• Tuesday, Feb. 20, 2024
Welcome to the "Hotel California" case: The trial over handwritten lyrics to an Eagles classic
From left, Glenn Horowitz, Craig Inciardi and Edward Kosinski appear in criminal court after being indicted for conspiracy involving handwritten notes from the famous Eagles album "Hotel California," July 12, 2022, in New York. On Wednesday, Feb. 21, 2024, an unusual criminal trial is set to open over the handwritten lyrics. (AP Photo/John Minchillo, File)
NEW YORK (AP) -- 

In the mid-1970s, the Eagles were working on a spooky, cryptic new song.

On a lined yellow pad, Don Henley, with input from band co-founder Glenn Frey, jotted thoughts about "a dark desert highway" and "a lovely place" with a luxurious surface and ominous undertones. And something on ice, perhaps caviar or Taittinger — or pink Champagne?

The song, "Hotel California," became one of rock's most indelible singles. And nearly a half-century later, those handwritten pages of lyrics-in-the-making have become the center of an unusual criminal trial set to open Wednesday.

Rare-book dealer Glenn Horowitz, former Rock & Roll Hall of Fame curator Craig Inciardi and memorabilia seller Edward Kosinski are charged with conspiring to own and try to sell manuscripts of "Hotel California" and other Eagles hits without the right to do so.

The three have pleaded not guilty, and their lawyers have said the men committed no crime with the papers, which they acquired via a writer who'd worked with the Eagles. But the Manhattan district attorney's office says the defendants connived to obscure the documents' disputed ownership, despite knowing that Henley said the pages were stolen.

Clashes over valuable collectibles abound, but criminal trials like this are rare. Many fights are resolved in private, in lawsuits or with agreements to return the items.

"If you can avoid a prosecution by handing over the thing, most people just hand it over," said Travis McDade, a University of Illinois law professor who studies rare document disputes.

Of course, the case of the Eagles manuscripts is distinctive in other ways, too.

The prosecutors' star witness is indeed that: Henley is expected to testify between Eagles tour stops. The non-jury trial could offer a peek into the band's creative process and life in the fast lane of '70s stardom.

At issue are over 80 pages of draft lyrics from the blockbuster 1976 "Hotel California" album, including words to the chart-topping, Grammy-winning title cut. It features one of classic rock's most recognizable riffs, best-known solos and most oft-quoted — arguably overquoted — lines: "You can check out any time you like, but you can never leave."

Henley has said the song is about "the dark underbelly of the American dream."

It still was streamed over 220 million times and got 136,000 radio spins last year in the U.S. alone, according to the entertainment data company Luminate. The "Hotel California" album has sold 26 million copies nationwide over the years, bested only by an Eagles' greatest hits disc and Michael Jackson's "Thriller."

The pages also include lyrics from songs including "Life in the Fast Lane" and "New Kid in Town." Eagles manager Irving Azoff has called the documents "irreplaceable pieces of musical history."

Horowitz, Inciardi and Kosinki are charged with conspiracy to possess stolen property and various other offenses.

They're not charged with actually stealing documents. Nor is anyone else, but prosecutors will still have to establish that the documents were stolen. The defense maintains that's not true.

Much turns on the Eagles' interactions with Ed Sanders, a writer who also co-founded the 1960s counterculture rock band the Fugs. He worked in the late '70s and early '80s on an authorized Eagles biography that was never published.

Sanders isn't charged in the case. A phone message seeking comment was left for him.

He sold the pages to Horowitz, who then sold them to Inciardi and Kosinski.

Horowitz has handled huge rare book and archive deals, and he's been entangled in some ownership spats before. One involved papers linked to "Gone With the Wind" author Margaret Mitchell. It was settled.

Inciardi worked on notable exhibitions for the Cleveland-based Rock Hall of Fame. Kosinski has been a principal in Gotta Have It! Collectibles, known for auctioning celebrities' personal possessions — so personal that Madonna unsuccessfully sued to try to stop a sale that included her latex briefs.

Henley told a grand jury he never gave the biographer the lyrics, according to court filings from Kosinski's lawyers. But defense lawyers have signaled that they plan to probe Henley's memory of the time.

"We believe that Mr. Henley voluntarily provided the lyrics to Mr. Sanders," attorney Scott Edelman said in court last week.

Sanders told Horowitz in 2005 that while working on the Eagles book, he was sent whatever papers he wanted from Henley's home in Malibu, California, according to the indictment.

Then Kosinski's business offered some pages at auction in 2012. Henley's attorneys came knocking. And Horowitz, Inciardi and Sanders, in varying combinations, began batting around alternate versions of the manuscripts' provenance, the indictment says.

In one story, Sanders found the pages discarded in a backstage dressing room. In others, he got them from a stage assistant or while amassing "a lot of material related to the Eagles from different people." In yet another, he obtained them from Frey — an account that "would make this go away once and for all," Horowitz suggested in 2017. Frey had died the year before.

"He merely needs gentle handling and reassurance that he's not going to the can," Horowitz emailed Inciardi during a 2012 exchange about getting Sanders' "'explanation' shaped into a communication" to auctioneers, the indictment says.

Sanders supplied or signed off on some of the varying explanations, according to the indictment, and it's unclear what he may have conveyed verbally. But he apparently rejected at least the dressing-room tale.

Kosinki forwarded one explanation, approved by Sanders, to Henley's lawyer. Kosinski also assured Sotheby's auction house that the musician had "no claim" to the documents and asked to keep potential bidders in the dark about Henley's complaints, the indictment says.

Sotheby's listed the "Hotel California" song lyrics in a 2016 auction but withdrew them after learning the ownership was in question. Sotheby's isn't charged in the case and declined to comment.

Henley bought some draft lyrics privately from Gotta Have It! for $8,500 in 2012, when he also began filing police reports, according to court filings.

Defense lawyers claim Henley found starstruck prosecutors to take up his cause instead of pursuing a civil suit himself.

The DA's office worked closely with Henley's legal team, and an investigator even yearned for backstage passes for an Eagles show — until a prosecutor said the idea was "completely inappropriate," Kosinki's lawyers said in court papers.

Prosecutors have rebuffed questions about their motivations as "a conspiracy theory rather than a legal defense."

Last year, they wrote in court papers, "It is the defendants, not the prosecutors, who are on trial."

  • Tuesday, Feb. 20, 2024
Emmy-nominated music supervisor Kier Lehman joins Radish Music
Kier Lehman
LOS ANGELES -- 

Radish Music is opening up a roster position for Emmy and Grammy-nominated music supervisor Kier Lehman, further propelling his growth in the advertising space.

A five-time winner of the Guild of Music Supervisor awards, Lehman has forged a decades long career across film and TV, with credits including everything from The Lego Movie to HBO’s Insecure, a show for which he earned an Outstanding Music Supervision Emmy nomination in 2020. His work on the Academy Award-winning Spider-Man: Into the Spider-Verse contributed to the soundtrack’s success, with its hit single “Sunflower” having just achieved double diamond status with sales of over 20 million units. The soundtrack earned a Grammy nomination in 2020.

Lehman has also built up a commercial portfolio, notably working with Radish Music’s founder Peymon Maskan on Apple’s “Shot on iPhone” and “The Rock x Siri Dominate The Day,” as well as completing projects for Spotify and Peloton.

In his new role, Lehman will continue his development in advertising, able to keep his focus on the creative thanks to the support of the Radish’s coordination, administration, account management, music strategy, and licensing services. 

Lehman commented, “I’ve known Peymon for close to 20 years, during which time we’ve become great friends and collaborators--we worked together on commercials while he was at TBWA\Media Arts Lab, and I hired him to music supervise a film while I was an executive at Sony Pictures. We have a similar ear for music and how it works combined with visual storytelling, and this feels like the perfect time to join forces again. Now I get the benefit of being able to plug into Radish’s existing experience so I can focus on bringing creative ideas and fresh perspective to advertising.”

Maskan added, “At the heart of Radish Music, we love to harness music to tell stories of all lengths--film, TV, commercial--which gives us access to music from both inside and outside the normal advertising channels. It’s super important to us that we’re constantly accessing new music sources to keep things fresh for our advertising clients. As a constant innovator with an impeccable ear, Kier’s the perfect fit, and we’re so excited to bring his sound to this side of storytelling. He’s also a great person, which is a prerequisite for anyone on the team.”

  • Wednesday, Feb. 14, 2024
Society of Composers and Lyricists Award winners include Billie Eilish, Olivia Rodrigo, Nicholas Brittel, Ludwig Göransson
Margot Robbie in a scene from “Barbie.” (Warner Bros. Pictures)
LOS ANGELES -- 

The Society of Composers and Lyricists (SCL) hosted its 5th annual SCL Awards at the Skirball Cultural Center on Tuesday evening (2/13).  Emceed by Siedah Garrett, the event featured Billie Eilish and Finneas winning the award for Outstanding Original Song for a Comedy or Musical for “What Was I Made For?” from Barbie. Olivia Rodrigo and Dan Nigro won Outstanding Original Song for a Drama or Documentary for “Can’t Catch Me Now” from Hunger Games: The Ballad of Songbirds and Snakes. Nicholas Britell won Outstanding Original Score for a Television Production for Succession. Ludwig Göransson won Outstanding Original Score for a Studio Film for Oppenheimer. John Powell won Outstanding Original Score for an Independent Film for Still: A Michael J. Fox Movie

Martin Scorsese accepted the 2024 Spirit of Collaboration Award for his work with the late composer Robbie Robertson. Grammy-winning singer/songwriter Jason Isbell performed the song “Between Trains” in honor of Scorsese and Robertson. “Between Trains” was originally written by Robertson for Scorsese’s film The King of Comedy

The Spirit of Collaboration Award recognizes a composer/director relationship which has created a prodigious body of work. Robertson and Scorsese’s collaborations over decades include Raging Bull, Shutter Island, The Wolf of Wall Street, Silence, The Irishman and Killers of the Flower Moon. Past award recipients include Thomas Newman & Sam Mendes, Terence Blanchard & Spike Lee, Carter Burwell & the Coen Brothers, and last year Justin Hurwitz & Damien Chazelle.

Emceeing the awards ceremony was Siedah Garrett, a Grammy-winning, two-time Oscar-nominated songwriter and a member of the SCL. She recently reunited with Quincy Jones on The Color Purple.  She collaborated with Jones on Michael Jackson’s 1987 album “Bad,” including co-writing “Man in the Mirror” and duetting on “I Just Can’t Stop Loving You.”

 

 

5th SCL AWARDS 2024 Winners

 

OUTSTANDING ORIGINAL SCORE FOR A STUDIO FILM:  
Ludwig Göransson                  OPPENHEIMER                                             

 

 

 

OUTSTANDING ORIGINAL SCORE FOR AN INDEPENDENT FILM:  
John Powell                             STILL: A MICHAEL J. FOX MOVIE                            

 

 

 

OUTSTANDING ORIGINAL SONG FOR A DRAMA OR DOCUMENTARY:  
Olivia Rodrigo/Dan Nigro, “Can’t Catch Me Now,” THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES              

 

 

 

OUTSTANDING ORIGINAL SONG FOR A COMEDY OR MUSICAL:
Billie Eilish O’Connell/Finneas O’Connell, “What Was I Made For?,” BARBIE 

 

 

 

OUTSTANDING ORIGINAL SCORE FOR A TELEVISION PRODUCTION
Nicholas Britell                       SUCCESSION

 

 

 

OUTSTANDING ORIGINAL TITLE SEQUENCE FOR A TELEVISION PRODUCTION
Carlos Rafael Rivera               LESSONS IN CHEMISTRY

 

 

 

OUTSTANDING ORIGINAL SCORE FOR INTERACTIVE MEDIA
Stephen Barton, Gordy Haab              STAR WARS JEDI: SURVIVOR                                        

 

 

 

 

THE DAVID RAKSIN AWARD FOR EMERGING TALENT
Catherine Joy                          HOME IS A HOTEL

 

 

THE SPIRIT OF COLLABORATION AWARD     
Robbie Robertson and Director Martin Scorsese

  • Monday, Feb. 5, 2024
Taylor Swift wins album of the year at the Grammy Awards for the fourth time, setting a new record
Taylor Swift accepts the award for album of the year for "MIdnights" during the 66th annual Grammy Awards on Sunday, Feb. 4, 2024, in Los Angeles. (AP Photo/Chris Pizzello)
LOS ANGELES (AP) -- 

Taylor Swift won album of the year at the Grammy Awards for "Midnights," breaking the record for most wins in the category with four.

She began her speech by thanking her producer and friend Jack Antonoff and added, "I would love to tell you this is the happiest moment of my life," she told the crowd, but said she feels this happy when she creates music and plays shows.

Earlier in the night, Taylor Swift used her 13th Grammy win on Sunday to announce her new album, "The Tortured Poets Department," will arrive April 19.

"I know that the way that the Recording Academy voted is a direct reflection of the passion of the fans," she said while accepting the best pop vocal album award. "So, I want to say thank you to the fans by telling you a secret that I've been keeping from you for the last two years."

One of the night's biggest awards, record of the year, went to Miley Cyrus for "Flowers," her second-ever Grammy and second of the night.

"This award is amazing. But I really hope that it doesn't change anything because my life was beautiful yesterday," she said in her speech.

Victoria Monét won best new artist. "Thank you to the champagne-servers tonight," Monét began her acceptance speech. "Thanks to my mom, a single mom raising this really bad girl." Then she started to cry, telling the room that this award was "15 years in the making."

Billie Eilish won song of the year for writing the "Barbie" hit, "What Was I Made For?" She thanked director Greta Gerwig for "making the best movie of the year."

It was just one of several standout moments from Sunday's show, hosted by Trevor Noah and broadcast live from Cypto.com Arena in downtown Los Angeles.

Karol G made Grammy history Sunday by becoming the first female performer to win best música urbana album for her blockbuster "Mañana Será Bonito" record.

"This is my first time at the Grammys," she told the audience in English. "And this is my first time holding my own Grammy."

Performances were many. Olivia Rodrigo brought her bloodsucking ballad "vampire" – or in this case, bloodletting, as red liquid dripped from the walls behind her. Joni Mitchell, 80, made Grammy history by performing "Both Sides Now" from her 1969 album "Clouds"; Travis Scott did a medley of "My Eyes," "I Know?," and "Fein." Burna Boy was joined by Brandy and 21 Savage and did "On Form," "City Boys," and "Sittin' on Top of the World."

A long and touching In Memoriam segment celebrated many of the musical greats lost last year. Stevie Wonder performed "For Once in My Life" and "The Best Is Yet To Come" in honor of Tony Bennett; Annie Lennox delivered "Nothing Compares 2 U" for Sinéad O'Connor. "Artists for ceasefire, peace in the world," Lennox said at the end of the song, her fist extended in the air.

Jon Batiste did a medley of "Ain't No Sunshine," "Lean On Me," and finally "Optimistic" with Ann Nesby for the late great music exec Clarence Avant. Oprah introduced a fiery Tina Turner tribute of "Proud Mary" by Fantasia Barrino and Adam Blackstone.

SZA also took the stage – performing a medley of her larger-than-life hits "Snooze" and "Kill Bill," joined by dancers wielding katanas. Later, she'd take home the trophy for best R&B song — for "Snooze," handed to her by Lizzo. SZA ran to the stage and gave a charming, out of breath speech because she was "changing, and then I took a shot."

Luke Combs' delivered a heartfelt rendition of "Fast Car" with Tracy Chapman – his cover of the Chapman classic has dominated country radio and won him song of the year at the 2023 CMAs. In 1989 the song won Chapman best female pop vocal performance.

Dua Lipa opened the show with a high-octane medley: first, a tease of her forthcoming single, "Training Season," then, her most recent single, "Houdini," and finally, her disco-pop "Barbie" hit "Dance the Night."

Eilish and Finneas also brought "Barbie" to the Grammys stage with live string accompaniment. They were followed by Cyrus, who performed "Flowers" for the first time live on television.

"Why are you acting like you don't know this song?" she teased the crowd — John Legend and wife Chrissy Teigen were among those in the audience who got up to dance — and later cheered mid-song, "I just won my first Grammy!"

Best country album went to Lainey Wilson for "Bell Bottom Country," — her very first Grammy — as presented by Kacey Musgraves. "I'm a fifth-generation farmer's daughter," she told the crowd, adding that she's a "songwriting farmer," and that's where the musical magic came from.

Jay-Z was awarded the Dr. Dre Global Impact Award and used his speech to talk about the hip-hop greats that came before him – and heavily suggesting at the Grammys history of placing rap on the backburner – or at the very least, not in the televised version of the show. (This year, there were no rap categories on the telecast, but two pop, one Latin, one country and one R&B.)

"We want you all to get it right," he said. "At least get it close to right," before switching focus to Beyoncé. "Most Grammys, never won album of the year. How does that work?"

Bridgers took an early lead at the Grammys, quickly winning four trophies ahead of the main telecast, with her and her boygenius bandmates bringing an infectious energy to the pre-telecast Premiere Ceremony.

Jack Antonoff took home producer of the year, non-classical for a third year in a row, tying Babyface as the only other producer to do so consecutively. "You need the door kicked open for you," he said in his acceptance speech. "Taylor Swift kicked that (expletive) door open for me," he said.

The first of three new categories in 2024, best pop dance recording, went to Kylie Minogue for "Padam Padam" — her first win in 18 years.

About 80 Grammys were handed out pre-broadcast. Regional Mexican star Peso Pluma won his first Grammy for his first and only nomination, for best música Mexicana album for his "Genesis."

Best African music performance, a new category which aims to highlight regional musical traditions and recognizing "recordings that utilize unique local expressions from across the African continent," went to South African singer Tyla for her ubiquitous hit, "Water."

"I never thought I'd say I won a Grammy at 21 years old," she said in her acceptance speech. "Last year God decided to change my whole life."

Killer Mike won three awards in quick succession Sunday night, but ended up in police custody before the main Grammys ceremony began because of an altercation, police spokesperson Officer Mike Lopez said.

The rapper won his first first Grammy in 21 years, for best rap performance for "Scientists & Engineers," which featured André 3000, Future and Eryn Allen Kane. Soon afterward, they won for "best rap song." Killer Mike also took home best rap album for "Michael," cheering, "It is a sweep! It is a sweep!"

Billy Joel was both the penultimate and final performance of the night. First, he brought his new track "Turn the Lights Back on" — his first new music in decades — live to the Grammy stage. Then, after album of the year was announced, he returned to the stage for his 1980 classic, "You May Be Right."

A welcome surprise was the inclusion of Celine Dion, who handed Swift her record-breaking trophy. "When I say I'm happy to be here, I really mean it from my heart," she told the audience. In 2022, Dion revealed she was diagnosed with a rare neurological disorder called stiff person syndrome, which causes spasms that affect her ability to walk and sing.

  • Sunday, Jan. 28, 2024
Society of Composers and Lyricists to honor Martin Scorsese and the late Robbie Robertson with Spirit of Collaboration Award
Robert De Niro (l) and Jesse Plemons in "Killers of the Flower Moon" (Apple Films Original)
LOS ANGELES -- 

The Society of Composers and Lyricists (SCL) is honoring the late Robbie Robertson and director Martin Scorsese with the Spirit of Collaboration Award at the 5th Annual SCL Awards on Tuesday, February 13, at the Skirball Cultural Center. The event will be hosted by Oscar-nominated singer/songwriter Siedah Garrett.

The Spirit of Collaboration Award recognizes a composer/director relationship which has created a prodigious body of work. Robertson and Scorsese’s collaborations over decades include Raging Bull, Shutter Island, The Wolf of Wall Street, Silence, The Irishman and Killers of the Flower Moon.

Past Collaboration Award recipients include Thomas Newman & Sam Mendes, Terence Blanchard & Spike Lee, Carter Burwell & the Coen Brothers, and last year Justin Hurwitz & Damien Chazelle. 

 

 

  • Monday, Jan. 22, 2024
Guild of Music Supervisors Awards: "Barbie" Tops Feature Tally With 3 Nominations
Margot Robbie in a scene from “Barbie.” (Warner Bros. Pictures)
LOS ANGELES -- 

The nominations for the 14th Annual Guild of Music Supervisors Awards have been unveiled.  The winners in turn will be revealed at an in-person and virtual awards gala at The Wiltern Theatre in Los Angeles on Sunday, March 3.  The ceremony honors outstanding achievement in the craft of music supervision in film, television, documentaries, advertising, trailers, and video games. 
 
Barbie leads this year’s contenders earning three nominations across Best Music Supervision for Film Budgeted Over $25 Million, and two for Best Song Written and/or Recorded for a Film.  The award recognizes both the work of music supervisor George Drakoulias as well as the songwriters Billie Eilish and Finneas for the song “What Was I Made For?” and Mark Ronson & Andrew Wyatt for the song “I’m Just Ken”.  Other film contenders include Maestro, Saltburn, Spider-Man: Across the Spider-Verse and Past Lives.  Top TV contenders include Daisy Jones & The Six, The White Lotus, Welcome to Chippendales and Yellowjackets. (After winning the primetime Emmy for his work on The White Lotus earlier this month, Gabe Hilfer receives a nomination for his music supervision on the HBO series.)

The music supervisors with the most nominations include Mike Ladman and Mara Techam for their outstanding work in adverting for brands like Levi’s, The New York Times, Hennessy, and more.  They each received five nominations. Ladman and Techam are sr. music supervisor and jr. music supervisor, respectively, at ad agency Droga5 New York.  

Tickets are made available only to members of the Guild of Music Supervisors and their Friends of the Guild subscribers. The recipients of the Icon and Legacy Awards will be announced at a later date.

Here’s a rundown of nominees:

 

NOMINATIONS FOR THE 14TH ANNUAL GUILD OF MUSIC SUPERVISOR AWARDS

 
FILM
Best Music Supervision for Film Budgeted Over $25 Million

  • Matt Aberle - “The Holdovers”
  • Deva Anderson, Rachel Lautzenheiser - “My Big Fat Greek Wedding 3”
  • Stephanie Diaz-Matos, Philippe Pierre - “They Cloned Tyrone”
  • George Drakoulias - “Barbie”
  • Steven Gizicki - “Maestro”
  • Kirsten Lane - “Saltburn”
  • Kier Lehman - “Spider-Man: Across the Spider-Verse”
  • Frankie Pine - “Are You There God? It’s Me, Margaret.”
  • James A. Taylor - “Wonka”
  • Andrea von Foerster - “Air”

 

 

 
Best Music Supervision for Film Budgeted $25 Million And Under

  • Lucy Bright - “The Iron Claw”
  • Kevin Edelman - “Jesus Revolution”
  • Connie Farr - “All of Us Strangers”
  • Carly Hildebrand, Natalie Hayden - “Polite Society”
  • Vanessa Jorge Perry - “Flamin’ Hot”
  • Toko Nagata - “Joy Ride”

 

 

Best Music Supervision for Film Budgeted $10 Million And Under

  • Adam Bennati - “Aristotle and Dante Discover the Secrets of the Universe”
  • Jody Colero - “Brother”
  • Meghan Currier - “Past Lives”
  • Tracy McKnight - “Somewhere in Queens”
  • Howard Paar - “Eileen”
  • Andy Ross, Ben Sokoler - “War Pony”
  • Michael Turner - “Paint”
  • Lindsay Wolfington - “Theater Camp”

 

 

 
Best Music Supervision for a Non-Theatrically Released Film

  • Angela Asistio - “Chang Can Dunk”
  • Linda Cohen - “Please Don’t Destroy: The Treasure of Foggy Mountain”
  • David Fish - “Rye Lane”
  • Liz Gallacher - “Sitting in Bars with Cake”
  • Rob Lowry, Tracy McKnight - “Family Switch”
  • Toko Nagata - “Totally Killer”
  • Javier Nuño, Joe Rodríguez - “A Million Miles Away”
  • Wyler Sanca - “Heist 88”
  • Derryck “Big Tank” Thornton - “Praise This”

 

 

 
Best Song Written and/or Recorded for a Film

“Am I Dreaming” - “Spider-Man: Across The Spider-Verse”
Songwriters: Mike Dean, Peter Lee Johnson, Rakim Mayers, Roisee, Leland Wayne, Landon Wayne
Performers: Metro Boomin, A$AP Rocky, Roisee
Music Supervisor: Kier Lehman

“Camp Isn’t Home” - “Theater Camp”
Songwriters: Noah Galvin, Molly Gordon, Nick Lieberman, Ben Platt, Mark Sonnenblick
Performers: Alexander Bello, Bailee Bonick, Donovan Colan, Noah Galvin, Molly Gordon, Luke Islam, Madisen Lora, Kyndra Sanchez, Jack Sobolewski, Quinn Titcomb
Music Supervisor: Lindsay Wolfington

“Can’t Catch Me Now” - “The Hunger Games: The Ballad of Songbirds & Snakes”
Songwriters: Dan Nigro, Olivia Rodrigo
Performer: Olivia Rodrigo
Music Supervisor: Hillary Holmes 

“I’m Just Ken” - “Barbie”
Songwriters: Mark Ronson, Andrew Wyatt
Performer: Ryan Gosling
Music Supervisor: George Drakoulias

“It Never Went Away” - “American Symphony”
Songwriters: Jon Batiste, Dan Wilson
Performer: Jon Batiste
Music Supervisor: Priya Autrey

“JUICY” - “Joy Ride”
Songwriters: Isak Alvedahl, Kirubel Swedin, Sandra Wikstrom
Performer: Ramengvrl
Music Supervisor: Toko Nagata

“Little Bit ‘O Soul” - “Totally Killer”
Songwriters: John Carter, Kenneth Hawker
Performer: The Linda Lindas
Music Supervisor: Toko Nagata

“Quiet Eyes” - “Past Lives”
Songwriters: Zachary Dawes, Sharon Van Etten
Performer: Sharon Van Etten
Music Supervisor: Meghan Currier

“Road to Freedom” - “Rustin”
Songwriter: Lenny Kravitz
Performer: Lenny Kravitz
Music Supervisor: Barry Cole

“What Was I Made For?” - “Barbie”
Songwriters: Billie Eilish O’Connell, Finneas O’Connell
Performer: Billie Eilish
Music Supervisor: George Drakoulias

 

 

 

 
TELEVISION 
Best Music Supervision - Television Drama

  • Ed Bailie, Abi Leland, Toby Williams - “Top Boy” Season 3
  • Zoë Ellen Bryant, Pete Saville - “I Hate Suzie Too” Season 2
  • Rick Clark - “Dark Winds” Season 2
  • Nora Felder - “Yellowjackets” Season 2
  • Gabe Hilfer - “The White Lotus” Season 2
  • Jonathan Leahy, Manish Raval, Tom Wolfe - “Welcome to Chippendales” Season 1
  • Janine Scalise - “The L Word: Generation Q” Season 3

 

 

Best Music Supervision - Television Comedy or Musical

  • Matt Biffa - “Sex Education” Season 4
  • Leah Harrison - “I’m a Virgo” Season 1
  • Mike Moreno - “Mariachis” Season 1
  • Javier Nuño, One Six, Joe Rodríguez - “Neon” Season 1
  • Frankie Pine - “Daisy Jones & The Six” Season 1
  • Robin Urdang - “The Marvelous Mrs. Maisel” Season 5
  • Justine von Winterfeldt - “Pitch Perfect: Bumper in Berlin” Season 1
  • Laura Webb, Lindsay Wolfington - “XO, Kitty” Season 1

 

 

 
Best Music Supervision - Reality Television

  • Greg Danylyshyn - “Teen Mom: The Next Chapter” Season 1
  • Peter Davis - “Are You The One?” Season 9
  • Jon Ernst - “Love Is Blind” Season 5
  • Carrie Hughes - “Love & Hip Hop: Miami” Season 5
  • Sara Torres, Jordan Young - “Love Island USA” Season 5

 

 

Best Song Written and/or Recorded for Television

“A Beautiful Game” - “Ted Lasso”
Songwriters: Max Martin, Ed Sheeran, Foy Vance
Performer: Ed Sheeran
Music Supervisors: Christa Miller, Tony Von Pervieux

“City On Fire” - “City on Fire”
Songwriter: Zach Ellis
Performer: Ex Post Facto
Music Supervisor: Jonathan Leahy

“Esperando Pelitos” - “Big Mouth”
Songwriter: Lin-Manuel Miranda
Performers: Robin De Jesús, PJ Sin Suela
Music Supervisor: Amanda Krieg Thomas

“I Found You” - “The L Word: Generation Q”
Songwriters: Annalia Marie Mallory, Viv Parker, Lexxi Taylor Saal
Performer: India Carney
Music Supervisor: Janine Scalise

“Look At Us Now (Honeycomb)” - “Daisy Jones & The Six”
Songwriters: Jason Boesel, Blake Mills, Marcus Mumford, Johnathan Rice, Stephony Smith
Performer: Daisy Jones & The Six
Music Supervisor: Frankie Pine

“The Manster (Dr. Hunkenstein’s Theme)” - “Welcome to Chippendales”
Songwriters: Dan Bern, Siddhartha Khosla, Robert Siegel, Mike Viola
Performer: Welcome to Chippendales cast
Music Supervisors: Jonathan Leahy, Manish Raval, Tom Wolfe

“Pussy Don’t Lie” - “Big Mouth”
Songwriters: Megan Pete, Mark Rivers
Performer: Megan Thee Stallion
Music Supervisor: Amanda Krieg Thomas

“Staplehead” - “Poker Face”
Songwriters: John Darnielle, Jamey Jasta
Performer: Doxxxology
Music Supervisor: Thomas Golubić

 

 

 

  
DOCUMENTARIES
Best Music Supervision for a Documentary

  • Justin Feldman - “All Up in the Biz”
  • Jonathan Finegold - “Little Richard: I Am Everything”
  • Joel C. High - “Maxine’s Baby: The Tyler Perry Story”
  • Susan Jacobs - “Wild Life”
  • Aminé Ramer, Andrea von Foerster - “Peter Case: A Million Miles Away”
  • Amani “Burt Blackarach” Smith - “Stamped from the Beginning”
  • Allison Wood - “Last Stop Larrimah”

 

 

Best Music Supervision in a Docuseries

  • Janet Billig Rich, Lisa Moberly - “Dear Mama” Season 1
  • James Cartwright - “Muscles & Mayhem: An Unauthorized Story of American Gladiators” Season 1
  • Kyle McKeveny, Joe Rudge - “The Super Models” Season 1
  • Andrea von Foerster - “Welcome to Wrexham” Season 2
  • Willa Yudell - “Arnold” Season 1

 

 

 

ADVERTISING
Best Music Supervision in Advertising (Synch)

  • Jeremy Daw, JT Griffith - Nike: A Feel for Every You
  • Andrew Kahn, Morgan Thoryk - Check ‘Em Out
  • Sunny Kapoor, Mike Ladman, Mara Techam - Going Out in Style in the Greatest Story Ever Worn
  • Sunny Kapoor, Mike Ladman, Brandy Ricker, Mara Techam – One Fair Exchange in the Greatest Story Ever Worn
  • Mike Ladman, Mara Techam – Rumble
  • Sara Matarazzo, Stephanie Pigott, Danielle Soury - American Gothic
  • Scott McDaniel - Run This Town - The Road to Halftime Starts on Rihanna Drive
  • Lilah Obregon-Wilson - Wear Your Shine - The Coach Shine Collection
  • Jonathan Wellbelove - iPhone 14 - Action Mode
     

 

 

Best Music Supervision in Advertising (Original Music)

  • Abbey Hendrix, Mika Sheerin, Jonathan Wellbelove - iPhone 15 Pro - On with the Show
  • Mike Ladman, Mara Techam - Unshattered
  • Mike Ladman, Mara Techam - More of Life Brought to Life - Sneakers
  • Sara Matarazzo, Stephanie Pigott, Danielle Soury - Xbox Series X|S - Wake Up and Dream
  • Nicole Palko, Jonathan Wellbelove - iPhone 15 Plus - Miss You

 

 

 

TRAILERS
Best Music Supervision in a Trailer – Film

  • Maggie Baron - “Problemista” - Official Trailer
  • Deric Berberabe, Jordan Silverberg - “Killers of the Flower Moon” - Official Trailer 2
  • Calum Brice-Stevens - “All of Us Strangers” - Official Trailer
  • Danny Exum, Derek Liner - “Sisu” - Official Trailer
  • Bobby Gumm - “Damsel” - Official Trailer
  • Angel Mendoza - “Killers of the Flower Moon” - Official Teaser Trailer
  • Scenery Samundra, Gregory Sweeney - “Priscilla” - Official Trailer 

 

 

Best Music Supervision in a Trailer – Series

  • Isaac Allaway, Eduardo Fontes Williams - “The Crown” Season 6 - Part 2 Trailer
  • Maggie Baron - “The Idol” - Official Teaser Trailer
  • Deric Berberabe, Jordan Silverberg - “Monarch: Legacy of Monsters” - Official Trailer
  • Deric Berberabe, Jordan Silverberg - “Swarm” - Official Trailer
  • Bobby Gumm - “The Witcher” Season 3 - Official Trailer
  • Rochelle Holguin Cappello, Katie Pool - “Yellowjackets” Season 2 - Official Trailer
  • Sanaz Lavaedian, Marina Polites - “Griselda” - Official Trailer

 

 

 
Best Music Supervision in a Trailer - Video Game & Interactive

  • Jonny Altepeter, Peter Li - “VALORANT” - Iso Agent Trailer - MYTHS
  • Rebecca Bergman, Brian Murphy - “Suicide Squad: Kill the Justice League” - Official Justice League Trailer - “No More Heroes”
  • Chris Fox, Kyle Hopkins - “South of Midnight” - Announce Trailer
  • Lindsey Kohon, Naaman Snell, Ryan Tomlin, Brandon Young - “Call of Duty: Modern Warfare III” - Gameplay Reveal Trailer
  • Raphaella Lima, Michael Sherwood - “Apex Legends: Ignite” Launch Trailer
  • Nick Maker - “Marathon” - Official Announce Trailer
  • Ryan Tomlin, Brandon Young - “Call of Duty: Modern Warfare III” - Makarov Reveal Trailer 

 

 

 

VIDEO GAMES
Best Music Supervision in a Video Game (Synch)

  • Alex Hackford - Marvel’s Spider-Man 2
  • Alex Hackford, Sophie Levine, Monty Mudd - MLB ‘23: The Show
  • Maya Halfon Cordova - Forza Horizon 5: Rally Adventure
  • Raphaella Lima, Cybele Pettus, Steve Schnur - EA SPORTS FC 24
  • Raphaella Lima, Cybele Pettus, Steve Schnur - F1 23
  • Raphaella Lima, Cybele Pettus, Steve Schnur - Madden NFL 24
  • Ryan Tomlin, Brandon Young - Call of Duty: Modern Warfare II, Season 2-6

 

 

Best Music Supervision in a Video Game (Original Music)

Alex Hackford, Scott Hanau, Keith Leary - Marvel’s Spider-Man 2
Composer: John Paesano
 
Simon Landry, Alex Riviere - Avatar: Frontiers of Pandora
Composer: Pinar Toprak
 
Steve Schnur - Star Wars Jedi: Survivor
Composers: Stephen Barton, Gordy Haab
 
Jaren Tolman - Hogwarts Legacy
Composers: Peter Murray, Chuck E. Myers, J. Scott Rakozy
 
Austin Wintory - Stray Gods: The Roleplaying Musical
Composers: Montaigne, Tripod, Austin Wintory
 
Brandon Young - Call of Duty: Modern Warfare III
Composer: Walter Mair

  • Wednesday, Jan. 17, 2024
Steely Dan, R.E.M., Timbaland, Hillary Lindsey and Dean Pitchford get into Songwriters Hall of Fame
Donald Fagen, left, and Walter Becker of Steely Dan pose at New York's S.I.R. Studios on Aug. 5, 1993, before a rehearsal for their upcoming tour. Becker died in 2017. Steely Dan, R.E.M., Timbaland, Hillary Lindsey and Dean Pitchford will be inducted into the Songwriters Hall of Fame. The induction ceremony will be held on June 13 in New York. (AP Photo/Richard Drew, File)
NEW YORK (AP) -- 

Steely Dan, R.E.M., Timbaland, Hillary Lindsey and Dean Pitchford will be inducted into the Songwriters Hall of Fame, an incoming class of musicians who have scaled the heights of country, classic rock, pop, hip-hop and alt-rock.

Steely Dan — co-founded by Donald Fagan and the late Walter Becker — finally get into the hall despite being a staple of classic rock with songs like "Reelin' in the Years," "Do It Again" and "Hey Nineteen." They went into the Rock & Roll Hall of Fame in 2001.

R.E.M. — the inducted members are Bill Berry, Peter Buck, Mike Mills and Michael Stipe — are behind such alt-rock hits as "Losing My Religion," "Everybody Hurts" and "It's the End of the World as We Know It (And I Feel Fine)." And Nashville hitmaker Lindsey helped write "Girl Crush" for Little Big Town and "Jesus, Take the Wheel" for Carrie Underwood.

The class of 2024 also includes Pitchford, who helped Kenny Loggins with the megahit "Footloose" and also co-wrote "Fame" and "Holding Out For a Hero," and producer-writer Timbaland, the mastermind behind Justin Timberlake's "SexyBack" and Missy Elliot's "Get Yer Freak On."

On the ballot but unlucky this year were Public Enemy, Bryan Adams, George Clinton, Tracy Chapman, Blondie, Heart, The Doobie Brothers and David Gates.

Eligible voting members turned in ballots with their choices of three nominees from the songwriter category and three from the performing-songwriter category. The induction ceremony will be held on June 13 in New York City.

Last year's inductees included Snoop Dogg, Gloria Estefan, Sade, Jeff Lynne, Glen Ballard and Teddy Riley. Some of those already in the hall include Carole King, Paul Simon, Billy Joel, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen and Tom Petty.

The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

  • Thursday, Jan. 11, 2024
AMP Awards for Music & Sound issues call for entries
The team from Human Worldwide accepts the Ryan Barkan Best in Show Award at last year's AMP Awards for Music & Sound for adidas' "Remember the Why" out of NY agency Johannes Leonardo.
NEW YORK -- 

The Association of Music Producers has issued the call for entries for the 2024 AMP Awards for Music & Sound, the ad industry’s only non-profit, juried competition for music and sound for brands. The deadline for submitting entries is March 1, 2024. AMP members who enter before the early bird deadline of February 5, 2024 will qualify for a 30 percent discount on all entries. 

To be eligible for the competition, work must have first aired or been released between February 27, 2023 and February 12, 2024. The AMP Awards features 13 categories covering everything from original music and sound design to best use of licensed music, outstanding adaptations/arrangements, outstanding mix, best artist and brand collaborations and audio-only executions. Entry to the competition is open to work commissioned by a client for release via streaming or linear TV, digital, mobile, experiential or other media able to deliver in the moving image. Winners will be honored at a gala awards presentation--which will include live performances from top artists--scheduled for May 15 at Sony Hall in New York City. 

This year marks the 11th anniversary of the AMP Awards, sponsored annually by the Association of Music Producers. AMP was established to give voice to the companies that provide brands with the power of music and sound to engage audiences and drive home the effectiveness of their messaging. 

“Each year, the AMP Awards shines a light on outstanding examples of how music and sound finds a way into consumers’ minds and hearts while underscoring their importance to the success of any piece of brand content,” said Carol Dunn, executive producer at Human Worldwide and president of AMP’s National Board. “As our signature event, the AMP Awards provides a showcase of the best work being done while honoring those who put their hearts and souls into what they do.”

The AMP Awards’ 2023 celebration broke attendance records, while the competition experienced an increase in entries and sponsor participation. The event kicked off with live music, as usual, this time performed by the Senegalese-American singer/songwriter Marieme, who performed two numbers, one of which was backed by singers from the acclaimed gospel group Sing Harlem. Her backup band included AMP members John “Scrapper” Sneider (Storefront Music), Paul Riggio (Groove Guild) and Georg Bissen (MetaTechnik). Also performing during the event was Hang The DJ, led by music industry veterans Charlie Davis and Francis Garcia, who’ve performed at every AMP Awards show since 2016. The Ryan Barkan Best in Show Award was presented to “Remember the Why,” produced by Human for adidas and the New York agency Johannes Leonardo. 

As the 2024 AMP Awards draws closer, the Association will continue showing its support for two important initiatives, both of which are funded by proceeds from the awards show. One is the AMP D&I scholarship program,  which recently announced its inaugural group of young scholars who’ll be provided with financial assistance and professional support as they launch their careers in music and sound. Also, the AMP Awards has been making ongoing contributions to the Musicians Foundation, which provides financial assistance to musicians in need.

For full details on entering, along with fees, category descriptions and rules, visit the AMP Awards entry portal here.

 

  • Wednesday, Jan. 10, 2024
Tennessee governor, music leaders launch push to protect songwriters and other artists against AI
Tennessee Governor Bill Lee, center, poses with legislative leadership, artists, songwriters, and others, during a news conference at RCA Records announcing new legislation designed to protect songwriters, performers and other music industry professionals against the potential dangers of artificial intelligence, Wednesday, Jan. 10, 2024 in Nashville, Tenn. (AP Photo/John Amis)
NASHVILLE, Tenn. (AP) -- 

Tennessee Gov. Bill Lee on Wednesday unveiled new legislation designed to protect songwriters, performers and other music industry professionals against the potential dangers of artificial intelligence.

Lee made the announcement while standing in the middle of Nashville's famed RCA Studio A, a location where legends such as Dolly Parton, Willie Nelson and Charley Pride have all recorded. Packed inside were top music industry leaders, songwriters and lawmakers, all eager to praise the state's rich musical history while also sounding the alarm about the threats AI poses.

"Tennessee will be the first state in the country to protect artists' voices with this legislation," Lee said. "And we hope it will be a blueprint for the country."

The legislation comes as states across the country and federal lawmakers wrestle with the challenge of curbing the dangers of AI. The bill hasn't been formally introduced inside the Tennessee Legislature and the text of the proposal has yet to be publicly distributed.

Lee said he wants to ensure that AI tools cannot replicate an artist's voice without the artist's consent. That involves turning to one of the state's most iconic residents: Elvis Presley.

The death of Presley in 1977 sparked a contentious and lengthy legal battle over the unauthorized use of his name and likeness, as many argued that once a celebrity died, their name and image entered into the public domain.

However, by 1984 the Tennessee Legislature passed the Personal Rights Protection Act, which ensured that personality rights do not stop at death and can be passed down to others. It states that "the individual rights … constitute property rights and are freely assignable and licensable, and do not expire upon the death of the individual so protected."

The move was largely seen as critical in protecting Presley's estate, but has since been praised as protecting the names, photographs and likenesses of all of Tennessee's public figures in the decades since.

It also was monumental in preserving name, photographs and likeness as a property right rather than a right of publicity. To date, only two other states — New York and California — have similar protections, making it easier to seek damages in court.

But no state currently has enacted protections against vocal likeness. And with AI posing a threat to almost every industry, artists and other creatives are increasingly calling for stronger protections against new AI tools that produce imagery, music, video and text.

"If a machine is able to take something from someone's lifetime and experience and re-create it without permission, or take someone's voice and use it without permission, let's just call it what it is: It's wrong," said four-time Grammy-nominated songwriter Jamie Moore.

Ultimately, the goal is to ensure that AI tools are not scraping and using an artist's song or voice in order to learn how to spit out a song itself without the artist's permission, said Bart Herbison, executive director of the Nashville Songwriters Association International. Another key aspect is fighting for proper payment.

Herbison said he watched generative AI tools advance from writing awkward songs in February of last year to spitting out moving and emotional pieces by October.

"What it can do now is freaky scary. It's all people can talk about in the writer's rooms," he said.

Other AI legislation is expected to pop up across the country as many statehouses resume work this month. Already in California, a lawmaker has proposed a measure requiring the state to establish safety, privacy, and nondiscrimination standards around generative-AI tools and services. Those standards would eventually be used as qualifications in future state contracts. Another proposal has been introduced to create a state-run research center to further study the technology.

On the federal level, the U.S. Copyright Office is weighing whether to enact copyright reforms in response to generative AI. Meanwhile, a bipartisan group of U.S. senators has introduced legislation called the No Artificial Intelligence Fake Replicas And Unauthorized Duplications Act of 2024. Supporters say the measure will combat AI deepfakes, voice clones and other harmful digital human impersonations.

  • Tuesday, Jan. 2, 2024
Les McCann, innovative jazz musician best known for "Compared to What," dies at 88
Jazz and soul pianist and singer Les McCann performs on stage during the opening of the 40th Montreux Jazz Festival at the Auditorium Stravinski, June 30, 2006, in Montreux, Switzerland. McCann, a prolific and influential musician and recording artist who helped found the “soul jazz” genre and became a favorite source for sampling by Dr. Dre, A Tribe Called Quest and other hip-hop performers, died Friday, Dec. 29, 2023. He was 88. (Martial Trezzini/Keystone via AP, File)
LOS ANGELES (AP) -- 

Les McCann, a prolific and influential musician and recording artist who helped found the soul-jazz genre and became a favorite source for sampling by Dr. Dre, A Tribe Called Quest and hundreds of other hip-hop performers, has died. He was 88.

McCann died Friday in Los Angeles a week after being hospitalized with pneumonia, according to his longtime manager and producer, Alan Abrahams.

A Lexington, Kentucky, native, McCann was a vocalist and self-taught pianist whose career dated back to the 1950s, when he won a singing contest while serving in the U.S. Navy and appeared on "The Ed Sullivan Show," the top variety program of its time. With admirers including Quincy Jones and Miles Davis, he went on tour worldwide and released dozens of albums, starting in 1960 with "Les McCann Ltd. Plays the Truth."

He was best known for "Compared to What," a funky protest song on which he first teamed up with his future musical partner, saxophonist Eddie Harris. Written by Eugene McDaniels and recorded live at the 1968 Monteaux Jazz Festival, "Compared to What" blended jazzy riffs and McCann's gospel-style vocals. The song condemned war, greed and injustice with such couplets as "Nobody gives us rhyme or reason/Have one doubt, they call it treason."

Among those covering "Compared to What" was Roberta Flack, a McCann protégé whose career he helped launch by setting up an audition with Atlantic Records. McCann was a pioneer in merging jazz with soul and funk. He would record with Flack and tour with such popular musicians as Wilson Pickett, Santana and the Staples Singers.

His other albums included "Talk to the People" (1972), "Layers" (1973) and "Another Beginning" (1974). Last month, Resonance Records issued "Never A Dull Moment! - Live from Coast to Coast (1966-1967)."

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