Current Music ONE Sheet MADDIE.Pages

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Who We Are & What We Do Current Music is a new company focused on scoring for films, television shows and marketing campaigns. We also produce original songs for artists as well as media. With over 50 years combined experience, Maddie Madsen, CEO and Christian Salyer, COO have completed over 300 albums of production music, building unique brands for companies like Universal, Warner Chappell, Blazed Out Music, Ear Parade and Ole. We have also produced songs and network theme songs for several Major Feature Films, Disney Channel, The Golf Channel, Toyota, Old Navy, NBC, NBC Sports, Fox Sports, Comcast, Disney XD, Lionsgate TV, Unilever, and The Lakers. Current Music recently scored our first TV series (Venom), a Feature Film (Knucklebones) and created all of the sonic branding, including the sonic logo, for the cross-platform Fitness Network RADIUS. Sync Different! To diversify your productions, we exclusively represent 25 carefully chosen, highly diverse, world class music catalogs, encompassing over 60,000 tracks. This allows us to offer exceptional and unique scores for scripted and unscripted television series, new media content, films, advertising and video games. Leaning heavily on the teams’ rap, hip hop, pop and EDM strengths, the combination of originally composed themes, custom songs and scoring with big band, classical, opera, ethnic music, archival music and other hard to find pieces, give any production a truly original sound while keeping your costs in check. Why We Are Unique Our composers and artists are EXCLUSIVE to us for Film/TV/Advertising music and do not write for other Music Libraries, either. Our artists have worked with Dr. Dre, Ellie Goulding, Lil Wayne, Beyonce, Celldweller, Madonna, Tyrese, Babyface, Michael Jackson, Brandy, Busta Rhymes, Kelly Price, David Bowie, JoJo, Seal, Mary Mary, Paul Oakenfold, KRS-One, Kelly Rowland, David Banner, Fantasia, The Crystal Method, Kevon Edmonds, Marc Nelson, Harvey Mason, Howard Hewett, Dawn Robinson, Freddie Jackson, and Disney star Ross Lynch (R5). Current Music™ Los Angeles ~ Canada +1 323 813 5944 www.currentmusic.com Contact: Maddie Madsen.

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Kenny G Bio 2018
A phenomenally successful instrumentalist whose recordings routinely made the pop, R&B, and jazz charts during the 1980s and ’90s, Kenny G‘s sound became a staple on adult contemporary and smooth jazz radio stations. He’s a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of “contemporary jazz” charts and is identified with jazz in the minds of the mass public, he is classified as jazz. Kenny Gorelick started playing professionally with Barry White‘s Love Unlimited Orchestra in 1976. He recorded with Cold, Bold & Together (a Seattle-based funk group) and freelanced locally. After graduating from the University of Washington, Kenny G worked with Jeff Lorber Fusion, making two albums with the group. Soon he was signed to Arista, recording his debut as a leader in 1982. His fourth album, Duotones(which included the very popular “Songbird”), made him into a star. Soon he was in demand for guest appearances on recordings of such famous singers as Aretha Franklin, Whitney Houston, and Natalie Cole. Kenny G’s own records have sold remarkably well, particularly Breathless, which has easily topped eight million copies in the U.S.; his total album sales top 30 million copies. The holiday album Miracles, released in 1994, and 1996’s Moment continued the momentum of his massive commercial success. He also recorded his own version of the Celine Dion/Titanic smash “My Heart Will Go On” in 1998, but the following year he released Classics in the Key of G, a collection of jazz standards like “‘Round Midnight” and “Body and Soul,” possibly to reclaim some jazz credibility.
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Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot.
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Eric Hartzog Senior Guitar Recital
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Eric Hartzog Senior Guitar Recital Tuesday, November 20, 2012 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the evening program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM Heart of Life John Mayer • b. 1977 Old ‘82 Eric Hartzog • b. 1989 Satin Doll Duke Ellington • 1899 - 1974 Human Nature Michael Jackson • 1958 - 2009 Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars INTERMISSION Waiting on the World to Change John Mayer Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars Belief John Mayer Eric Hartzog, Mr. Dennis Bonds, Scott Foreman, Jazz Guitars Blues Jam Dennis Bonds • b. 1969 & E. Hartzog Voodoo Chile Jimi Hendrix • 1942 - 1970 Change the World Eric Clapton • b. 1945 Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars PROGRAM NOTES The Heart of Life Old ‘82 John Mayer based a lot of his music around his An Eric Hartzog original, this is loosely based on personal relationships and in The Heart of Life, a very special memory for me! Though the title you can’t help but see that being poured out. To suggests that it’s about my father’s old 1982 me, I think it means that no matter how bad pickup truck, it is really about the precious time things are, no matter how bad it hurts, no matter I spent with him during those years.
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The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
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Boogie Woogie Santa Claus Tractors
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00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs. 00:00:05 Oliver Wang Host Hello, I’m Oliver Wang. 00:00:07 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes 00:00:09 Oliver Host Every episode we invite a guest to join us to talk about a heat rock, hot lava. And today we are going to be joining hands to take it back to 1994 and Two—or maybe it’s just II, I don’t know—the second album by the R&B mega smash group, Boyz II Men. 00:00:30 Music Music “Thank You” off the album II by Boyz II Men. Smooth, funky R&B. (I like this, I like this, I like...) I was young And didn't have nowhere to run I needed to wake up and see (and see) What's in front of me (na-na-na) There has to be a better way Sing it again a better way To show... 00:00:50 Morgan Host Boyz II Men going off, not too hard, not too soft— [Oliver says “ooo” appreciatively.] —could easily be considered a bit of a mantra for Shawn, Wanya, Nathan, and Michael, two tenors, a baritone, and a bass singer from Philly, after their debut album. The one that introduced us to their steez, and their melodies. This one went hella platinum. The follow-up, II. This album had hits that can be divided into three sections. Section one, couple’s therapy.
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3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
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Song List for Your Review
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