#Youngstown music

[cinemablogs]

I'll Be Your Everything (from Inspector Gadget) Song Artist: Youngstown | Studio: Walt Disney USA, 1999

[hassledvania]

Kids these days don't understand the pure insanity of the early 2000s music scene being dominated by Film tie-ins

Boy bands synch dancing in Inspector Gadget trench-coats stretching the lyrics wafer thin to somehow link a cartoon robot super cop with dating hot girls

[damailbox]

Disney Adventures, September 2001

Aaron Carter

Eden's Crush

TeenMusic.com

RadioDisney.com

[mrlovewelllovestoday]

My time on stage as Dom Claude Frollo in the Youngstown Playhouses production of The Hunchback of Notre Dame..

[a-moth-to-the-light]

check out a new springsteen song today! they said

it's fun to explore his back catalog! they said

AND THEN HE JUST HAD TO RUIN MY DAY WITH:

When I die, I don't want no part of heaven I would not do heaven's work well

IM LSOING IT ITS SO BEAUTIFUL ITS SO

[thethingsireallylike]

I can finally make polls!

[jazzietaboo]

Hustle for the dream. 🌐💭™️ #DreamingTooMuch #2️⃣Ready 📍Cleveland 🫶🏼 . . . #artist #independentartist #femaleartist #audioengineer #femalerapper #rap #rapper #music #newmusic #upcomingartist #ohio #midwest #midwestmusic #youngstown #cleveland #chicago #detroit #ohiomusic #hustle (at Downtown Cleveland) https://www.instagram.com/p/Cnw7Ki-Leca/?igshid=NGJjMDIxMWI=

[thecoparoom]

Moms Mabley, LaVerne Baker, Ruby and the Romantics!

Youngstown Vindicator - Apr 22, 1964

[krispyweiss]

Bruce Springsteen and the E Street Band at Nationwide Arena, Columbus, Ohio, April 21, 2024

As he led the E Street Band through “Twist and Shout,” Bruce Springsteen betrayed a roached voice much as John Lennon had when the Beatles cut their version 60 years earlier.

But, like Lennon’s, Springsteen’s voice benefitted from its battered state - conveying joy and conviction, not exhaustion.

The house lights were on and the heart-stoppin’, pants-droppin’, hard-rockin’, Earth-quakin’, booty-shakin’, love-makin’, Viagra-takin’, history-makin’ - legendary - E Street Band had already been on stage for three hours April 21 as it played its twice-postponed-in-2023 gig inside Columbus, Ohio’s, Nationwide Arena to close the U.S. leg of its 2024 spring tour. Springsteen, who at 74 retains the energy and voice - acrobatic with guttural growls and falsetto cries - of a much-younger man, was sweat-soaked, his tie tucked into his blue shirt, his vest now removed, returned alone to close the show with an acoustic version of “I’ll See You in My Dreams.”

Death is not the end, he sang, while proving the life-affirming nature of live music.

Though the band could’ve phoned it in, the expanded 18-piece - augmented with four-voice choir and five-piece horn section - instead brought a loud hailer, opening the 30-song, 185-minute set with a grimy version of “Youngstown,” the first of a handful of tour debuts that included “Streets of Fire” and “I’m Goin’ Down.” That some songs were slowed by a quarter-step seems to have been the only acknowledgement of age.

So, if these guys are actually taking Viagra, it isn’t because of on-stage impotence. The band is so hot that even relatively weak songs like “Bobby Jean” and “Dancing in the Dark” are splendid in the moment.

A few scattered empty seats did nothing to temper the raucous atmosphere inside the hockey arena. Fans hoisted signs - “I’m Mary, thanks for all the songs” was among the best - and Springsteen sung a line of “Thunder Road” to a woman who’d been dancing furiously in front of the stage all evening, causing her to light up like a strobe. Though there was no crowd surfing during “Hungry Heart” - dude is 74, remember - Springsteen did go into the audience during “Tenth Avenue Freeze-Out” as images of late E Streeters Clarence Clemons and Danny Federici shone on the house video screens.

Back on stage, the living celebrated being alive. Steven Van Zandt played a guitar emblazoned with the Ukraine flag during “No Surrender.” Fellow guitarist Nils Lofgren spun like the Tasmanian Devil as he unspooled his “Because the Night” solo. And Jake Clemons served as Springsteen’s saxophone-blowing foil and conjured Uncle Clarence’s spirit throughout the night, thus garnering some of the crowd’s loudest adulation.

One of those moments came during a religious-experience rendering of “Spirit in the Night,” when Clemons sat on the stage and Springsteen literally leaned on his bandmate. The music temporally settled before exploding like a supernova and the climax. This was the greatest E Street moment Sound Bites has witnessed since the Band reunited for the 1995 Concert for the Rock and Roll Hall of Fame.

“Last Man Standing,” with Springsteen on acoustic accompanied by trombone, was a nod to his earliest bandmates, all gone now. “Trapped” was a singalong on the choruses. “She’s the One” borrowed the Bo Diddley beat. “Wrecking Ball” transformed the arena into the charismatic church of E Street. “Rosalita (Come out Tonight)” found the group mugging and celebrating with the faithful on a small chunk of stage that jutted into the general-admission pit. And the vaunted “Detroit Medley” once again demonstrated that if you have rock ’n’ roll in your life, your life has the potential to be heaven at any given moment.

Grade card: Bruce Springsteen and the E Street Band at Nationwide Arena - 4/21/24 - A

See more photos on Sound Bites’ Facebook page.

4/22/24

[jurisffiction]

what i personally associate with every u.s. state

alabama: that 'home' song my flatmate had on her driving playlist for years

alaska: airline

arizona: twilight

arkansas: see alabama

california: james blunt song where he sings "californ-i-ay" but not the james blunt song titled "california"

colorado: 'wide lands of the navajo' painting

connecticut: my friend jess

delaware: biden

florida: florida man

georgia: the country

hawai'i: my friend devin

idaho: potato

illinois: illinoise

indiana: west wing episode where they get confused about time zone changes

iowa: caucus

kansas: wizard of oz

kentucky: how to pronounce louisville

louisiana: murder capital

maine: second portland

maryland: cafe i went to in dc that claimed their food was fresh from maryland and served me french toast in some kind of log. may have been founding farmers? Uncertain

massachusetts: social network

michigan: lake

minnesota: canada

mississippi: matilda rhyme

missouri: supernatural character

montana: big sky country hgtv

nebraska: unicameralism

nevada: bad times at the el royale

new hampshire: first in the nation!

new jersey: amanda

new mexico: weird al song albuquerque

new york: they might be giants new york city

north carolina: that bookclub book by that murderer woman

north dakota: fanning

ohio: time i slipped on an icy patch in youngstown

oklahoma: musical

oregon: other portland

pennsylvania: rocky horror picture show. because i learnt "transylvania" before i knew "pennsylvania" existed and always got them confused as a kid

rhode island: taylor swift mansion

south carolina: south carolina on my mind. state song

south dakota: north dakota

tennessee: weird state shape

texas: they killed jfk

utah: mormons

vermont: cheers season 2 episode 18 "snow job"

virginia: jefferson

washington: twilight

washington dc: emissary cafe

west virginia: mcelroy brothers

wisconsin: 70s show

wyoming: demetri martin bit about it being suspiciously easy to draw

[lucienballard]

Bob George in the ARC NYC stacks. Photograph: unknown/ARC NYC ...

‘No one else is saving it’: the fight to protect a historic music collection ...

It all started in a loft in Tribeca, New York, long before it was a trendy neighbourhood. “I had 47,000 records and nobody wanted them,” recalls Bob George, who had just published a discography of punk and new wave music. “That led a lot of people coming to me and saying you have to save this stuff; no one else is saving it. That got the ball rolling in my loft in what is now fashionable Tribeca, which was an incredibly unfashionable war zone in 1974 when I was first there.”

George turned his record collection into the ARChive of Contemporary Music (Arc) in 1985 with co-founder David Wheeler. The non-profit music library and research centre now contains more than 3m sound recordings or over 90m songs, making it one of the biggest popular music collections in the world. Donors and board members have included David Bowie, Jonathan Demme, Lou Reed, Martin Scorsese and Paul Simon.

The Arc is not open to the public but has been a vital resource for film-makers, writers and researchers ranging from Ken Burns looking for a song for his series Baseball to the new Grammy Hall of Fame and Museum in Los Angeles needing cover art for its inducted recordings. Now, however, this unique treasure trove is under existential threat.

The Arc cannot remain at its current Hudson Valley premises indefinitely and is in need of a new and bigger home. “We have to move and we don’t know when we’ll have to move and the collection is really at risk because it’s all on pallets,” says George, who dreams of a patron like James Smithson, the British scientist who left his estate to the US to found the Smithsonian Institution. “We’re looking for someone to help us buy a very wonderful property or for us to build a new building on vacant land in upstate New York.”

After growing up in Youngstown, Ohio, George moved to New York in 1974 as a visual arts student and started collecting records as a DJ. In 1981 he released Laurie Anderson’s first single, O Superman, which sold nearly a million copies worldwide and made it to number on the UK singles chart. He was a guest on John Peel’s beloved BBC radio show, sneaking in little-known records from New York, and took music to European broadcasters too. People kept giving him records that other collections turned down.

Some of the 18,000 recordings in the Keith Richards Blues Collection. Photograph: Arc NYC

“I was doing the book and then doing Peel shows and it accidentally became this large collection that nobody wanted. They kept saying, oh, we collect classical, we collect Broadway, we collect ethnic music. I said, well, I have funk, reggae, African and hip-hop and they said, oh, no, we don’t collect any of that. Forty years later, I say, you put all those together and that’s what music has become.”

The simple goal of the archive, which has always had a peripatetic existence, is preservation. “We have no interest in quality,” George cheerfully admits. “It started that way from the very beginning because there’s no way to tell what’s valuable in the future. Everybody brings their own criteria and tastes to things in their own time. But the future is quite different, as we hope.”

The archive has never received aid from any city, state or federal organisation but its scale gives the Library of Congress a run for its money. It has absorbed major collections from musicians and fans and is home to most of Rolling Stone Keith Richards’ extensive blues inventory.

George dispatched two semi-trailers to a condemned house in Boston sinking under the weight of Jeep Holland’s set of more than 125,000 recordings and over 2,500 signed albums from the likes of the Stones, Jimi Hendrix, Bob Marley and the Sex Pistols. “Going towards the bathroom, he has a gas stove, the pilot light is on, there are records in the oven. It was just a storage space ... His car had become so full of records that he abandoned it and rented a car.”

George has made repeat trips to countries such as Brazil, Cambodia, Colombia, Cuba, Japan, Jordan, Laos and Thailand. The Arc contains Demme’s personal collection of Haitian albums. More than 150,000 pieces of world music have been catalogued; there are plenty more to do. “We’ve tried to get as much of that material as possible so that collection is just fabulous.”

The Arc preserves copies of every recording in all known formats. It has electronically catalogued more than 400,000 sound recordings and digitised 200,000 with the Internet Archive – more than any other public university or private library in America. It also contains more than 3m pieces of material including photos, videos, DVDs, books, magazines, press kits, sheet music, ephemera and memorabilia.

The late Andy Rourke of the Smiths at Arc looking at Smiths records he had never seen. Photograph: Arc NYC

George says: “We catalogued 105,000 singles just recently; we have another 200,000 or 300,000 to go. This is the first way a band at one time got their feet in the water. They put out one or two or three singles. If they did hits, they got the chance to do an album and so much of this material does not exist on LP or CD. Little by little more of it might be streaming because of YouTube, as people can get away with murder on YouTube, which is great, but YouTube will disappear. Everything commercial will disappear.”

Among those who have turned to the archive is the Oscar-winning director Ang Lee, who wanted records by the singer Bert Sommer for his film Taking Woodstock. “The archive is amazing because we don’t know what we have until somebody needs it. We’ve been into the stacks and we found five LPs by Bert Sommer. For me, it’s like I have no idea who this guy is and what he did; he’s sort of a folkie. For Quincy Jones, we just sent him a list of the 8,000 things that he’s either produced or on.

“Research was how we basically stayed alive along with the largesse of the rock stars or celebrities that we had hooked up with. The idea was never to open to the public but that’s what we want to do now. I don’t think it’s untrue that we’re one of the largest in the world and that we want to make that available. We’ve tried to save two copies so there will always be a listening copy and then that would then become a listening library.”

George hopes the new archive will be open to students, educators, historians, musicians, authors, journalists and the general public. An anonymous donor has come forward with a million dollars to help realise that dream but more money is urgently needed. One possible new home is an abandoned IBM campus spanning 34 acres, although that would cost $8-10m. George is considering partnering with an upstate university and has plans to offer residencies for scholars.

“People could come in and produce a work, and that would go out into the world. It could be a blog, essay, tape, compilation, new recording, whatever. We’re really quite un-academic. I’m against it somewhat and I’d like people to have ideas and bring those ideas and put them back into the world as opposed to making it an interactive experience for everybody. I don’t want to be Disney World. It’s nice to have seminars. It’s nice to have listening parties. It’s nice to have dances.”

source

[acstation206]

and now, a remix of a song from certain movie adaptation from the late 90s I made in April that nobody asked for.

and so it turns out i can upload music directly on this site on computer and laptop but not on iphone. gr8... -_-

OG DESCRIPTION: I straight up have no idea what I’ve gotten myself into this time. I’ve kept this thing to myself for about over a year and even I can’t tell whether or not this is just a trashpost remix or mashup anymore… yet I still liked how it turned out??

I mean, seriously, its got a LOT of fricking “Running in the 90’s” in it for crying out loud. At one point, there was even that one song from the first Rugrats movie that played during the credits.

OG SONG: "I'll Be Your Everything" by Youngstown

*fingers crossed tumblr actually allows remixes and mashups from indie ppl around here*

[metalshockfinland]

PROFANATICA Announce May-June U.S. Headlining Tour

Photo by David Parham USBM legends PROFANATICA will be scourging the states with blasphemy this spring with support from STORMRULER. The headlining trek will first lay waste to Youngstown, OH on May 14 and will conclude on June 8 in Raleigh, NC. Tickets are now on sale HERE. ICYMI: the band just recently unleashed a gory new music video for the song “Take Up the Cross,” which is taken from the…

[spaceageloveblog]

So I went a 100 gecs concert.

They are a group I discovered recently. I saw they were coming to Hard Rock Live down at Universal Orlando. I wanted to go. I didn't think she would want to go with me. I felt weird going by myself. Well, not weird going by myself. I was perfectly comfortable going by myself. I guess I felt weird revealing myself to her as being willing to go by myself. I have played some of their songs for her and the kids. I think she thought some of them were good. But I could tell this wouldn't be something she would want to go to. I asked. She said no. I said I'd go by myself. She said that was weird.

She is always doing things. Hey, what are your plans for Thursday? Can you handle soccer practice and dinner with the kids? I am going out with this friend or coworker or whoever. It's fine. I don't mind. More than that, it's good. I relish my time with the kids. And she and I should have our own things. My own things end up being things I do on my own like running or listening to music.

I say she's always doing things, but it's more like once or twice a month. Maybe three times. Rarely three times. It's like 1.5 times per month on average. It's great. She has friends. I don't have friends. Well, I have my friends from high school in Youngstown or college in Cincinnati or grad school and various places in Florida that if we went out for drinks would we have a great time. Or if I called them and said I needed to talk about something important, they would drop everything and call me. But I never need to talk about anything important. I get along great with my coworkers and her friends' husbands and other dads on my kids' soccer teams, but I don't hang out with them on my own. I am living the cliche I noticed my dad and the other dads around me living when I was a kid.

So she is totally supportive that I do things. If I said I am going to have dinner with a friend on a Thursday and asked if she could cover soccer practice and dinner with the kids, she would enthusiastically say yes. So I asked if she could manage soccer practice and dinner for the kids last Thursday so I could go to the 100 gecs show. And she said it was weird but said yes. So I went.

Parking at Universal is the same for theme parks as for the City Walk which is where Hard Rock Live is located. Pulling into the parking structure around 7:30p, a half hour before the opener was scheduled to go on, I was obviously arriving at a similar time to others attending the show. I chuckled to myself a few times taking the 20 or so minute walk from my car to the venue, seeing tourist families dressed as superheroes and minions walking next to gecs fans dressed as frogs and goths.

After getting through the doors, using the restroom, getting myself a $13 pre-tip large Heineken draft, I got to the main floor right at 8p as the opening act, Machine Girl, took the stage. I was a near the bar at the back, in an elevated section behind the bands' tech crew with mixing boards and whatever, in the second row of standing room folks with a good view. I had planned on navigating the place for a while before settling in, but this spot was pretty good and I ended up sticking near here.

Machine Girl was (were?) insanely loud. Glad I brought earplugs. Kept them on for the entirety of their 30 minute set. Not sure which genre you'd call their music, and scrolling through their albums on Apple Music isn't particularly helpful since each one is categorized as something else. Call them electronic non-dance if you will. They were fine. The lead singer certainly got into it, good for him, he seemed to be enjoying himself.

Gecs went on just after 9p and I was now against the railing in the front row of that standing room section, as the people in front of me vacated their spots between sets, so I stayed there for the duration. I had finished my beer before they started, so I'd thought for a moment of moving up into that crowd but decided against that because my view was so good.

Part of me going to this show--and maybe trying to go to more shows by myself if she isn't interested--is to recapture a bit of my youth if I'm being honest. I similarly tried to recapture my youth 10 years ago was with Sleigh Bells. I saw them on SNL, playing songs from their 2nd album, thinking they were original and cool. I listened to their 2 albums non-stop (already feeling late the party being one album behind and 10 years too old, with 2 young kids at home and one on the way). Less than a year later, we moved to Orlando and they released a 3rd album and we went to their show. We sat in a couch in a "VIP" area. I wished I could get up and dance but she wasn't as into it so I stayed seated. Looking back I can't believe how old I felt 10 years ago. 10 years from now I will probably feel the same looking back on myself now.

So I didn't go out into the crowd at the gecs show and dance but at least I went to the show. They played all the songs from their new album. They opened with "Dumbest Girl Alive" and "757." I thought the energy was highest for "Hollywood Baby" about midway through, they should probably close with that. "Frog on the Floor" and "I Got My Tooth Removed" were crowd favorites too. The played plenty of old stuff too, otherwise they couldn't fill an hour. I have just listened to their new album so much, I was able to identify each of those 10 songs. The latest of the new songs was "mememe," sandwiched in between a few of their older songs. I think they would have sounded better with a live band but I'm old so of course I would say that. But they only have to split the money 2 ways, so good for them.

I dunno, I'd like to start going to more shows. My ears took a few days to recover despite the earplugs. Part of me daydreamed that I'd talk to some people and start to make Orlando friends to go see live music with, but I didn't talk to anyone. I probably could have struck up some conversations with the people around me between sets. But that's when I was hit with a tinge of feeling weird, the standing there by myself as a the old guy at the show who came by himself. The going there, the getting in, that didn't feel weird. That 30 minutes between sets I felt weird standing their as the old guy. But I moved to the music when they played and even sang along to a some of my favorite lyrics. So I enjoyed myself. I probably would have drank more but I didn't want to lose my spot.

She would go with me to nearly anything if we had seats. So I need to plan accordingly on that for some of the mellower bands I like. We could get dinner first and make a date out of it. We'd both like it. She doesn't like the standing in the crowd thing. It's weird though, I think she likes dancing more than me, we just don't dance together. We used to in college. But not now. I think we'd both like to dance together more but don't know how to talk about it.

So I went to a 100 gecs concert and maybe that's the start of something.

[soweirdondisney]

I've heard that Disney+ will be removing some of it's content. Do you think there is any danger they will remove So Weird, or other disney channel shows or movies? I really hope not. The disney channel stuff was a huge part of the reason I got disney plus, since I probably own most of the theatrical movies anyway, so I don't need disney+ for that.

(For anyone who hasn’t heard the news, Disney plans to decrease what it creates for Disney Plus in the next two years AND remove content that doesn’t get a lot of views in order to save money. Think of what happened with Warner Bros./Discovery/HBO Max last year.)

I think there’s a 60-40 chance right now that So Weird could be removed. The DCOMs are probably safe though.

Disney Channel celebrated its 40th anniversary a few weeks ago and one of the PR tactics was to have ESPN ask a question about DCOMs and then have their other Disney-owned properties answer. I don’t believe they would have bothered doing that if they had it in mind to cut them out.

Also, Disney wants to cut royalties and music licensing fees. They’ve already gone through the trouble of replacing songs in their DCOMs (Bewitched in Rip Girls, Youngstown in Genius, etc.) and in the case of The Other Me where *NSYNC was replaced at launch now the movie is gone entirely.

So Weird’s original music belongs to Disney BUT it was only the second season - with SheDaisy and The Moffats - that went missing back in 2019. Those songs are "live" performances cut between scenes so the rights would have to be paid.

Other than EvD, who is mostly remembered but still out of the spotlight, there aren’t any “notable” stars. (No offense to Dionne and Mackenzie but it's safe to say Disney isn't keeping the roofs over their heads.) And despite the similarities and connections to Sulphur Springs, Halloweentown, Parallels, etc. the show is rarely included as recommendations along with them.  

Note how Double Teamed - with EvD and Levis costar Mack - isn't even first.

What might help is that the residual checks are small (i.e. budget friendly) and with the upcoming Goosebumps series, having So Weird as an original, dark 90s throwback could be useful if Disney wants to maintain some sense of history in their quasi-rebranding to “expand their audiences”.

Plus (no pun intended)

they did include it in their original launch lineup to begin with

we hear often from people who say they watch it frequently

so while little watched it is consistently so

season two did return shortly after

and it's been left alone since

to the point where our livestreams marathons haven't been hit with copyright takedowns

I imagine the highest payouts go to Henry Winkler for being an EP, but what monster would keep a check from that guy?

Then again, we've spent more time watching So Weird OFF Disney-owned platforms than we have with the last three years on one. And if WB can scrap a $90 million dollar movie now would be a great time for Disney to erase any memory pre-2001 in favor of "general entertainment".

As for other Disney channel shows, it might be a case by case basis. There's also the possibility of a "Disney" show moving to Hulu or vice versa until the merger is done. And that won't be until after January 2024. The news only broke this week.

Thanks for the question.

[jazzietaboo]

@dreaming2oomuch: Never worried bout the doubt. 🌐💭™️ 🆓🔤 #PutTheWorkIn #ForDreamersOnly #DreamingTooMuch . . . #artist #independentartist #femaleartist #audioengineer #femalerapper #rap #rapper #music #newmusic #upcomingartist #ohio #midwest #midwestmusic #youngstown #cleveland #chicago #detroit #ohiomusic #hustle (at Grind Mode) https://www.instagram.com/p/Cnvl9ELrNtB/?igshid=NGJjMDIxMWI=