Despite what you might have read, the future of music and technology is not in the cloud or on some device or through whatever new gadget tech companies distribute from on high in an attempt to capture the tech-blogger zeitgeist. No, the future of music and technology is with you, the fans, and with the artists, which is why the O Music Awards exist. The OMAs, which will descend on a currently undisclosed location on April 28, are a celebration of the ways in which music exists, spreads, and is shared and remixed (aurally and visually) in ways that necessarily require online technology. The twenty categories of the OMAs recognize those who have achieved greatness in music via the blends of media that the internet enables and encourages.
Of course, such an award could only derive legitimacy from its participants, which is why all the winners will be determined by your online votes. The nominees in all categories will be open for voting beginning tomorrow, April 6, and write-in candidates are highly encouraged. Your voices will determine the winners. Voting closes as early as April 17 for some of the categories, so hurry up and let your voice be heard!
But time marches on! April’s VH1 Posted artist is none other than Hanson! If you’re still under the misapprehension that the brothers are a boy-band one-hit wonder, here’s a corrective-in-brief: After the massive success of 1997′s triple-Grammy-nominated Middle of Nowhere, the band toured incessantly, reissued their indie back catalog, and then recorded follow-up This Time Around. But personnel changes at Mercury during its late-1998 absorption into Island Def Jam left the band without any label support for that nonetheless critically acclaimed 2000 record. Four years years of negotiation (documented in the 2005 film Strong Enough to Break) later, Hanson and Island parted ways, and the band has continued to release modestly successful, well-reviewed records on their own label, 3CG Records?most recently 2010′s Shout It Out, featuring “Thinking ‘Bout Something” and “Give a Little”:
At first glance, The Civil Wars (songwriters Joy Williams and John Paul White) have a familiar backstory: they teamed in Nashville circa 2008, got some buzz for their 2009 EP Poison & Wine and then received a ton of attention when that EP’s title track was featured on an episode of Grey’s Anatomy. But there’s much more depth and range to the neo-Americana duo than is suggested by that tale of canny cross-marketing, which is why The Civil Wars are VH1′s latest You Oughta Know artist.
When we first saw Katy Perry’s “E.T.” music video last week, we noted that director Floria Sigismondi worked quite a few visual references to other famous directors’s work into her five-minute space epic. Well, since we always preferred the “Show” portion of the grade school classic Show & Tell to the boring old “Tell” part, we figured we’d grab some screenshots that we referred to in our video review last week to help illustrate our case (and since we couldn’t help ourselves, we added a few others in for good measure). This isn’t quite Behind The Music, but we hope you enjoy it all the same.
It’s Opening Day, and everybody, especially New York Yankees centerfielder Curtis Granderson, is looking forward to the weekend season. Just listen to his at-bat music the first time he takes the plate:
If you have a good ear, or saw the sketch he shot with sports-comedy troupe 12 Angry Mascots, you’ll know that it’s Rebecca Black’s ultra-viral “Friday”:
Last week, Jennifer Hudson’s sophomore LP, I Remember Me, hit the streets and moved an impressive 165,000 copies, good for second place on the Billboard 200. If it has been awhile since you last laid eyes on J-Hud, yes, that’s really her there on the cover of the record. Thanks to a new exercise regimen and healthy eating, Hudson has dropped 80 pounds (!!!) in the twenty or so months years since she gave birth to her son, Daniel. Okay, we’ll say it, she’s lookin’ FINE these days!
So when Jennifer recently stopped by our offices here in the heart of Times Square, we thought she’d be a perfect candidate for our recurring style series, Head to Toe. “I put my outfits together today knowing that music is business, too, so I’m giving you a little business today,” the self-described supermodel-slash-business-lady explained to us in the video footage that you’ll see below. Her best piece of advice, though, is an oldie but a goodie: “Don’t let the clothes wear you, you wear them.”
Ten-year-old Connie Talbot’s YouTube cover of Adele‘s “Someone Like You” has gone bonkers viral today. Generally speaking, that’s because it’s stunning, especially once it hits the chorus.
But the video is also a perfect storm of viral ingredients, particularly for British audiences. For one, it’s Adele. Of course, we love the You Oughta Know artist here at VH1, but in the U.K., they really love her: her sophomore album 21 has been sitting pretty at the top of the British charts since it came out over two months ago, and furthermore, her 2008 debut 19 jumped back onto the chart late last year and is now holding down the #2 spot, just to prevent anyone else from charting above #3 (although Britney might sneak into #2 this week).
The scorched earth of a post-Judgment Day scene from The Terminator. A solitary, junkyard dwelling robot reminiscent of Wall-E. John Travolta’s Psychlo-chic styling from Battlefield Earth. Seemingly harmless stock footage of animals that morphs into disturbing animal porniness, a la “Closer” by Nine Inch Nails. The BioShock like juxtaposition of old-timey tunes and futuristic mechanical armor. A man-monster creature that wouldn’t feel out of place in Matthew Barney’s acclaimed achievement of art house cinema, The Cremaster Cycle.
If you were to read about a music video with influences as varied as these and then asked to figure out which artist said video was made for, you would probably rattle off a bunch of other names before you landed on Katy Perry. Yet here we are! Perry collaborated with the renowned director Floria Sigismondi (Marilyn Manson’s “The Beautiful People”, the motion picture The Runaways) and none other than Kanye West on the ambitious space epic “E.T.”, which tells a tale as old as time: Space alien transforms into a gorgeous humanoid (with impressive cleavage, natch), floats through the galaxy in search of an out of this world manicure, lands on an abandoned planet (Earth?), reunites with a long lost Tin Man-esque robot lover (who himself then transforms into an albino humanoid), then walks off into the Space Sunset with her Space Beau, happy as a Space Clam.