Universal Music valued at $39 billion ahead of stock market debut

PARIS - Universal Music Group, the world's biggest label whose lineup features The Beatles and Taylor Swift, was valued at more than $39 billion on Monday, a day before its huge stock market debut.

The company is based in the US but owned by French media conglomerate Vivendi, which is offloading a majority stake of the lucrative unit on Amsterdam's Euronext index on Tuesday.

Euronext announced in a statement late Monday that UMG's floating price is 18.50 euros ($21.70) per share, putting its value at 33.5 billion euros ($39.3 billion).

Vivendi is owned by French billionaire Vincent Bollore, who has positioned himself as a powerful right-wing media baron in recent years.

Although Vivendi will retain a chunk of Universal Music, it is looking to focus more on TV, advertising and publishing. 

Universal Music, like its rivals Warner and Sony, was once threatened by music piracy but profits have soared in the age of streaming.

It is home to many of the world's biggest music stars, from Lady Gaga to Kanye West to Metallica.

Last year the group bought Bob Dylan's entire song catalogue for $300 million, one of the biggest acquisitions in music history.

Crown jewel 

Based in Santa Monica, California, UMG has been the crown jewel of Vivendi's media empire, with a turnover of 7.4 billion euros last year, accounting for 46 percent of the parent company's revenue.

But as it pivots towards other areas, Vivendi has already sold off a 20 percent stake of Universal to Chinese tech firm Tencent and 10 percent to US financier Bill Ackman.

"We are creating the conditions so that the valuation of Vivendi as a whole is greater than the sum of the parts that compose it," said Vivendi chief executive Arnaud de Puyfontaine.

Aware that shedding its number one asset might be a risky move, Vivendi has taken steps -- described as "quite extraordinary" by one activist shareholder -- to protect its own share price.

It has secured agreement from its investors for a massive buyback of up to half its shares following the UMG flotation.

That will give the firm bulging coffers with which to protect itself from a hostile takeover bid should its share price fall as expected following the sale.

Still, Vivendi "will have to show that there are real synergies" to justify its valuation after the sale of UMG, said analyst Thomas Coudry of Bryan Garnier & Co.

Four million songs 

Vivendi will distribute 60 percent of UMG shares to its investors in the floatation while hanging on to 10 percent and maintaining a joint-management agreement with Tencent.

Bollore will remain a powerful figure at UMG, taking 18 percent of the floated stock, worth around six billion euros, and a seat on its new board.

UMG, meanwhile, is not just counting on its music to thrive after it goes public.

A prospectus for the IPO says UMG's three main operating businesses are recorded music, music publishing and advertising, but that it is also expanding into areas such as live events, livestreaming, film, television and podcasts.

More than half of UMG's record music revenue came from its vast back catalogue of music (defined as more than three years old), while 46 percent came from new releases.

UMG's global publishing catalogue contains four million titles.

With a broad range of frontline labels and diversification of revenue streams, the prospectus says, "UMG is not reliant on one artist, or on a small number of artists, to generate revenue in any given year."

UMG's top 50 artists accounted for just 23 percent of its recorded music revenue last year, and no single artist represented more than one percent.

Agence France-Presse

Music industry begins global Friday release of new albums

NEW YORK, United States - Big record stores, streaming services and hit charts adjusted longtime practices as the music industry Friday began a coordinated global release for new albums.

For the first time most new albums will be released in all formats on Fridays everywhere in the world, ending regional divergences that industry players found increasingly anachronistic in the age of instant digital music.

The IFPI, the industry's global body, is championing "New Music Fridays" both to curb piracy and to stimulate sales as shoppers start their weekends.

The coordinated day marks "an opportunity to recreate excitement around the release of music -- the message is 'Think Friday, Think New Music,'" said Frances Moore, chief executive of the London-based IFPI (International Federation of the Phonographic Industry).

Releases on the first New Music Friday included the latest by English synthpop star Little Boots and the first album in more than a decade by Chicago alternative rockers Veruca Salt.

Spotify, the leader in the booming streaming sector, marked New Music Friday with a notification to subscribers and a playlist of songs recently released by artists such as Eminem, Demi Lovato and Pharrell Williams -- who had originally put out the song "Freedom" as an exclusive for Apple's new streaming service.

Major global charts also modified reporting periods. The next "weekly" hit list of Billboard, the premier US chart, will cover 11 days to account for the transition.

Albums traditionally have come out on Tuesday in the United States and Billboard's chart has looked at weeks ending on Sundays.

The top album on the last chart with such a period, ending July 5, was "Dreams Worth More Than Money" by rapper Meek Hill, who scored his first number one.

One institution that faced a peculiar problem with the transition was NewReleaseTuesday.com, a leading US site for Christian music.

The site rechristened itself NewReleaseToday to keep with the times while preserving the acronym NRT, by which it is commonly known.

Some differences to persist

Germany and Australia already had Friday release dates, while Monday was the day in Britain and France.

The global release date is supported by major record labels but is ultimately voluntary, with no legal repercussions for vendors who do not put out new albums on Fridays.

In a notable exception, Japan will keep releasing domestic-oriented albums on Wednesday, although works by international artists will come out there on Fridays.

The IFPI said it expected some artists in Asian countries to keep their custom of releasing albums on dates considered auspicious, which do not necessarily fall on Friday.

The global release date has also faced heated opposition from owners of some small independent stores in the United States.

The US opponents argue that Fridays are already busy, while Tuesdays bring in fans on an otherwise slow day and allow more time for store staff to open shipments.

Others say that release dates are increasingly meaningless for small brick-and-mortar stores, which attract collectors who may already have heard the music digitally.

Noel Gallagher, the brash star of Oasis fame, warned not to expect all artists to toe the line on New Music Fridays.

"I'll release mine on a Wednesday just to be fucking contrary," he told Britain's NME music magazine.

source: www.abs-cbnnews.com

Inside the Spotify success story

STOCKHOLM - The Swedish startup that revolutionized digital music has a blanket response to claims that it pays artists a mere pittance: "two billion dollars".

Since US pop empress Taylor Swift pulled her catalog from the service, Spotify has regularly trumpeted its self-reported payout (1.8 billion euros) to the music industry over the past seven years.

The money has turned music executives from skeptics into believers in a model -- based on free music access coupled with paid subscriptions for an ad-free service -- that record labels rebuffed when Spotify started pitching it to them in 2007.

"We explained we wanted to give the music away for free and they thought we were crazy," Jonathan Forster, now Spotify's vice president for Europe, told AFP before returning to the much-touted figure.

"Two billion dollars later, hopefully they're feeling a bit more positive about that than they were then."

Since the still-unlisted startup hired him eight years ago, it has gone from a handful of employees to 1,500, and from a modest office flat in Stockholm to a five-storey tech temple that gobbles up local and worldwide programming talent.

Spotify has employees play table football and video games at their leisure and exchange ideas that are as fruitful as they are proprietary.

"Please wait to take any photos until your hosts arrive," an employee warns in a reception area that gleams with logos and a timeline of the company's milestone achievements that was last updated in 2013.

Slams piracy

Since then, Spotify has reached 15 million paying users -- who are typically charged $10 for monthly ad-free access to more than 30 million songs -- and another 45 million who listen to the free, ad-supported service.

Meanwhile, some of the world's biggest music stars have derided their share of the earnings.

Aside from Swift, soul singer Aloe Blacc, AC/DC and Thom Yorke of Radiohead -- who said Spotify represented a "last gasp of the old industry" -- have all hit out at the company.

Artist push-back clearly strikes a nerve at Spotify's headquarters.

"How much did piracy pay artists?" Forster said, recalling a habit of illegal downloads and file-sharing that has plateaued in Sweden since 2008, according to the Swedish Internet Infrastructure Foundation.

Forster stressed Spotify's plans for expansion and brought the billions back up.

"If we're going to think about what this means for artists in a bigger way, we should at least think about multiplying that number by 10," he said.

"And 20 billion dollars to the music industry would be a very sizeable amount to artists," Forster added.

Cornered by protesting music stars, Spotify revealed in December that the service on average pays the music industry less than a dollar cent per stream.

Details on how much of that ends up in artists' pockets are murkier given the nature of major-label record deals, according to music industry analyst Mark Mulligan.

"The confidentiality clauses that Spotify signs with labels prevents them from being able to communicate how much value is delivered back to artists," he says.

According to a study published in February by French music industry trade group SNEP and accounting firm Ernst & Young, the recording labels pocket 46 percent of streaming companies' subscription revenues, while artists, publishers and songwriters share 17 percent, with the rest going to streaming providers and taxes.

Label support 'critical'

Such estimates imply a status quo for a corporate music industry that Spotify itself never sought to upend.

"You always need the labels and the master rights. It's absolutely critical that we work with them," Forster said.

While his company holds the streaming crown at the moment, Apple is widely expected to start vying for it following the US giant's $3.2 billion acquisition of streaming service Beats Music last year.

In response, Spotify, which has yet to turn an overall annual profit, plans on going for broke.

"I think we could have a very profitable Swedish subscription music service today, but that's not what we're trying to do," Forster said.

"Our goal is much bigger than that," he added.

Still, formidable competition could reduce Spotify, which has entered 58 countries so far, to a fringe competitor.

"Spotify will need to make sure its rest of the world growth is strong enough to offset any losses in Anglo-Saxon markets" once Apple gets involved, Mulligan said.

But the Swedish firm remains unfazed. After all, it has disposed of giants in the past.

"When we were trying to get our first set of licenses we were more or less told not to bother because Nokia and Myspace jumped ahead of us in the queue," Forster said.

"Big companies don't necessarily get everything right."

source: www.abs-cbnnews.com

Sam Smith triumphs with 4 Grammy wins

LOS ANGELES -- Heartbreak paid off handsomely for British soul singer Sam Smith, a newcomer who won four Grammy awards on Sunday including record and song of the year for his anthem "Stay With Me."

The 22-year-old was also anointed best new artist and his debut album "In The Lonely Hour" won best pop vocal album. But rocker Beck robbed Smith of a sweep in the top three Grammy categories by winning album of the year for "Morning Phase."

"I want to thank the man who this record is about, who I fell in love with last year," Smith said as he accepted his gramophone-shaped trophy for record of the year. "Thank you so much for breaking my heart because you got me four Grammys."

The music industry's biggest night took on a somber note with a powerful message against domestic abuse delivered by President Barack Obama by video, by a survivor's testimony and by a Katy Perry performance.

While Smith was favored to win big, Beck pulled off the surprise of the night in album of the year, beating out Smith, Pharrell Williams, Beyonce and Ed Sheeran. "Morning Phase," an album with a laid-back vibe, won three Grammys on the night, including best rock album.

"We made this record at my house for the most part, so I would like to thank my kids for letting me keep them awake a little bit longer," Beck said as he accepted his trophy from R&B star Prince.

Other notable winners were Pharrell and Beyonce, who won three Grammys each and delivered some of the most popular performances of the night.

Smith's win echoes that of fellow British soul singer Adele, who swept the Grammys with six wins in 2012 with her heartbreak album "21" and song "Someone Like You," also about a failed relationship.

Smith has found his audience by being himself and encouraging people to discover his music through social media and online streaming, one of the few growth segments in an industry of declining record sales.

"Before I made this record, I was doing everything to try and get my music heard," Smith said. "I tried to lose weight and I was making awful music and it was only until that I started to be myself that the music started to flow and people started to listen."

Domestic abuse spotlight

Obama delivered a pointed speech in a video message urging artists at the Grammys to help end domestic violence, saying "It's not OK and it has to stop" and urging artists to tell their fans to make a pledge to help stop it.

Survivor Brooke Axtell shared her own story of domestic abuse in an emotional speech on stage, before introducing Perry on a white stage. Perry sang her inspirational survival anthem "By the Grace of God," dressed in a simple white caped dress as shadows of dancers were projected behind her.

Backstage, Axtell said she teared up during Perry's song.

The performance was a study in contrasts with Perry's vibrant, lively and prop-filled spectacular at the Super Bowl a week ago.

On the other end of the spectrum was Pharrell's eclectic rendition of "Happy" on the Grammys stage, teaming up with film composer Hans Zimmer to channel a "Grand Budapest Hotel" vibe dressed as a bellhop and accompanied by pianist Lang Lang and gospel singers.

Australian singer-songwriter Sia recreated her "Chandelier" video with comedienne Kristen Wiig and teen dancer Maddie Ziegler in a contemporary dance-off on a set designed like a decrepit apartment.

Madonna delivered an energetic performance of "Living For Love," accompanied by male dancers in elaborate horned face masks and singers dressed in mariachi costumes. She ended the high-octane set by being suspended above stage in a harness.

Duets for all decades

But numerous artists opted to strip down their performances to showcase their music.

Known to be a stage where veterans and current music stars come together, British singers Jessie J and Tom Jones sang The Righteous Brothers' classic 1964 song "You've Lost That Lovin' Feelin'," and Tony Bennett and Lady Gaga channeled New York-style romance with their jazz tune "Cheek to Cheek."

Rihanna joined Kanye West and Paul McCartney against a white stage backdrop to perform the jaunty "FourFiveSeconds," while No Doubt frontwoman Gwen Stefani and Maroon 5 frontman Adam Levine, both judges on NBC's "The Voice" singing competition, teamed up for a heartfelt rendition of "My Heart is Open."

The night ended on civil rights with Beyonce and gospel singers belting out a rendition of the hymn "Precious Lord, Take My Hand," before artists Common and John Legend took the stage to perform their Oscar-nominated "Glory," from the Martin Luther King Jr. biopic "Selma."

Following is a list of winners in key categories.

ALBUM OF THE YEAR
"Morning Phase," Beck

RECORD OF THE YEAR
"Stay with Me," (Darkchild Version) Sam Smith

SONG OF THE YEAR (Songwriters award)
"Stay with Me," (Darkchild Version) James Napier, William
Phillips and Sam Smith

BEST NEW ARTIST
Sam Smith

BEST POP VOCAL ALBUM
"In the Lonely Hour," Sam Smith

BEST ROCK ALBUM
"Morning Phase," Beck

BEST URBAN CONTEMPORARY ALBUM
"Girl," Pharrell Williams

BEST COUNTRY ALBUM
"Platinum," Miranda Lambert

BEST DANCE/ELECTRONIC ALBUM
"Syro," Aphex Twin

BEST ALTERNATIVE MUSIC ALBUM
"St. Vincent," St. Vincent

BEST RAP ALBUM
"The Marshall Mathers LP 2," Eminem

PRODUCER OF THE YEAR, NON-CLASSICAL
Max Martin

source: www.abs-cbnnews.com

The Eagles share story through documentary

LONDON -- With more than 120 million albums sold worldwide, five No. 1 U.S. singles, six Grammy awards and more than four eventful decades in the music industry, is there anything more that an iconic rock band like The Eagles could wish for?

The band, composed of Glenn Frey, Don Henley, Joe Walsh and Timothy Schmit, still wants to make music but on top of that, they also want to share their story -- from their humble beginnings to their journey to stardom.

A select crew of filmmakers put together a documentary dubbed "History of The Eagles," an intimate look into the history of the band and the legacy of its music. It recently premiered at the Sundance Institute shindig in London.

The documentary is directed by Alison Ellwood and produced by Alex Gibney. It boasts of never-before-seen home videos, archival footage, personal photos, memorabilia, and, amassed by one of the most enduring and world-renown American bands. It is now available on DVD and Blu-Ray.

ABS-CBN Europe was invited to take part in the exclusive Q and A session during the premiere screening of the film where the band answered interesting questions from the media.

On lessons learned as a band member:

Glenn Frey: Things started to change for this band when people started having kids. And I find that the job I do in the band is the same job I do at home: Be consistent, be fair, listen and understand that, sometimes, it’s just gonna be impossible.

Don Henley: Men grow up slowly.. (laughs) If at all, especially men in the entertainment industry. We've learnt a lot. We have that wonderful thing now called perspective, which we didn't have quite so much of then, and perspective is wonderful thing. We have more gratitude for how fortunate we are. And we've learnt to accept and tolerate one another.

On selecting the documentary film crew:

Glenn Frey: I went to New York and I said to him, I just thought his reel was riveting. He became the producer of the project, and he, in turn, introduce Allison into the process as editor/director. Essentially, they just unearthed these incredible historical footage on us and we proceeded to do interviews with them as they interviewed everybody else that people we thought we're close to at that time. They did a terrific job.

Don Henley: We said to our management to go and find me somebody who's won a lot of awards and doing documentaries about things other than bands. And so that's how it came to be.

On coming to London for Sundance:

Glenn Frey: We feel very comfortable coming here. We always have. We have a terrific fan base. And for us, it's not like there's gonna be another Eagles movie coming out next year. This is a one time thing for us, so you know, it's important.

Don Henley: We've had a very successful premiere in the States at the Sundance Film Festival, so when they offered - I didn't even know they we're doing Sundance over here, I think this is their second - so when they offered to premiere it here we said great.

On overcoming obstacles:

Glenn Frey: I feel a little bit more objective than I could have at other times. I was surprised at how many obstacles we had to overcome in the short 9 year period, from 1971 to 1980. It include a change of producers, change of band members, changing managers, changing business managers, changing agents, changing record companies. There was always something standing in our way, challenging us to overcome it, to get beyond it, and I think that's what we're caught up with everyday. It wasn't like we're gonna be a band that gonna last a lifetime. It wasn't anything like that, but we certainly wanted to be a band that was a good band and a band that was respected by its peers.

Don Henley: There were a great many obstacles as Glenn said, and we were learning as we went. We started out knowing very little about the music business, and we learnt some lessons the hard way.

On advice to other bands:

Glenn Frey: I only know what works for me. Every band has its own road to follow. I just know that when things get difficult, it helps to take a couple of deep breaths.

On excessive lifestyle in previous years:

Joe Walsh: When we stopped, I didn't really have a life and I didn't know what to do, and I was sad. So I pretended that we didn't stop and I kept going, and basically I ended up alcoholic and dependent on substances and those things gradually convince you that you can't do anything without them.

Don then came to me in 1993, and said we're thinking about trying it again and we can't really do it without you, and we can't do it unless you're sober. And I was at the bottom right then. I really took it as far as I could go. And that was the reason I've been waiting for all those years.

Don Henley: I think the lesson that we can take from this is that we all survived, we're all alive and well. We've been through the fire, and many people didn't make it both in the States and here in Britain. We've lost a lot of people in the business. But for one reason or another -- good genetics, will power or good fortune or whatever -- we're all fine, and we intend to stay that way, and we're grateful for that.

On lesson from documentary:

Glenn Frey: Part of what this documentary has taught me is I need to be more generous with myself. And you gotta look at yourself and your past, and you have to accept who you are and what you did, and thankful anyone did not get hurt, say you're sorry for the things you did that were wrong, and get on with it. And I feel that we're pretty comfortable with who we are up here now.

source: www.abs-cbnnews.com

The day the music died

Editor’s note: Aimee sent us this piece with the note: “I’ve been debating whether or not to hand this in, as it is very personal to me.”

There was an uproar over the past few days on whether or not OPM (original Pinoy music) still exists. Those in and out of the music scene (myself included) ranted on about how stupid and preposterous this was; and of course we would, as we would know better than most the state of the music industry in this country.

But some things are clear to me, too. One of the things is this simple: We are cannibalizing our scene. Is it because we only ask for P150 for five bands in one night with a free beer? We can’t even pay our own artists a decent wage for what is essentially hours of their work.

Some people may say: “It should be about the music, man, it’s art.” Well, sure it is, but will the art pay the bills? Or at the very least the cab/bus/jeepney/trike ride home? No. And yes, the starving artist here in the Philippines is very, very much alive.

There are several bands I know that have gone abroad, even been part of international compilations and albums, but were never revered here as bands like Parokya ni Edgar or Bamboo. Why? Because it is just not the popular sound, and it is the popular sound, ladies and gentlemen—however much we dig in our heels and say otherwise—that sells.

Then there are the record deals, and the alcohol and coffee and clothing brand endorsements. Of course they do this, because this is what sells, and that is what the brand wants. It doesn’t want the music. It wants to be associated with the music.

And let me put a footnote right here before anyone gets offended: There is absolutely nothing wrong with those bands that I mentioned. They are who they are for a reason. I am not trying to trash them.

And so what of the band? Some hard-core fantasists will go and say: “You sold out, man.” How in heaven’s name did they sell out? They accepted an offer that would pay them to play their music while drinking or wearing whatever in front of an audience. Okay, they may even do a stupid commercial.

So what? The music is still there, isn’t it? Will you hate them for making that decision when you realize that they have a family to support? I doubt it. I would bet that the attitude towards them will morph into something like, “Madami namang pera yan kaya ok lang na pirated binili ko.”

Or this is the reason why if any former Eraserheads member’s band will play, people will try and always get in for free because “the artists don’t need the money.”

Music is a right

I am going to get kicked in the ass for this, but I’m going out on a limb and say this: Maybe, just maybe, we are our own detractors, we are OPM cannibals? I mean, if we value our music so much, why are we charging only P150 for a show with five bands? If those bands split up the P150, they get only P30 each. What about those bands who have more than five members?

I’ve always hated math and I won’t do any now. I am just throwing it out there because maybe smarter people will come up with an answer. At least, I am hoping they will.

And I get it. I get that the Philippines is not the US or Europe or even Singapore, whose citizens have enough disposable income that they are willing to pay for music. But why can’t we be? Music should never be a privilege. It is a right. It moves people, inspires them, makes them want to dance and sing and up and do their thing.

(Some say it should not even be labeled as OPM, because in reality, music is music, right? I agree… and I disagree. I understand why the title OPM is used, because we want to identify ourselves from the rest.)

I believe completely in the music scene, our music scene. I believe that though I do not agree or I’m not a fan of some kinds of music, I know that the DJs, bands and artists that are actually out there playing their hearts out are doing it because of passion and love for it, and I will always respect them for that.

I know that the bands, artists and DJs will always play for that one dude who paid the entrance fee, and they’ll grab a drink, sit down and talk to you about the traffic coming in from a three-hour long jeepney/trike/bus ride.

So what now? I believe that this issue has gone on long enough. Because really, those who are bothered by it can keep at the debate—and those who are really in it are too busy still making music.

The author is the drummer of The Dorques.

source: lifestyle.inquirer.net

Music world stunned by death of Whitney Houston

LOS ANGELES - Stars and music industry leaders paid tribute Saturday to singer Whitney Houston, who died aged 48 on the eve of the annual Grammys show.

Grammys organizing chief Neil Portnow called Houston "one of the world's greatest pop singers of all time who leaves behind a robust musical soundtrack spanning the past three decades.

"A light has been dimmed in our music community today, and we extend our deepest condolences to her family, friends, fans and all who have been touched by her beautiful voice," said the head of the Recording Academy.

Many stars took to Twitter to voice shock after Houston was found dead in the Beverly Hilton Hotel, hours before a traditional pre-Grammys dinner which she was due to attend.

"It's a tragedy. Whitney Houston was the greatest singer I've ever heard and she will be truly missed," wrote veteran crooner Tony Bennett.

Mariah Carey added: "She will never be forgotten as one of the greatest voices to ever grace the earth." while "Queen of Funk" Chaka Khan tweeted: "I'm speechless...I'm in shock right now. Just pray for her and the family."

Jermaine Jackson, whose brother Michael died in similarly shocking fashion at the age of 50 in June 2009 in Los Angeles, said his thoughts went out to Houston's gospel singer mother Emily "Cissy" Houston.

"I can imagine what she's going through, because I... , we've been through with my mother and its very tough to lose a child, and for your to outlive your child," he told CNN.

Christina Aguilera added: "We have lost another legend. Love and prayers to Whitney's family. She will be missed."

Motown great Smokey Robinson, who recently attended a tribute to Jackson in Hollywood, called Houston "one of the greatest voices in the history of music," adding "I will always love her."

From the younger generation, Canadian teen sensation Justin Bieber tweeted: "Just heard the news. so crazy. One of the GREATEST VOICES EVER just passed. RIP Whitney Houston. My prayers go out to her friends and family."

"California Gurls" singer Katy Perry added: "So devastating. We will always love you Whitney, R.I.P," while award-winning rap artist Nicki Minaj: "Jesus Christ, not Whitney Houston. Greatest of all time."

"No words! Just tears," added US singer Rihanna, while Hawaiian-born Bruno Mars said" "This is terrible news..I'm sick to my stomach. Nobody sang like Whitney."

Reality TV star Sharon Osbourne said she was "devastated" by the news. "My heart goes out to (Houston's daughter with Bobby Brown) Bobbi Christina. Always be proud of your mother, she was magnificent," she said.

source: interaksyon.com

Whitney Houston died in Beverly Hills hotel room

Singer Whitney Houston died Saturday in Beverly Hills, according to law enforcement sources.

Authorities are trying to determine a cause of death. [Updated at 5:46 p.m.: She was found in the Beverly Hilton Hotel, where emergency medical personnel were called sometime Saturday, said the sources, who asked to remain anonymous because the investigation is ongoing.]

Houston, 48, was in the Los Angeles area for a musical tribute to music executive Clive Davis and had performed and spoken to reporters earlier in the week.

PHOTOS: Whitney Houston, 1963-2012

The performer had drug and alcohol problems for years, and in May her spokeswoman said she was going back to rehab.

Publicist Kristen Foster told the Associated Press on Saturday that Houston had died but did not provide further details.

According to AP:

At her peak in the 1980s and '90s, Houston the golden girl of the music industry and one of the world's best-selling artists.

Among her hits were “How Will I Know,” “Saving All My Love for You” and “I Will Always Love You.” She won multiple Grammys including album and record of the year.

Her success carried her beyond music to movies like “The Bodyguard.”

But by the end of her career, drug use took its toll as her record sales plummeted and her voice became raspy and hoarse.

source: latimes.com

Archuleta Soap To Air Overseas

MANILA, Philippines — It’s phenomenal, this rise to fame of David Archuleta. After he announced his plan to temporarily leave the music industry and go on a two-year mission service for the Church of Jesus Christ and Latter Day Saints, his last stint as an artist has been religiously followed by fans all over the world. Filipinos are as avid as David’s fans worldwide, especially now that David is starring in TV5’s “Nandito Ako” along with two homegrown talents, Jasmine Curtis Smith and Eula Caballero.

And now there’s a clamor for the series to air overseas. They are also excited to hear David’s version of “Nandito Ako” and are requesting to have it on iTunes. Some fans from Vietnam, Thailand, Singapore and other Asian countries are even flying in just to watch Archuleta in action.

Too bad David did not have enough time to record the English version of the song, “Forever With You” which greatly disappointed the composer, US-based Aaron Paul del Rosario (who composed “Nandito Ako” for Ogie Alcasid).

“But I am not losing hope, my publishing company, PolyEast, are helping me look for an international singer to record ‘Forever With You.’ I was so excited when I was told David Archuleta could record it but he simply didn’t have enough time for this,” Aaron told us.

David also promoted his TV5 mini-serye at SM Fairview two Saturdays ago. With a crowd estimate of 3,500, the entire mall was rocked by deafening screams of fans.

Catch the stars of “Nandito Ako” on their future mall shows. Get details and updates from www.followarchuleta.ph and by following @TV5manila on Twitter.

“Nandito Ako” airs on TV5 on Feb. 20.

source: mb.com.ph

Grammy spotlight shines on Adele

LOS ANGELES -- The Grammys in recent years have targeted young audiences even as older acts won key awards to the surprise of some music fans, but this Sunday's honors will shine its spotlight on Adele, whose popularity crosses all age boundaries.

The soulful British singer, whose album "21" has spawned massive hits like "Rolling in the Deep" and topped charts for 19 weeks, enters music industry's biggest awards with six nominations, second only to rapper Kanye West with seven.

But all ears will be tuned in to Adele, 23, who is scheduled to give a Grammy performance that is her first since undergoing throat surgery late last year. And everybody -- young and old -- wants to know if 2011's top-selling performer has recovered.

"My eight-year-old daughter sings Adele songs, and my friend's 75-year-old grandmother sings Adele songs," said Nic Harcourt, former radio host at KCRW, who is among those credited with helping put the British chanteuse on the U.S. music map.

Adele's voice was a breath of fresh air in 2011 for a struggling industry. "21" album sold more copies in one year than any other act since Usher's "Confessions" in 2004. Its current U.S. sales total is roughly 6.3 million copies.

In years past, the Grammys have often seen relative newcomers in top categories like album of the year face off against veteran acts, only to see the older performers win, shocking the youth-driven industry. Herbie Hancock's 2007 jazz album, "River: The Joni Letters," was among the recent surprises.

That won't happen at Sunday's ceremony in Los Angeles. Competing for album of the year are Adele with "21," Lady Gaga for "Born This Way," Rihanna with "Loud," Bruno Mars for "Doo-Wops & Hooligans" and Foo Fighters for "Wasting Light."

Indeed, many of the major categories are dominated by younger pop stars like Adele, Gaga, Katy Perry and Rihanna. Traditional rockers are largely missing, with the exception of legends Paul McCartney and Bruce Springsteen who are both set to perform at Sunday's show in Los Angeles.

Adele, no pop confection

But in an ironic twist, Adele gained stardom precisely because she has appealed to so many audience groups with her soulful ballads such as "Someone Like You" that sound like a throwback in an industry dominated by electronic dance music.

"She's got a little more substance and is not just a pop confection. With a classic sound, veteran Grammy voters will have no problem supporting her, while she also reaches the young," said Bob Merlis, president of MFH Publicity.

Adele's singles have been played on multiple radio formats, helping to sell albums to older consumers as well as younger fans who tend to buy music online.

David Bakula, senior vice president, analytics of entertainment for Nielsen said Adele has "gone beyond the bounds of a simple pop artist, which appeals to a younger, more singles-driven crowd. Katy Perry's a good example of a star who sells tons of singles, but not tons of albums."

Elsewhere, Kanye West's seven nods crown a critical and commercial comeback for the controversial 34-year-old rapper who took a self-imposed hiatus from performing in 2009.

West recorded his best rap album contender "My Beautiful Dark Twisted Fantasy" in Hawaii after removing himself from the mainstream music scene following harsh criticism over his 2009 outburst involving country starlet Taylor Swift at the MTV Video Music Awards.

Already a 14-time Grammy winner, he is nominated for song of the year for "All of the Lights" and best rap performance with Jay-Z for "Otis".

The best new artist category reflects an eclectic mix of artists, from female rapper Nicki Minaj and hip-hop artist J. Cole, to country sensations The Band Perry, house and electropop performer Skrillex and American folk band Bon Iver.

"Rhinestone Cowboy" singer Glen Campbell, 75, currently on a

goodbye tour after announcing he has early stage Alzheimer's disease, will receive a lifetime achievement award and will perform with The Band Perry and Blake Shelton.

Other performers will include veteran crooner Tony Bennett -- who is nominated for his "Body and Soul" duo with the late Amy Winehouse -- Alicia Keys, Taylor Swift, Coldplay, Jason Aldean, Kelly Clarkson and Chris Brown.

Bonnie Raitt will perform in remembrance of "At Last" singer Etta James, who died in January at the age of 73, and rapper and "NCIS: Los Angeles" actor LL Cool J will be the first official host of the Grammy Awards in seven years.

Winners are determined by about 13,000 members of the Recording Academy, but only a handful of trophies in the 78 categories will be handed out on Sunday's live telecast.

source: interaksyon.com