love you deeply my beautiful Girl  ❤️ ❤️ ❤️ ❤️

@adelle4ever​

@adelleandlaura4ever​

[superrichlads]

“Despacito" (performed by Luis Fonsi & Daddy Yankee feat. Justin Bieber), "Slow Hands" (performed by Niall Horan), and "Fake Love" (performed by Drake) have female songwriters to thank. Erika Ender, Ruth-Anne Cunningham, and Brittany Hazzard (aka Starrah) are respectively credited as composers on the works.

"It's not often that we talk about the writers behind a song; usually the primary focus is on the performer," said Senior Manager and copyright expert at Music Reports, Lauren Woodhouse.

Two-time Grammy nominee Mindi Abair told Music Reports, "Women still have a long way to go in receiving credit where it's due and International Women's Day is a chance for all of us to lift up and celebrate women.”

[brittanieloren]

LINDA HAZZARD’S GHOST Olalla, WA (Expired 35mm, Diana f+) Brittanie Loren, 2017 www.beyourpet.com

[madonnamaniauk]

"#Crave" is planned to become the 2nd single to be released from #Madonna’s #MadameX album.

We don’t have to wait too long for listening to it, because Crave is one of the 4 selected ���pre-sale” tracks that will be available before Madame X release.

Crave will be available next week, on May 10th, 2019.

Is a duet with Swae Lee and Is written by Madonna Ciccone, Khalif Malik Ibn Shaman Brown and Brittany Talia Hazzard.

[gimenezaleok]

#Madonna is coming #MadameX @madonna #QueenOfQueen. Tracklist 01. Medellin feat. Maluma (4:58) Madonna Ciccone, Mirwais Ahmadzai, Maluma Londono & Barrera 02. Dark Ballet (4:15) Madonna Ciccone & Mirwais Ahmadzai 03. God Control (6:19) Madonna Ciccone & Mirwais Ahmadzai 04. Future feat. Quavo (3:54) Madonna Ciccone, Thomas Pentz, Brittany Talia Hazzard & Quavious Keyate Marshall 05. Batuka (4:57) Madonna Ciccone, Banda & Mirwais Ahmadzai 06. Killers Who Are Partying (5:29) Madonna Ciccone & Mirwais Ahmadzai 07. Crave feat. Swae Lee (3:22) Madonna Ciccone, Khalif Malik Ibn Shaman Brown & Brittany Talia Hazzard 08. Crazy (4:02) Jason Evigan, Madonna Ciccone & Brittany Talia Hazzard 09. Come Alive (4:02) Jeff Bhasker, Madonna Ciccone & Brittany Talia Hazzard 10. Extreme Occident (3:42) Madonna Ciccone & Mirwais Ahmadzai 11. Faz Gostoso feat. Anitta (4:06) Carmo, Nuno, Oliveira, Seabra, Vieira, Rodrigues & Madonna Ciccone 12. Bitch I’m Loca feat. Maluma (2:51) Madonna Ciccone, L. D’Elia, Maluma Londono, Barrera, JAMES, Rodriguez & Stiven Rojas 13. I Don’t Search I Find( 4:08) Madonna Ciccone & Mirwais Ahmadzai 14. Looking For Mercy (4:50) Madonna Ciccone & Brittany Talia Hazzard 15. I Rise (3:44) Jason Evigan, Madonna Ciccone & Brittany Talia Hazzard https://www.instagram.com/p/BwVljR7DPVtCyrghwAhdyQJiHwMCf28_xtJ5VU0/?utm_source=ig_tumblr_share&igshid=dji0ykogl7p8