Podcasts about nielsen soundscan

According to a 2023 report from Luminate, formerly known as Nielsen SoundScan, over 120,000 new tracks are uploaded to the music streaming service Spotify every day. That's over 36,500,000 tracks per year. According to that same report, over 45 million of those tracks never received a single play. That's bad news for musicians as Spotify recently announced that it would cease making royalty payments for songs with less than 1,000 annual streams.  But all hope is not lost, Ulyssa, an Indiana-based record label, is dedicated to discovering and celebrating the vast trove of unheard music on Spotify. This week on Cultural Manifesto, listen to an interview with Ulyssa founders John Williamson and Eric Deines.  Ulyssa also issues a wide variety of lo-fi, electronic, and experimental music from across the globe. A recent release, titled Contrahouse, features the Grammy-winning pianist and singer-songwriter Bruce Hornsby. Ulyssa has even coined a new genre of music, they call it Toejazz, a reference to the 1991 Sega Genesis video game Toejam and Earl.

According to a 2023 report from Luminate, formerly known as Nielsen SoundScan, over 120,000 new tracks are uploaded to the music streaming service Spotify every day. That's over 36,500,000 tracks per year. According to that same report, over 45 million of those tracks never received a single play. That's bad news for musicians as Spotify recently announced that it would cease making royalty payments for songs with less than 1,000 annual streams.  But all hope is not lost, Ulyssa, an Indiana-based record label, is dedicated to discovering and celebrating the vast trove of unheard music on Spotify. This week on Cultural Manifesto, listen to an interview with Ulyssa founders John Williamson and Eric Deines.  Ulyssa also issues a wide variety of lo-fi, electronic, and experimental music from across the globe. A recent release, titled Contrahouse, features the Grammy-winning pianist and singer-songwriter Bruce Hornsby. Ulyssa has even coined a new genre of music, they call it Toejazz, a reference to the 1991 Sega Genesis video game Toejam and Earl.

pWotD Episode 2427: The Chicks Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 419,934 views on Sunday, 24 December 2023 our article of the day is The Chicks.The Chicks (formerly the Dixie Chicks) are an American country music band from Dallas, Texas. Since 1995, the band has consisted of Natalie Maines (lead vocals, guitar) and sisters Martie Maguire (vocals, fiddle, mandolin, guitar) and Emily Strayer (vocals, guitar, banjo, Dobro). Maguire and Strayer, both née Erwin, founded the band in 1989 in Dallas, Texas, with bassist Laura Lynch and vocalist and guitarist Robin Lynn Macy. They performed bluegrass and country music, busking and touring the bluegrass festival circuits and small venues for six years without attracting a major label. In 1992, Macy left and Lynch became the lead vocalist. Upon signing with Monument Records Nashville in 1997 and replacing Lynch with Maines, the Dixie Chicks achieved success with their albums Wide Open Spaces (1998) and Fly (1999). After Monument closed its Nashville branch, the Dixie Chicks moved to Columbia Records for Home (2002). These albums achieved multi-platinum sales in the United States, Canada, and Australia, along with several charting singles on the American Billboard Hot Country Songs charts. "There's Your Trouble", "Wide Open Spaces", "You Were Mine", "Cowboy Take Me Away", "Without You", and a cover of Bruce Robison's "Travelin' Soldier" reached number one. The Dixie Chicks also reached number one on the Adult Contemporary chart with their 2002 cover of Fleetwood Mac's "Landslide".Days before the 2003 invasion of Iraq, Maines told a London audience that the Dixie Chicks did not endorse the war and were ashamed of US President George W. Bush being from Texas. The remarks triggered boycotts in the US and a backlash from fans. After a hiatus, the Dixie Chicks released Taking the Long Way in 2006, an album informed by the backlash. "Not Ready to Make Nice" became their biggest crossover single, reaching number four on the Billboard Hot 100. After another hiatus, Maguire and Strayer released an album in 2009 as the Court Yard Hounds. The Dixie Chicks reunited to tour in the 2010s. In 2020, they removed "Dixie" from their name, citing negative connotations, and released their first album in 14 years, Gaslighter.The Chicks have won 13 Grammy Awards, including five in 2007 for Taking the Long Way, which received the Grammy Award for Album of the Year, and its single "Not Ready to Make Nice", which received the Grammy Award for Record of the Year and the Grammy Award for Song of the Year. By July 2020, with 33 million certified albums sold and sales of 27.9 million albums in the US, the Chicks had become the best-selling all-woman band and best-selling country group in the US during the Nielsen SoundScan era (1991–present).This recording reflects the Wikipedia text as of 01:58 UTC on Monday, 25 December 2023.For the full current version of the article, see The Chicks on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Aria Neural.

We join a GANG!!! Patreon: patreon.com/duhheadsBUY OUR SHIRT!!! https://brohemiangrove.com/products/duh-heads-f-a-g-logo-mens-t-shirtInsane Clown Posse, often abbreviated as ICP, is an American hip hop duo. Formed in Detroit in 1989, ICP's best-known lineup consists of rappers Violent J (Joseph Bruce) and Shaggy 2 Dope (originally 2 Dope; Joseph Utsler). Insane Clown Posse performs a style of hardcore hip hop known as horrorcore and is known for its elaborate live performances. The duo has earned two platinum and five gold albums. According to Nielsen SoundScan, the entire catalog of the group had sold 6.5 million units in the United States and Canada as of April 2007.[2] The group has established a dedicated following called Juggalos numbering in the "tens of thousands".[3]Originally known as JJ Boyz and Inner City Posse, the group introduced supernatural and horror-themed lyrics as a means of distinguishing itself stylistically. The duo founded the independent record label Psychopathic Records with Alex Abbiss as manager, and produced and starred in the feature films Big Money Hustlas and Big Money Rustlas. They formed their own professional wrestling promotion, Juggalo Championship Wrestling, and have collaborated with many hip hop and rock musicians.The songs of Insane Clown Posse center thematically on the mythology of the Dark Carnival, a metaphoric limbo in which the lives of the dead are judged by one of several entities. The Dark Carnival is elaborated through a series of stories called Joker's Cards, each of which offers a specific lesson designed to change the "evil ways" of listeners before "the end consumes us all".

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Overkill es una banda estadounidense de thrash metal formada en 1980 en la ciudad de Old Bridge, Nueva Jersey. Es considerada una de las pioneras de este estilo, además de ser una de las agrupaciones enmarcada en el thrash metal que más álbumes ha publicado a nivel mundial. A lo largo de su carrera la banda ha experimentado constantes cambios en su alineación, siendo el cantante Bobby "Blitz" Ellsworth y el bajista D.D. Verni los únicos miembros de la formación original que aún continúan en la agrupación.​ A menudo se les menciona como los "Motörhead del thrash metal".​ Al igual que otras bandas como Iron Maiden, Megadeth o los mismos Motörhead, Overkill creó una especie de mascota a la que llaman "Chaly". Se trata de un murciélago esquelético con una calavera humana como cara, cuernos, alas óseas y ojos verdes. Chaly ha aparecido en la mayoría de las portadas de sus discos. A la fecha, Overkill ha publicado 19 álbumes de estudio, uno de versiones, tres EP y tres álbumes en vivo. Fueron una de las primeras bandas de thrash metal en fimar con una discográfica importante (Atlantic Records en 1986), pero no lograron el éxito masivo de sus contemporáneos Anthrax, Exodus, Metallica, Megadeth, Slayer y Testament. Sus álbumes más populares y exitosos son Under the Influence (1988), The Years of Decay (1989), I Hear Black (1993), The Electric Age (2012) y White Devil Armory (2014), los cuales debutaron en las posiciones 142.ª, 155.ª, 122.ª, 77.ª y 31.ª respectivamente en la lista de éxitos estadounidense Billboard 200.​ En 2006, Overkill había vendido cerca de 625.000 copias de sus álbumes en los Estados Unidos desde la fundación del sistema Nielsen SoundScan y cerca de 16 millones de discos en todo el mundo al 2012.​ Overkill fue uno de los primeros grupos de thrash metal en aparecer en la escena. Formados originalmente en Nueva Jersey por D. D. Verni Y Rat Skates (sus nombres reales son Carlos Verni Y Lee Kundrat), aunque bajo el nombre de "The Lubricunts". Para avanzar con el proyecto, D.D. Verni puso un anuncio en un periódico local en busca de vocalista, anuncio que respondió un tal Bobby Ellsworth, que, por aquel tiempo tocaba también el bajo. Bobby fue contratado y junto con él apareció el primer guitarrista de la banda proveniente de la anterior agrupación de Ellsworth. Durante algún tiempo la banda fue dando tumbos, al igual que su nombre, el cual cambió varias veces hasta asentarse como Overkill.​ Inicialmente se dedicaron a hacer versiones de canciones de punk de bandas como The Ramones, Aron mc Garrigle y The Dead Boys, entre otros. Luego empezaron a versionar canciones como "Overkill" de Motörhead, "Prowler" de Iron Maiden o "Tyrant" de Judas Priest. En 1981, luego del abandono del guitarrista Robert Pisarek, ingresaron otros guitarristas a la agrupación, entre ellos Dan Spitz (quien integraría Anthrax poco tiempo después), Anthony Ammendola, Rich Conte, Mike Sherry y finalmente Bobby Gustafson.​ Posteriormente la banda comenzó a escribir sus propios temas, entre esas canciones destacan "Grave Robbers" (nombrada luego "Raise the Dead"), "Overkill" y "Unleash the Beast (Within)", esta última contenida en el demo Power in Black, publicado el 14 de septiembre de 1983, y considerada una de las primeras muestras de thrash metal de la historia. Para ese entonces, Overkill inició una etapa de presentaciones en clubes nocturnos en Nueva York y Nueva Jersey. En 1983, la alineación compuesta por Rat Skates, D.D. Verni, Bobby Gustafson y Blitz publica el mencionado demo Power in Black, grabación que causaría un gran impacto entre los coleccionistas “underground”. La canción "Feel the Fire" fue incluida en el compilado New York Metal '84 y la canción "Death Rider" apareció en el quinto volumen de la legendaria serie de compilaciones Metal Massacre. Tras la repercusión del demo, la banda aseguró un contrato con la disquera Azra/Metal Storm Records, que dio como resultado el EP Overkill de 1984, el cual agotó sus existencias en poco tiempo. Jon Zazula, propietario de Megaforce Records, decidió darle un contrato a la banda luego de escuchar el EP. Con Megaforce la agrupación grabó su primer larga duración: Feel the Fire en 1985. Entre 1985 y 1986 la banda salió de gira en soporte de su nuevo álbum, inicialmente abriendo conciertos en los Estados Unidos para Megadeth (que se encontraban en ese momento promocionando su disco Peace Sells) y luego junto a Anthrax y Agent Steel en territorio europeo. 1987 marcó el lanzamiento de la segunda producción de Overkill: Taking Over, publicado por Megaforce en cooperación con Atlantic Records. Este trabajo discográfico les valió el reconocimiento inmediato, especialmente por la canción "In Union We Stand", cuyo vídeo obtuvo fuerte rotación. Siguió otra gira por Europa, en este caso junto a los alemanes Helloween. A finales de 1987 publicaron un EP titulado !!!Fuck You!!!, que consistía en un cover de la canción del mismo nombre (original de la banda canadiense Subhumans) y de algunas versiones en vivo grabadas en Cleveland ese mismo año. 1987 también trajo consigo el abandono del baterista Rat Skates. Fue reemplazado por Mark Achabal para dar algunos conciertos, y luego de manera definitiva por Bob "Sid" Falck (anterior miembro de la banda Paul Di'Anno's Battlezone). Overkill lanza Under the Influence en 1988. Producido por Alex Perialas, Under the Influence presentó un sonido mucho más agresivo que Taking Cover. La canción "Hello From The Gutter" fue publicada como sencillo, con su vídeo rotando frecuentemente en el programa Headbangers Ball del canal MTV. Overkill siguió girando alrededor del mundo de manera constante. En 1989 vio la luz The Years of Decay, producido por el famoso Terry Date (Pantera, White Zombie y Soundgarden). El álbum se convirtió en un éxito instantáneo, mezclando la agresividad de Under the Influence con elementos épicos y estructuras musicales complejas. "Elimination" fue lanzada como sencillo. La gira soporte del disco se llevó a cabo en parte en una serie de conciertos llamada "Dawn of the Decade", junto a sus compañeros de disquera Testament. En 1990, el guitarrista y compositor Bobby Gustafson abandona Overkill. Verni y Gustafson habían tenido problemas en cuanto a la dirección que estaba tomando la banda, con Blitz compartiendo la misma opionión que Verni, y pidiéndole a Gustafson que abandonara el proyecto. Se añadieron dos nuevos guitarristas a la formación, Rob Cannavino y Merritt Gant. La nueva formación graba Horrorscope, nuevamente con el productor Terry Date, en 1991. El álbum es considerado como el más pesado de su catálogo, esto influenciado principalmente por los aportes de los dos nuevos guitarristas. Sin embargo, durante la gira promocional del disco, Sid Falck abandona la formación, interesado en grabar otro tipo de música. Fue reemplazado por el baterista Tim Mallare, con el que grabaron el álbum I Hear Black, producido esta vez por Alex Perialas y lanzado exclusivamente por la disquera Atlantic Records. Nuevamente se presentó un cambio en el sonido, esta vez influenciado por el stoner y el blues rock similar al sonido de Black Sabbath. Se grabó un vídeo para "Spiritual Void", aunque no logró la rotación esperada. La gira en soporte del álbum en tierras europeas los llevó a compartir escenario con Savatage. El séptimo álbum de la banda, W.F.O., fue publicado el 15 de julio de 1994. El disco retoma el sonido rápido y agresivo de sus primeras producciones, abandonando la experimentación. El vídeo de la canción "Fast Junkie" fue prácticamente ignorado por MTV, debido principalmente al protagonismo que estaban tomando bandas como Nirvana, Alice in Chains y Pearl Jam en el canal musical.​ Todos estos factores, sumado el decaimiento del género a mediados de los años 1990, llevaron a que Atlantic Records dejara de publicar discos de Overkill. En 1995 se publica el primer directo de la banda, Wrecking Your Neck Live bajo el sello CMC International. Ese mismo año Cannavino y Gant deciden dejar la banda; Rob Cannavino para enfocarse en su pasión: las motocicletas, y Merritt Gant para pasar más tiempo junto a su familia. Se contrató a Joe Comeau, cantante de la banda Liege Lord, ahora encargado de las guitarras. Comeau trajo consigo al guitarrista Sebastian Marino (ex-Anvil), con el que había trabajado en proyectos anteriores. La nueva alineación grabó el disco The Killing Kind en 1996, producido por la propia banda y mezclado por Chris Tsangarides (Judas Priest, Tom Jones, Thin Lizzy y Gary Moore, entre otros). Aunque la respuesta por parte de la crítica al álbum fue generalmente positiva, una porción de sus fanáticos se vio defraudado por lo "moderno" del sonido, que incorporaba elementos del recién surgido hardcore.​ En octubre de 1997 sale a la luz From the Underground and Below, conservando la misma fórmula de su producción anterior y agregando algunos elementos de metal industrial, particularmente notorios en la canción "Save Me". Se grabó un vídeoclip para la canción "Long Time Dyin'", pero su exposición en la televisión fue prácticamente nula. En 1998 nuevamente la banda optó por hacer la gira promocional solamente en Europa, esta vez acompañados de las bandas Nevermore, Angel Dust y Nocturnal Rites. En 1998, Blitz fue diagnosticado con cáncer nasal y fue sometido a cirugía inmediatamente, logrando controlar la enfermedad. Luego de su operación, la banda empezó a trabajar en su décimo álbum, que terminó llamándose Necroshine y fue publicado en febrero de 1999. Dave Linsk ingresó en la banda en reemplazo de Sebastian Marino. Septiembre de 1999 vio el lanzamiento de Coverkill, un álbum consistente en versiones de bandas que influenciaron el sonido de Overkill en sus primeros años, como Black Sabbath, Kiss, Motörhead, Manowar, Deep Purple, Judas Priest, The Sex Pistols y The Ramones. Una gira fue llevada a cabo para promocionar Necroshine y Coverkill en el año 2000 junto a las bandas Annihilator y Dew-Scented. La agrupación retornó al estudio esta vez sin Joe Comeau, y a finales del año 2000 grabó Bloodletting, producido por la banda y mezclado por Colin Richardson. Luego de tomar un descanso de dos años, Overkill regresó a escena con Wrecking Everything, su segunda producción en vivo, grabada en el Teatro Paramount en Asbury Park, Nueva Jersey. La gira de ese mismo año en promoción de Bloodletting y Wrecking Everything vio a Blaze y Wicked Mystic abriendo para Overkill. La agrupación logró un contrato con Spitfire Records e ingresó al estudio a finales de 2002 para grabar el disco Killbox 13. A finales del año 2004, luego de una gira por Japón junto a Death Angel y Flotsam and Jetsam, la banda empezó a trabajar en otro disco en el estudio privado de D.D. Verni. ReliXIV fue publicado en marzo de 2005. Tim Mallare abandona y es reemplazado por Ron Lipnicki. Ese mismo año Overkill anuncia su primera gira por la costa oeste estadounidense en más de diez años, convirtiéndose en un éxito de taquilla. Luego de su experiencia con Spitfire, Overkill firmó un contrato con el sello Bodog Records y lanzó su decimoquinta producción, Immortalis, el 9 de octubre de 2007. El cantante Randy Blythe (Lamb of God) aportó su voz para la canción "Skull And Bones". El 30 de octubre de 2009 la banda firma con Nuclear Blast Records. El álbum Ironbound — descrito como una obra maestra del thrash metal — fue publicado el 9 de febrero de 2010.​The Electric Age (2012) y White Devil Armory (2014) fueron los siguientes discos, nuevamente producidos bajo el sello Nuclear Blast.​​ En 2013 la banda se embarca en la gira Dark Roots of Thrash junto a Testament y Flotsam and Jetsam. Sin embargo, su presentación del 15 de febrero en Huntington fue cancelada por problemas de salud de Bobby "Blitz".​ Esto ocasionó que la banda fuera excluida del resto de la gira.​ El 16 de abril de 2016 la banda dio un concierto en la ciudad de Oberhausen, donde tocaron los álbumes Feel the Fire y Horrorscope en su totalidad. El concierto fue grabado de manera profesional, y se planea utilizar el material para la edición de un DVD.​ El 11 de agosto de 2016, Bobby Ellsworth reveló en una entrevista el título del nuevo álbum de la banda, el cual llevaría por nombre The Grinding Wheel. El álbum fue publicado finalmente el 10 de febrero de 2017 por el sello Nuclear Blast.​ El 6 de mayo de 2017, Overkill anuncia la incorporación de Jason Bittner como batería para cubrir la baja de Ron Lipnicki.​ El 22 de febrero de 2019 lanzan su decimonoveno álbum de estudio de material propio titulado The Wings of War.​ En abril de 2020, D. D. Verni avanzó que están trabajando en un nuevo álbum, con 9 temas ya escritos, para lanzarlo antes de la gira europea de marzo de 2021. Estos planes han quedado en el aire debido al Covid-19.​ Pagina Oficial: https://www.facebook.com/OverkillWreckingCrew/?locale=es_ES

Chazz brings you episodes 3 and 4 of his record review YouTube Channel! This week is Metallica - Black Album and Marilyn Manson - Eat Me Drink Me!! Please subscribe to the Podcast and The channel at Chazz's Rock Record Review!!Chazz shows off the 2021 pressing of Metallica's self-titled album (The Black Album). And he gives his honest review of the music!!Metallica (commonly known as The Black Album) is the fifth studio album by American heavy metal band Metallica. It was released on August 12, 1991, by Elektra Records. Recording sessions took place at One on One Studios in Los Angeles over an eight-month span that frequently found Metallica at odds with their new producer Bob Rock. The album marked a change in the band's music from the thrash metal style of their previous four albums to a slower, heavier, and more refined sound.Metallica promoted Metallica with a series of tours. They also released five singles to promote the album: "Enter Sandman", "The Unforgiven", "Nothing Else Matters", "Wherever I May Roam", and "Sad but True", all of which have been considered to be among the band's best-known songs. The song "Don't Tread on Me" was also issued to rock radio shortly after the album's release but did not receive a commercial single release.Metallica received widespread critical acclaim and became the band's best-selling album. It debuted at number one in ten countries and spent four consecutive weeks at the top of the Billboard 200, making it Metallica's first album to top the album charts. Metallica is one of the best-selling albums worldwide, and also one of the best-selling albums in the United States since Nielsen SoundScan tracking began. The album was certified 16× platinum by the Recording Industry Association of America (RIAA) in 2012, and has sold over sixteen million copies in the United States, being the first album in the SoundScan era to do so.Metallica played Metallica in its entirety during the 2012 European Black Album Tour. In 2020, the album was ranked number 235 on Rolling Stone's The 500 Greatest Albums of All Time list.[6] In December 2019, Metallica became the fourth release in American history to enter the 550-week milestone on the Billboard 200. It also became the second longest-charting traditional title in history only behind The Dark Side of the Moon (1973) by Pink Floyd, and the second to spend 550 weeks on the album charts.[_______________________________________________________In this 4th installment of The Rock Record Review, Chazz breaks down the 2007 Marilyn Manson Release "EAT ME DRINK ME". This album has some killer guitar work and some real deep lyrics. It's a forgotten album and definitely a hidden gem!Eat Me, Drink Me is the sixth studio album by American rock band Marilyn Manson. It was released on June 5, 2007, by Interscope Records. It was recorded in a rented home studio in Hollywood by lead vocalist Marilyn Manson and guitarist and bassist Tim Sköld, and was produced by Manson and Sköld. It was the band's first album not to be recorded as a five-piece, as John 5 departed from the group in 2004. Instead of replacing 5, Tim Sköld remained with bass and played guitar, and the band continued as a four-piece. Manson has stated that he sang most of the album lying down on the studio floor with his hands cupping the studio microphone, resulting in a very distinctive vocal sound. Of Sköld's compositions, a further two are said to have been turned into fully-fledged songs with lyrics, music and vocals completed but were not put onto album for fear of making it overwrought.[3]Upon its release, Eat Me, Drink Me was met with positive reviews from critics, and debuted at number eight on the US Billboard 200. The album was the last to feature band member Tim Sköld, and spawned two singles ("Heart-Shaped Glasses (When the Heart Guides the Hand)" and "Putting Holes in Happiness").

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Napalm Death es una banda británica de grindcore y death metal, formada en Meriden, West Midlands, Inglaterra, en 1981.​ Aunque ninguno de los músicos originales permanece en el grupo, la alineación consistente en el vocalista Mark "Barney" Greenway, el bajista Shane Embury, el guitarrista Mitch Harris y el baterista Danny Herrera ha permanecido inamovible desde 1997-2015, el guitarrista Mitch Harris sale y entra John Cooke. Napalm Death son considerados como los pioneros del grindcore, incorporando elementos del hardcore punk, crust punk, rock alternativo, freakbeat , art rock y el sonido de la nueva ola de heavy metal británico, usando guitarras fuertemente distorsionadas y ritmos desenfrenados, al igual que voces incomprensibles. Sus letras normalmente son una crítica socio-política o a veces sobre relaciones amorosas de los miembros de la banda. El álbum debut, titulado Scum, lanzado en 1987 por Earache Records, se convirtió en una gran influencia para las bandas del grindcore que empezarían a surgir.​ De acuerdo al libro de los Guinness Records, «You Suffer» es la canción más corta de la historia, con tan solo 1.316 segundos de duración. Napalm Death han lanzado 15 discos de estudio, y son reconocidos por Nielsen SoundScan como la décima banda de grindcore con mayores ventas de discos en los Estados Unidos.​ La banda inició con un estilo grindcore, siendo pioneros en ese sonido. Sin embargo, con los años fueron evolucionando hacia el Death metal. Por su parte, la agrupación dice que su estilo es una fusión entre varios subgéneros, como el art rock, speed metal, freakbeat y avant-garde, dándole un toque pesado y liviano ala vez a su música. Entre sus influencias se destacan Wishbone Ash, Journey, Def Leppard, Saxon, Kix, Black Flag, Black Sabbath, Rush, The Smiths, Soundgarden, Nazareth, Rose Tattoo, Aerosmith, Discharge y Motörhead. Pagina Oficial: https://napalmdeath.org/

Welcome back to PART 2 of our SWV “It's About Time” journey. In this episode, Angie (@poetrysoul3) and Steffi (@inn_mho) break down the era! In our Era Breakdown episodes, we touch on so many topics like career context, controversies/scandals of the era, marketing, music videos, live performances, album stats, and the album & era's ultimate impact and legacy. For this episode, we discuss SWV's faulty contract and (yet again) how one particular member was more or less pushed as the lead of the group which caused major tension within SWV. We also talk about Michael Jackson's generosity, the confusing chaos of SWV's music videos, and two of our favorite live performances. And as per usual, we end the episode reflecting on the ultimate impact that the SWV's' “It's About Time” had in music and the girl group pantheon. Again, this is part 2 of the conversation! So make sure you listen to part 1 where we discussed the album track by track. We hope you enjoyed our SWV “It's About Time” journey! Album Info: It's About Time is the debut studio album by American female R&B trio SWV. It was released by RCA Records on October 27, 1992, in the United States. It earned 11 Billboard Music Award nominations and became the 16th best-selling album of 1993 in the United States, with 2,100,000 copies sold according to Nielsen SoundScan. It also earned SWV a nomination for Best New Artist at the 36th Grammy Awards. In 1996, It's About Time was certified 3× platinum, for shipping over 3,000,000 albums in the US alone. The album spawned five hit singles with "I'm So into You", "Downtown", "Weak", a remixed version of "Right Here/Human Nature" (the latter two reached number one on the R&B singles chart, with "Weak" being their biggest and only number-one pop hit), and "You're Always on My Mind" (shortened to "Always on My Mind" for single release). A remixed version of "Anything" appeared on the soundtrack of the film Above the Rim in 1994 and was released as the final single from It's About Time.*Email us for show notes: divadailiespod@gmail.com*Twitter & Instagram: @divadailiespod*YouTube: Diva Dailies PodcastSTEFFI'S SOCIAL MEDIA:*Twitter & Instagram: @inn_mho*YouTube: innmyhumbleopinionANGIE'S SOCIAL MEDIA:*Twitter: @poetrysoul3*YouTube: Sleepy Nerd ProductionsTIME STAMPS:- Housekeeping (01:00)- Listener Feedback: (02:45) Era Breakdown (07:06)- Pop Corn & Pop Stars (07:44)- Spill the Technicolor Tea (11:39)- But We Need the Audience to Buy the Album (32:01)- Video Killed the Radio Star (37:33)- The Mic Is On (47:03)- Show Me the Receipts (51:27)- Impact/ Closing Thoughts (54:47)- Preview Next Week's Episode (57:27)

We're going back to the 90s and talking about one of Angie's favorite girl groups of all time, the Sisters With Voices: SWV. In this episode of Diva Dailies, Angie (@poetrysoul3) and Steffi (@inn_mho) review SWV's debut album entitled, “It's About Time” (1992). But before we talk about the album, we read listener feedback (which, THANK YOU FOR THAT) and briefly talk about our anticipation (or lack thereof) for Beyoncé's imminent Renaissance. Also fair warning: a very cringe/corny/unexpected edit happens in this episode. That one goes out to the Killing Eve fans, lol.As we do in all of our Diva Discography episodes, part 1 is an in-depth review and discussion on EVERY SINGLE TRACK of the album. We then end our conversation sharing our Top 3 favorite songs from the album, 1 song we'd cut, and the underrated gem. Make sure you tune in next week for part 2 when we talk about SWV's It's About Time era.Album Info: It's About Time is the debut studio album by American female R&B trio SWV. It was released by RCA Records on October 27, 1992, in the United States. It earned 11 Billboard Music Award nominations and became the 16th best-selling album of 1993 in the United States, with 2,100,000 copies sold according to Nielsen SoundScan. It also earned SWV a nomination for Best New Artist at the 36th Grammy Awards. In 1996, It's About Time was certified 3× platinum, for shipping over 3,000,000 albums in the US alone. The album spawned five hit singles with "I'm So into You", "Downtown", "Weak", a remixed version of "Right Here/Human Nature" (the latter two reached number one on the R&B singles chart, with "Weak" being their biggest and only number-one pop hit), and "You're Always on My Mind" (shortened to "Always on My Mind" for single release). A remixed version of "Anything" appeared on the soundtrack of the film Above the Rim in 1994 and was released as the final single from It's About Time.*Email us for show notes: divadailiespod@gmail.com*Twitter & Instagram: @divadailiespod*YouTube: Diva Dailies PodcastSTEFFI'S SOCIAL MEDIA:*Twitter & Instagram: @inn_mho*YouTube: innmyhumbleopinionANGIE'S SOCIAL MEDIA:*Twitter: @poetrysoul3*YouTube: Sleepy Nerd ProductionsEPISODE TIME STAMPS:- Housekeeping (01:03)- Friendly Reminder to Review the Pod! (01:24)- Listener Feedback (02:59)- Diva Headlines (17:27)- Oscar & Razzie Moment of the Week (20:47)- Opening Discussions: Album Intro (28:53)- Opening Discussions: Our First Listening Experience & Initial Impressions (30:29)Track by Track Review- Anything (42:09)- I'm So Into You (45:28)- Right Here (49:18)- Weak (52:22)- You're Always On My Mind (58:28)- Downtown (60:53)- Coming Home (65:22)- Give It To Me (67:42)- Blak Pudd'n (69:04)- It's About Time (73:25)- Think You're Gonna LIke It (75:48)- That's What I Need (79:58)- SWV [In the House] (81:37)- Weak [A Cappella] (83:42)- Right Here [Human Nature Radio Mix] (86:15)Rapid Fire Round- Top 3 Fave Songs (91:53)- 1 Song to Cut (93:03)- Underrated Gem (93:16)- Closing Thoughts (93:38)

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Obituary es una banda de death metal estadounidense, formada en 1984 bajo el nombre Executioner en Tampa, Florida, por los hermanos John y Donald Tardy, cuando tenían 17 y 15 años de edad, respectivamente. Tras descubrir que ya existía en Boston un grupo con esta designación, en 1986 los hermanos decidieron llamar a su proyecto musical Xecutioner. Con este nuevo nombre, quedó establecida su primera formación, compuesta por John Tardy (voz), Trevor Peres (guitarra), Donald Tardy (batería), Daniel Tucker (bajo) y Allen West (guitarra). La agrupación publicó un demo con el cual consiguió un contrato con la discográfica Roadrunner Records y en 1988 cambió su nombre por Obituary para el lanzamiento de su álbum debut Slowly We Rot. Al año siguiente, Tucker dejó el conjunto y fue reemplazado Frank Watkins. Sus dos siguientes trabajos, fueron bien recibidos entre los aficionados al death metal Cause Of Death y The End Complete, además este último y World Demise tuvieron una repercusión moderada en las listas de éxitos a pesar de la escasa popularidad del género. En 1997, la banda decidió tomarse un descanso, aunque en 2003 hizo oficial su regreso. Tras la reunión, el conjunto publicó Frozen in Time y rompió su relación laboral con Roadrunner para firmar un contrato con Candlelight Records. Para su siguiente trabajo, Xecutioners Return, la agrupación se vio obligada a contratar al guitarrista de Deicide Ralph Santolla, debido a que Allen West fue encarcelado por conducir ebrio. Frank Watkins fue el siguiente en abandonar la formación —en este caso para formar parte de Gorgoroth— y fue sustituido por Terry Butler. Su álbum más reciente es Inked in Blood, publicado en 2014 y que fue su primer disco en posicionarse entre los más vendidos del Billboard 200. En 1980, los hermanos John y Donald Tardy se trasladaron con su familia desde Miami a Tampa, Florida. Los dos jóvenes pronto se interesaron por bandas locales de heavy metal como Savatage y Nasty Savage, con cuyos miembros entablaron relación. Por aquellos momentos, los dos hermanos no tenían instrumentos propios y solían visitar con frecuencia a un amigo que tenía una batería con la que podían ensayar. En 1984, el dúo comenzó un proyecto musical llamado Executioner, en el cual Donald se encargaba de la batería y John del resto de instrumentos, en función de lo que pudiera encontrar. Algún tiempo después, reclutaron para la banda a Trevor Peres, compañero de clase de Donald, como guitarrista. Ese mismo año 1984, Executioner grabó su primera maqueta, Metal Up Your Ass, que fue financiada por su padres. En aquellos momentos su sonido estaba orientado hacia el thrash metal, inspirado por el de Metallica y Slayer. Sin embargo, su estilo musical cambiaría después de que Peres escuchara el álbum Morbid Tales de Celtic Frost. Esto le llevó a componer temas más extremos y a pedirle a John que utilizara voces más duras. La banda contó con dos guitarristas rítmicos —Jerry Tidwell y posteriormente Mark Vito— durante un periodo de dos años, pero sería en 1986 cuando quedó completada su primera formación tras la llegada del bajista Jerome Grable y el guitarrista Allen West. En 1986, la banda se vio obligada a cambiar su nombre por Xecutioner, debido a que en Boston ya existía un conjunto llamado Executioner. Tras la modificación, la agrupación publicó una nueva maqueta que llamó la atención del editor de la revista Violent Noise Borivoj Krgin y que la reeditó como parte del recopilatorio Raging Death, junto a las demos de otras bandas. El interés por Xecutioner aumentó gracias a este lanzamiento y Krgin se comprometió a conseguirle un contrato diacográfico y en caso de que no lo lograra los ficharía para su propia compañía. El grupo grabó una maqueta, esta vez junto al productor Scott Burns y que Krgin mostró a la discográfica Roadrunner Records, con la cual la banda firmó un contrato. Poco después, el bajista Jerome Grable abandonó la formación por diferencias musicales y fue reemplazado por un amigo de Peres, Daniel Tucker. En 1988, el conjunto volvió a cambiar su nombre por Obituary; esta vez era un grupo de Massachusetts el que se llamaba Xecutioner. Posteriormente, Obituary se trasladó a los estudios Morrisound con el productor Rick Miller para trabajar en su álbum debut; sin embargo, este último tuvo que abandonar el proyecto por problemas familiares y la banda tuvo que recurrir de nuevo a Scott Burns. La agrupación grabó ocho temas, pero a petición de Roadrunner, que quería un álbum más largo; tuvo que regresar al estudio para producir cuatro canciones más. El disco salió a la venta en enero de 1989 con el título Slowly We Rot. El conjunto no realizó ninguna gira para promocionar este trabajo debido a que sus miembros todavía se encontraban en el instituto; según Donald Tardy: «Éramos demasiado jóvenes, yo ni siquiera tenía coche». Mientras tanto, Daniel Tucker empezó a experimentar amnesia, lo que le llevó a abandonar Obituary y a ser reemplazado por el bajista de Hell Witch Frank Watkins, quien conoció a la agrupación durante un concierto en Tampa. En otoño de 1990, la banda regresó a los estudios Morrisound con un presupuesto de 15 000 USD y nuevos instrumentos para grabar un nuevo trabajo. Mientras tanto, el guitarrista Allen West abandonó la formación debido al nacimiento de su primer hijo y la necesidad de buscar un empleo para mantenerlo; lo que llevó a que Scott Burns tuviera que buscar un sustituto temporal dentro de la escena del death metal. El elegido para reemplazar a West fue James Murphy, integrante de Death. Durante la grabación del disco, el grupo ensayó el tema de Celtic Frost «Circle of the Tyrants» y que finalmente fue incluido junto a siete nuevas pistas y la canción «Find the Arise», incluida originalmente en una maqueta de Xecutioner. El álbum, titulado Cause of Death, salió a la venta en septiembre de 1990 y la agrupación lo promocionó con una gira estadounidense como telonera de Sacred Reich y una europea junto a Morgoth. Tras regresar a Tampa, el conjunto se tomó un breve descanso antes de realizar una nueva serie de conciertos por los Estados Unidos con Sepultura. Durante la gira, Murphy empezó a descontentarse con la banda y finalmente, a comienzos de 1991, West regresó para sustituirle. Tras terminar la gira, Obituary regresó a los estudios Morrisound para grabar un nuevo álbum. The End Complete, su tercer trabajo de estudio, salió a la venta en abril de 1992 y se convirtió en su mayor éxito comercial tras vender más de 100 000 copias en los Estados Unidos hacia 2003; además se posicionó entre los sesenta álbumes más vendidos en el Reino Unido y Alemania. Posteriormente la banda se embarcó en una nueva gira europea como cabeza de cartel junto a Napalm Death y más tarde en una por los Estados Unidos con Cannibal Corpse. Al año siguiente, el grupo regresó nuevamente al estudio de grabación para trabajar en el disco World Demise, en el cual optaron por ralentizar su sonido en comparación con el de otros grupos de death metal. El lanzamiento del álbum se vio retrasado unos meses debido a que el proceso de producción se alargó más de lo esperado. World Demise fue publicado en septiembre de 1994 —dos meses después del sencillo «Don't Care»— y alcanzó la posición 65 del UK Albums Chart. Para promocionar el álbum, el conjunto realizó una gira norteamericana junto a Napalm Death y Machine Head y una gira europea con Asphyx y Eyehategod. Para 1996, Obituary tenía material suficiente para grabar un nuevo trabajo. Esta vez la agrupación optó por los estudios Criteria Recording de Miami y por el productor Jaime Locke en vez de Scott Burns. Entre los temas grabados, destacó la canción «Bullitary», cantada por unos amigos raperos de Watkins. El disco fue publicado en abril de 1997 con el título Back from the Dead, aunque no cosechó el éxito comercial de sus dos antecesores, algo que los miembros del conjunto atribuyeron a la escasa promoción realizada por Roadrunner Records. El descontento con su discográfica y el excesivo número de conciertos realizados, provocaron la salida de John Tardy de la banda y finalmente la separación de esta en 1997. Tras la disolución, los integrantes de Obituary se centraron en otros proyectos: Donald Tardy se unió a la banda de Andrew W.K., Trevor Peres fundó el conjunto musical Catastrophic, Frank Watkins encontró trabajo en un banco, John Tardy empezó a trabajar en una tienda de informática y Allen West se centró en el grupo Six Feet Under. Por su parte, Roadrunner Records aprovechó para publicar el álbum en directo Dead (1998) y el recopilatorio Anthology (2001), que incluyó una versión del tema de Venom «Buried Alive». En julio de 2002, John Tardy y Frank Watkins se unieron a la banda de Andrew W.K. —en la cual Donald Tardy era el batería— para interpretar varios temas de Obituary en el festival Ozzfest. Posteriormente, los hermanos Tardy y Watkins recuperaron el contacto con Peres y West, y tras realizar un par de actuaciones anunciaron la reunión de Obituary y la grabación de un nuevo trabajo de estudio en 2004. Por aquellos momentos, Scott Burns había dejado su trabajo como productor, de modo que el grupo tuvo que contratar a Mark Prator, aunque poco después; Burns cambió de opinión y participó como coproductor. El disco, titulado Frozen in Time, salió a la venta en julio de 2005 y llegó a vender más de 2 500 copias en la primera semana de su lanzamiento sólo en los Estados Unidos. El 30 de agosto, West anunció su salida por diferencias con sus compañeros, sin embargo, al día siguiente regresó al grupo justo a tiempo para realizar una gira estadounidense con Napalm Death. Al año siguiente, el conjunto actuó por Europa y grabó un concierto en Varsovia para su lanzamiento en DVD bajo el título Frozen Alive. Tras una serie de desacuerdos, Obituary y el sello Roadrunner rompieron su contrato; según la banda, esto se produjo al escaso interés mostrado por la discográfica. En mayo de 2007 Allen West fue encarcelado tras ser detenido por conducir ebrio por quinta vez, por lo que el grupo se vio obligado a contratar a Ralph Santolla, guitarrista de Deicide. Tras firmar un acuerdo con el sello Candlelight Records, Obituary grabó el disco Xecutioner's Return, que por primera vez no incluyó la participación del productor Scott Burns y que salió a la venta en agosto. A comienzos de 2008, Roadrunner Records aprovechó para publicar un álbum recopilatorio con los mejores temas de Obituary sin el permiso previo de sus integrantes, que por esos momentos se encontraban en Europa de gira junto a Holy Moses. Ese mismo año, la banda regresó al estudio para la grabación del EP Left to Die, que incluyó una versión del tema «Dethroned Emperor» de Celtic Frost y una nueva versión de «Slowly We Rot» . A comienzos de 2009 el grupo ya había grabado varias canciones para el álbum Darkest Day, que sería publicado en junio de ese mismo año precedido por el sencillo «Blood to Give». Obituary fue sólo una de las muchas bandas de death metal originadas en Florida a finales de la década de 1980. Su álbum debut, Slowly We Rot, destacó por sus brutales riffs de guitarra, sus caóticos solos y sus trituradores golpes de batería. A diferencia de otros grupos de su género que principalmente basaban sus canciones en la velocidad del thrash, Obituary también incorporaba pasajes lentos en su sonido, que casi le daba una apariencia propia del doom metal. Sin embargo, lo que realmente distinguía a la banda de las otras era la voz gutural de John Tardy, que el crítico de Allmusic Jason Birchmeier calificó como «si sintiera dolor, como si un cuchillo se le hubiera clavado en el estómago». En su segundo trabajo, Cause Of Death, el conjunto realizó algunos cambios, principalmente por la llegada del guitarrista de Death James Murphy haciendo que el sonido del disco sonara como «un híbrido entre Obituary y Death». Sin embargo, en una entrevista el batería Donald Tardy señaló que el álbum había sido compuesto junto al guitarrista Allen West antes de que éste se tomara una baja por paternidad y que la labor de Murphy había sido la de incorporar solos de guitarra. De acuerdo a Nielsen SoundScan, Obituary es la quinta banda más importante en el death metal, entre el periodo de 1991 y 2003. Los álbumes de la banda han vendido unas 368.184 copias, y su trabajo más popular es The End Complete, lanzado en el año 1992 y que ha vendido alrededor de 103.378 copias en los Estados Unidos.

Episode 74 covers Guns N' Roses' fourth studio album, 1991's Use Your Illusion II. The album was released on September 17, 1991, the same day as its counterpart Use Your Illusion I. Both albums were released in conjunction with the Use Your Illusion Tour. Bolstered by the lead single “You Could Be Mine”, Use Your Illusion II was the slightly more popular of the two albums, selling 770,000 copies its first week and debuting at No. 1 on the U.S. charts, ahead of Use Your Illusion I's first-week sales of 685,000. As of 2010, Use Your Illusion II has sold 5,587,000 units in the United States, according to Nielsen SoundScan. Both albums have since been certified 7× Platinum by the RIAA. It was also No. 1 on the UK Albums Chart for a single week. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of Use Your Illusion II as well as share personal stories of discovering the album. Tune in next week for Episode 75 as we cover Guns N' Roses' sixth and final studio album, 2008's Chinese Democracy.

Episode 73 covers Guns N' Roses' third studio album, 1991's Use Your Illusion I. Use Your Illusion I is the third studio album by American hard rock band Guns N' Roses, released on September 17, 1991, the same day as its counterpart Use Your Illusion II. Both albums were released in conjunction with the Use Your Illusion Tour. The album debuted at No. 2 on the Billboard charts, selling 685,000 copies in its first week, behind Use Your Illusion II's first-week sales of 770,000. Use Your Illusion I has sold 5,502,000 units in the United States as of 2010, according to Nielsen SoundScan. Each of the Use Your Illusion albums have been certified 7× Platinum by the RIAA. It was nominated for a Grammy Award in 1992. This is their first album to feature former The Cult drummer Matt Sorum, who replaced Steven Adler following Adler's departure in 1990 (although he was featured again on "Civil War", which appeared on its counterpart album), as well as keyboardist Dizzy Reed. This is their first album to be recorded as a six-piece band. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of Use Your Illusion I as well as share personal stories of discovering the album. Tune in next week for Episode 74 as we cover Guns N' Roses' fourth studio album, 1991's Use Your Illusion II. Available at https://lightthesky.net/podcasts/guns-n-roses/use-your-illusion-i/ and on all podcast streaming platforms (just search "Light the Sky Podcast.") Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS. LTS Website: https://lightthesky.net/ Instagram: https://www.instagram.com/lighttheskypodcast/ Twitter: https://twitter.com/LighttheSkyPod1 Facebook: https://www.facebook.com/LightTheSkyPodcast Twitch: https://www.twitch.tv/lightthesky

Voted on by our Patreon, we look at the what, how, and for-gods-sake-why of some of those most hated holiday songs! 02:40 Banned songs 08:09 Wonderful Christmastime 10:45 Chipmunks Song 16:36 Little Drummer Boy (Peace on Earth) Like what you hear?  Become a patron of the arts for as little as $2 a month!   Or buy the book or some merch.  Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram. Music: Kevin MacLeod, David Fesliyan.   Reach out and touch Moxie on Facebook, Twitter, or Instagram. Links to all the research resources are on the website. In the early 80's, drought caused a famine that crippled the nation of Ethiopia.  It was a bad scene.  Half of the mortality rate is said to be attributable to “human rights violations.”  People around the world were moved, like Irish singer-songwriter Bob Geldof, who along with Midge Ure, wrote a fundraiser song.  Who could they get to sing it?  How about “everybody”?  The likes of Duran Duran, Spandau Ballet, Boy George, Bono, and Sting joined forces as Band Aid to record the fast-selling single in UK history, asking us the question “Do They Know It's Christmas?”  My name's… Some songs rub us the wrong way because they're sung by shrieking children on now-oudated equipment was was not kind to female and higher-pitched voices, songs like I'm Getting Nuthin for Christmas and All I Want for Christmas is my Two Front Teeth, standards which I think think would have died away if we weren't all made to sing them in elementary school.  Some are painfully goofy, like Grandma Got Run Over by a Reindeer, but you almost have to give them a pass since it seems they accomplished what they set out to do.  Some songs make us their enemy by borrowing into our brains and setting up shop for hours or days on end, the dreaded holiday earworm, like Jingle Bell Rock and Rockin' Around the Christmas Tree.  The mere mention of the title is enough to activate them like a sleeper cell of obnoxious holiday cheer.   Banned You might be able to forbid people in your own home from playing songs that irritate you –and I stress “might”-- but if you can find yourself with a bit of authority and a big enough humbug up your butt, you can try to make it so nobody has to hear the song either.  For instance, the 1952 classic “I Saw Mommy Kissing Santa Claus,” sung by 13-year-old Jimmy Boyd from Mississippi.  Did you realize the song was about the little boy not realizing that his Dad was dressed as Santa?  It had to be pointed out to me, and embarrassingly recently.  People were *scandalized by the musical marriage of sex and Christmas, with one churchgoer stating “mockery of decent family life as well as Christ's birthday.”  Many pearls were clutched.  They'd probably clutch them pearls twice as hard if I'd been there to tell them Jesus wasn't born on 12/25, but that's another show.  Boston's Catholic Archdiocese denounced it and the young Boyd had to meet with church leaders to explain that Mommy and Santa were properly, sanctily married.  A West Virginia broadcasting company prohibited its radio stations from playing this “insult to Santa Claus.”  The same thing happened to one of my husband's favorite songs, Lou Monte's “Dominick the Donkey,” but the people of WV went to bat for the little donkey who could take the Italian hills that were too much for the reindeer.  The public protested the ban so forcefully that it was repealed after less than two weeks; and this was in 1960, when 20% of homes in the US still didn't have a telephone.   For every time the hubs plays Dominick the Donkey, I play the Pogue's Fairytale of New York at least twice.  A lot of folks don't like, and I respect our difference of opinions, and think it's the farthest thing from a cheery Xmas song, and I agree with y'all there.  The 1987 duet with singer Kirsty MacColl, quickly became a UK holiday classic, famous then infamous in turn.  It tells the story of a toxic couple who seem to love each deep down, but should probably not be allowed within 200m of each other.  There's talk of drug use and insults, including a certain homophobic slur to rhyme with the word “maggot.”  In December 2019, BBC radio DJ Alex Dyke said he was cutting the song from his program.  The BBC had previously censored the song in 2007 with an unconvincing word-swap, but this brought more backlash than the original version had.  The BBC reversed course for a few years, then put the censored version back up.  What do you think?  soc med   Some songs we consider absolute standards, impeccable and indispensable, made people in their day as prickly as holl and less than jolly.  The BBC worried that “I'll Be Home for Christmas” could damage British morale during World War II, so no air-play for you!  In an amazingly blunt statement that would definitely trend on Twitter today:  “We have recently adopted a policy of excluding sickly sentimentality which, particularly when sung by certain vocalists, can become nauseating and not at all in keeping with what we feel to be the need of the public in this country.”   One of the most frequently cover and burlesqued-to songs, Santa Baby, wouldn't have become the classic it did if it had been sung by anyone other than the utterly incomparable Eartha Kitt.  Who doesn't love a Christmas song dripping in sexuality, sung by a loudly self-confident mixed race woman?  In 1953, a lot of people.   Radio stations refused to play it and political officials gnashed their teeth after Kitt performed Santa Baby at a dinner for the king and queen of Greece that November.  That was an unusual sentence and I'm stalling for time to let you process it.  However, Billboard magazine reported “Neither the King nor his Queen were one whit disturbed by the chantress's performance, nor by the song.”  Kitt was quoted as saying it was ‘inconceivable that anyone would question the ingenious poetry of the song.'”  I don't know about poetry, but I do know I don't want to hear any version other than hers.   Chipmunks My hatred for this next song cannot be overstated.  I almost hired an editor just for this section. It's shrill, it's pointless, and it's been playing for 63 freaking years.  It's the goddamn Chipmunks' song aka Christmas Don't Be Late.  I'm mad already.  Named after the president, chief engineer, and founder of Liberty Records, the furry little characters are the members of a “band”, called Alvin And The Chipmunks, while a “man” named David Seville functions as their human manager, catapulting them to super stardom.  The Chipmunks, three singing cartoon rodents in Victorian nightdresses apparently, or maybe ill-fitted sweater dresses, were the brainchild of a songwriter named Ross Bagdasarian, though he was better known by the pseudonym of David Seville, the name that would be immortalized as The Chipmunk's fictitious manager.  Bagdasarian was the son of Armenian immigrants to California, who served in the Army Air Force in WWII, which is how he came to find himself stationed in Seville, Spain.  He did a bit of acting, landing minor roles in Rear Window and Stalag 17.  Songwriting played out considerably better.  In 1951, he used the melody of an Armenian folk song to write Rosemary Clooney's hit, Come On-a My House. [sfx clip]    Bagdasarian-cum-Seville began toying around with voice distortion effects, speeding up and slowing down his voice to achieve the cute high pitched sound of the little animal's voices.  Consumer tape decks at the time had changeable speeds, but usually only in simple binary multiples, doubling or halving the speed, creating sounds an octave apart. Changing speeds of voices in these limited multiples creates extremely high or low pitches that sound too extreme for most purposes.  Disney used half-speed recording for his Chip ‘n Dale cartoon characters, making the extremely fast dialogue difficult to understand. As a result, dialog recorded at that speed had to consist of very short phrases.  Seville's chief innovation was to use tape machines that could vary speeds in between these extremes, creating more understandable and thus emotionally accessible voices that worked well for both singing and spoken dialogue.   The Chipmunk Song made its debut on Christmas 1958 and immediately became a smash hit, reaching No. 1 on the Billboard Hot 100 Pop Singles chart.  It would be the “band's” first and only #1 song, as well as Seville's second and final, No. 1 single.  The first was the song Witch Doctor, wanna hear it here it goes [sfx clip]  I guess when you have a hammer…    A write-up in Life magazine in 1959, noted that Bagdasarian/Seville was the first case in the "annals of popular music that one man has served as writer, composer, publisher, conductor and multiple vocalist of a hit record, thereby directing all possible revenues from the song back into his pocket."  That'd be impressive enough even if you didn't know that Seville couldn't read or write music, nor play any instruments, but now you do know that, so you should be quite impressed.   The Chipmunk Song earned them three Grammy Awards at the very first Grammy's the following May.  I'm going to say that again, because I don't think you heard me.  The Chipmunks song won three Grammy's.  In fairness, one is for best children's song.  A few years later, The Chipmunks landed their own television show as cartoon characters, but it did not command the same success their music career.  After Bagdasarian passed away unexpectedly in 1972, his son and daughter-in-law took over the voices of The Chipmunks, but it would take nearly ten years for The Chipmunks made it back to TV, with their 1981 Christmas special, the ingeniously named “A Chipmunk Christmas.”     Like a holiday Jason Vorhees, "The Chipmunk Song" re-entered the Billboard Hot 100 in 2007 with the CGI Alvin and Chipmunks movie.  As of December 25, 2011, Nielsen SoundScan estimated total sales of the digital track at 867,000 downloads, making it third on the list of all-time best-selling Christmas/holiday digital singles.  #3 was Christmas Eve/Sarajevo 12/24 from Trans-Siberian Orchestra, who I've had the mixed blessing to see live – the performance was great but the stage light swept over the audience constantly; it was like having a camera flash go off in your face several times a minute.  #1 is, to the surprise of no one, Mariah Carey's 1994 "All I Want for Christmas Is You" and that's all the more attention she's getting from me.  If you ever want a real smdh moment, Google Mariah Carey's requirements to appear on camera for interviews.  The word “diva” doesn't begin to describe it.  Wonderful Now this one depends on the day.  Some days, it's so bad it's good and some days, and for some people all days, it's the regular kind of bad.  [sfx clip] Say what you will about it, you can't say Paul McCartney didn't put in the work.  Wonderful Christmastime features McCartney on guitar, bass, keyboards, drums and vocals, even the creepy-sounding ‘choir of children.'  Makes one wonder why he even kept a band around.  You see the other members of Wings in the video, but the song was all McCartney.   Like a number of holiday classics that you heard about in the episode #92, The Jews Who Wrote Christmas, Wonderful Christmastime was written on a ‘boiling hot day in July', and recorded during sessions for the McCartney II album.  It apparently took the former Beatle just ten minutes to pen the song which – some of us find that more readily-believable than others.  One of the most memorable elements of the song is the odd synthesiser sound that punctuates it throughout.  That is, if you care to know, a Sequential Circuits Prophet-5, which was also used on the hit songs Bette Davis Eyes and What a Fool Believes.  Though I suppose it's still a Sequential Circuits Prophet-5 even if you don't care to know.   It peaked at number six on the UK Singles Chart and has since become of the most widely played Christmas songs on radio.   Bonus fact: The Beatles only really had one Christmas release – Christmas Time Is Here Again, which was distributed to their fan club in 1967.  I imagine that would fetch a pretty pence on the secondary market. [sfx typing] checking ebay…Oh, they're actually pretty cheap.     If you don't like the song, you're not alone.  McCartney himself isn't all that keen on it, but he has begun playing it on UK tours in recent years.  You gotta give the people what they want and clearly enough people want Wonderful Christmastime.  According to the Forbes website, McCartney earns over $400,000 royalties from the song every year, though other sources claim that figure is probably the cumulative total. Little Drummer Boy As time passes, tastes change, culture shifts, new things are created and old things fall away.  We rarely ride in one-horse open sleighs –I can't remember the last time I was even in a closed one-horse sleigh– and it seems really strange to us that people sat about telling ghost stories.  So maybe that's why I don't understand The Little Drummer Boy.  How is a drum solo an appropriate gift for a sleeping infant and the woman who just squoze him out in a cow-shed?  The ox and lamb kept time?  That's literally the drummer's only job.  Well, that and making the rest of the band's drinking problem look reasonable.  Hey, what's the difference between a drummer and a drum machine?  You only have to punch the info into the drum machine once.  [sfx rimshot] What do you call a drummer who broke up with his girlfriend?  Homeless.  [sfx rimshot]  Don't worry, drummers, this abuse isn't exclusive.  What do you call the pretty girl on a bassist's arm?  A tattoo.  That's my time, good night!   How old do you think this slow, plodding song is?  I couldn't have put a year to my guess, but for some reason it surprised me that it was written in 1941.  The composure was a teacher named Katherine Kennicott Davis.  Originally called "Carol of the Drum" –does what it says on the tin– was based on an unidentified Czech carol and intended for choirs.  One group of singers took a liking to it and propelled it to success in 1951 - The Trapp Family Singers.   As boring as it is, The Little Drummer Boy lets us draw a straight line between the Trapp Family and ‘the lad insane' David Bowie.  In 1977, Bowie was 'actively trying to normalize' his career.  Debilitating drug addiction and accusations of Nazi-sympathizing threatened to sink his earning potential, so it was a no-brainer for him to appear on Bing Crosby's Merrie Olde Christmas.  Crosby was a crooner and golden age Hollywood icon and seemed like a means to the end because, as Bowie said later, “my mom likes him.”  The promise by producers to promote the video for Bowie's single Heroes, fitting as poorly as it did in the middle of a holiday special, certainly didn't hurt either.  The special starred Crosby, his actual family, and stars of the day like the model Twiggy, who my mother has still not forgiven for coming along and making curvy, busty figures unpopular.     So Bing Crosby and David Bowie.  On paper, it made no sense.  But in reality…it made even less sense.  A negative amount of sense, if that's mathematically possible.  I mean, just look at this juxtaposition.  You can see the two together on the Vodacast app… Bowie arrived in a mink coat, an earring, and bright red lipstick….to appear alongside Bing Crosby.  Bowie agreed to producers' demands to tone his look down, but asked/begged the producers if there was anything else, anything at all, he could sing, letting them know in no uncertain terms that he hated the song.   "Ian Fraser, who co-wrote the 'Peace on Earth' portion, told The Washington Post in 2006. 'We didn't know quite what to do.' Instead of panicking, he and two other men working on the special — Buz Kohan and Larry Grossman — hunkered down at a piano in the studio basement and spent 75 minutes working up the tune.  Ever professionals, Bowie and Crosby perfected the new song in less than an hour."  It was that professionalism that actually brought the men together.  According to Crosby's daughter, Mary, who was 18 at the time and a big Bowie fan,  "Eventually, Dad realized David was this amazing musician, and David realized Dad was an amazing musician. You could see them both collectively relax and then magic was made."  Bonus fact: Mary went on to become an actress, starring in the hit TV show Dallas, but she isn't the only thespian the Crosby legacy produced.  Bing's granddaughter Denise will always have a place in my heart as Tasha Yar, first chief of security on the Enterprise D and if you don't know what I'm talking about, maybe *you're* not cool enough to sit with *us* at lunch.   The special was recorded in mid-September, but Crosby would not see it released.  He died of a massive heart attack after a day of golfing in mid-October, so the special was aired posthumously at the end of November in the U.S. and on Christmas Eve in England.  Bizarrely, The single proved to be one of Bowie's fastest-selling singles, selling over 250,000 copies within its first month and being certified silver by the British Phonographic Industry one month after its release.  And what does it say about me that I had to do a second take, beause I read it as British Pornographic Industry.  They certify very different records.  One thing that helped propel that success was the fledgeling Music Television network, which in its original primitive state actually played music videos.  When it launched in 1981, there weren't really enough videos to fill up an entire channel, so they played what they had, including the 'Peace on Earth/Little Drummer Boy' clip, a lot.  This prompted RCA to issue an official release in 1982 with the arbitrary single B-side of "Fantastic Voyage" from The Lodger album.  Bowie was annoyed with that move, contributing to his departure from the label soon after.  Still, it was a high-charting single for Bowie in the post-Scary Monsters era, at least until Let's Dance came out three months later.   And that's…So the question was “Do they know it's Christmas?”.  Since Ethiopia is ⅔ Christian, yes.  I'd go out on a limb and say even the ⅓ that's Muslim knows. But the important thing is that 100% of the royalties go to the cause, and that figure sits north of $250 million.  Among the luminary names involved was a pre-beard George Michaels.  This was in his Wham days when he also recorded the song you're hearing now.  Recognize it?  To anyone who just lost Whamageddon… [sfx laughter]  Worth it.  Just passing it on after Red from Overly Sarcastic took me out during a video last year.  For everyone else, as the nearest Gen-X'er.  Remember…Thanks..     And that's…So the question was “Do they know it's Christmas?”.  Since Ethiopia is ⅔ Christian, yes.  I'd go out on a limb and say even the ⅓ that's Muslim knows. But the important thing is that 100% of the royalties go to the cause, and that figure sits north of $250 million.  Among the luminary names involved was a pre-beard George Michaels.  This was in his Wham days when he also recorded the song you're hearing now.  Recognize it?  To anyone who just lost Whamageddon… [sfx laughter]  Worth it.  Just passing it on after Red from Overly Sarcastic took me out during a video last year.  For everyone else, as the nearest Gen-X'er.  Remember…Thanks..    Sources: https://www.cbc.ca/music/read/david-bowie-bing-crosby-and-the-story-of-the-strangest-christmas-duet-ever-1.5008343 https://theconversation.com/christmas-earworms-the-science-behind-our-love-hate-relationship-with-festive-songs-89268 https://www.slantmagazine.com/music/worst-christmas-songs-of-all-time/3/ https://www.sundaypost.com/fp/story-behind-the-christmas-song-paul-mccartneys-wonderful-christmastime/ https://www.songfacts.com/facts/paul-mccartney/wonderful-christmastime https://www.mentalfloss.com/article/637970/banned-christmas-songs-past https://en.wikipedia.org/wiki/The_Chipmunk_Song_(Christmas_Don%27t_Be_Late) http://www.christmassongs.net/chipmunks-christmas-song https://en.wikipedia.org/wiki/Ross_Bagdasarian https://nowweknowem.wordpress.com/2013/05/04/david-sevilles-the-chipmunk-song-won-three-grammy-awards-today-in-1959-the-top-winner-at-the-inaugural-grammy-awards-now-we-know-em/ https://holidappy.com/holidays/History-of-Christmas-Carols-Little-Drummer-Boy https://www.newsweek.com/story-behind-bowie-bings-unlikely-holiday-duet-sends-welcome-message-divided-times-opinion-1478295

RockerMike and Rob discuss Anthrax Anthrax is an American heavy metal band from New York City, formed in 1981 by rhythm guitarist Scott Ian and bassist Dan Lilker. The group is considered one of the leaders of the thrash metal scene from the 1980s and is part of the "Big Four" of the genre, along with Metallica, Megadeth and Slayer. They were also one of the first thrash metal bands (along with Overkill and Nuclear Assault) to emerge from the East Coast.[1] The band has released 11 studio albums, several other albums, and 26 singles, including collaborating on a single with American hip hop group Public Enemy. According to Nielsen SoundScan, Anthrax sold 2.5 million records in the United States from 1991 to 2004, with worldwide sales of 10 million. Four of the band's studio albums have also achieved gold certifications by the RIAA, including their third full-length record Among the Living (1987), which cemented Anthrax's reputation as one of the most successful thrash metal bands. https://www.anthrax.com/ https://m.facebook.com/anthrax/ https://loudwire.com/tags/anthrax/ https://open.spotify.com/artist/3JysSUOyfVs1UQ0UaESheP https://www.instagram.com/anthrax/ https://music.apple.com/us/artist/anthrax/80417 https://mobile.twitter.com/anthrax?lang=en Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net https://8bcded2xph1jdsb8mqp8th3y0n.hop.clickbank.net/?cbpage=nb Subscribe to the channel and hit the like button --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup #heavymetalmusic #heavy #heavymetal #heavyrock #heavymusic #musician #musicproduction #musiclife #musicislife #musicvideo #musicproducer #musically #musicfestival #musicstudio #musicians #musiclover #musicindustry #music --- Support this podcast: https://anchor.fm/rob-rossi/support

ou can now own shares in 4biddenknowledge Inc. Join the movement, become an investor in a fast-growing, profitable business! https://us.trucrowd.com/equity/offer-summary/4BiddenKnowledgeChristopher Daughtry, singer, songwriter and actor. He is the lead vocalist and guitarist for the rock band Daughtry, which he formed after placing fourth on the fifth season of American Idol. Daughtry's self-titled debut album became the fastest selling debut rock album in Nielsen SoundScan history, selling more than one million copies within five weeks of release. In its ninth week of release, Daughtry reached number one on the Billboard chart. Chris Daughtry is the third most successful American Idol contestant in terms of record sales, behind Kelly Clarkson and Carrie Underwood, who both won their respective seasons. At the 50th Grammy Awards, the band was nominated for Best Rock Song for the single "It's Not Over". https://daughtryofficial.com/For more info visithttp://4biddenknowledge.com4biddenknowledge TVhttps://www.4biddenknowledge.tv/browseRolls Royce Ghost Giveaway by Billy Carson. Proceeds go to help underprivileged children    http://4biddenknowledge.com/giveawaysWoke Doesn't Mean Broke by Billy Carson.Buy The Book https://www.4biddenknowledge.com/online-store/Woke-Doesnt-Mean-Broke-by-Billy-Carson-p253782102Available Workshops on Eventbrite organised by Billy Carson: https://www.eventbrite.com/o/billy-carson-321201994474biddenknowledge on Facebook:https://www.facebook.com/4biddenKnowledge30 Day Free Trial Of 4biddenknowledge.TV 30 Day Free Trial On 4biddenknowledge.TVSupport the show (https://www.buymeacoffee.com/4biddenpodcast)

ou can now own shares in 4biddenknowledge Inc. Join the movement, become an investor in a fast-growing, profitable business! https://us.trucrowd.com/equity/offer-summary/4BiddenKnowledgeChristopher Daughtry, singer, songwriter and actor. He is the lead vocalist and guitarist for the rock band Daughtry, which he formed after placing fourth on the fifth season of American Idol. Daughtry's self-titled debut album became the fastest selling debut rock album in Nielsen SoundScan history, selling more than one million copies within five weeks of release. In its ninth week of release, Daughtry reached number one on the Billboard chart. Chris Daughtry is the third most successful American Idol contestant in terms of record sales, behind Kelly Clarkson and Carrie Underwood, who both won their respective seasons. At the 50th Grammy Awards, the band was nominated for Best Rock Song for the single "It's Not Over". https://daughtryofficial.com/For more info visithttp://4biddenknowledge.com4biddenknowledge TVhttps://www.4biddenknowledge.tv/browseRolls Royce Ghost Giveaway by Billy Carson. Proceeds go to help underprivileged children    http://4biddenknowledge.com/giveawaysWoke Doesn't Mean Broke by Billy Carson.Buy The Book https://www.4biddenknowledge.com/online-store/Woke-Doesnt-Mean-Broke-by-Billy-Carson-p253782102Available Workshops on Eventbrite organised by Billy Carson: https://www.eventbrite.com/o/billy-carson-321201994474biddenknowledge on Facebook:https://www.facebook.com/4biddenKnowledge30 Day Free Trial Of 4biddenknowledge.TV 30 Day Free Trial On 4biddenknowledge.TVSupport the show (https://www.buymeacoffee.com/4biddenpodcast)

Neste episodio falamos sobre os discografia de Roberto Carlos. Lembramos que os números apresentados foram compilados de dados do ECAD, Nielsen Soundscan, Revista Billboard, Revista Rolling Stone, ABERT, e de jornais brasileiros ate Dezembro de 2019.

The conversation covers:  Why Kevin helped launch Single Music, where he currently provides SRE and architect duties. Single Music's technical evolution from Docker Swarm to Kubernetes, and the key reasons that drove Kevin and his team to make the leap. What's changed at Single Music since migrating to Kubernetes, and how Kubernetes is opening new doors for the company — increasing stability, and making life easier for developers. How Kubernetes allows Single Music to grow and pivot when needed, and introduce new features and products without spending a large amount of time on backend configurations.  How the COVID-19 pandemic has impacted music sales. Single Music's new plugin system, which empowers their users to create their own middleware. Kevin's current project, which is a series of how-to manuals and guides for users of Kubernetes. Some common misconceptions about Kubernetes. Links Single Music Traefik Labs Twitter: https://twitter.com/notsureifkevin?lang=en Connect with Kevin on LinkedIn: https://www.linkedin.com/in/notsureifkevin Emily: Hi everyone. I'm Emily Omier, your host, and my day job is helping companies position themselves in the cloud-native ecosystem so that their product's value is obvious to end-users. I started this podcast because organizations embark on the cloud naive journey for business reasons, but in general, the industry doesn't talk about them. Instead, we talk a lot about technical reasons. I'm hoping that with this podcast, we focus more on the business goals and business motivations that lead organizations to adopt cloud-native and Kubernetes. I hope you'll join me.Emily: Welcome to The Business of Cloud Native. I'm Emily Omier, your host, and today I am chatting with Kevin Crawley. And Kevin actually has two jobs that we're going to talk about. Kevin, can you sort of introduce yourself and what your two roles are?Kevin: First, thank you for inviting me on to the show Emily. I appreciate the opportunity to talk a little bit about both my roles because I certainly enjoy doing both jobs. I don't necessarily enjoy the amount of work it gives me, but it also allows me to explore the technical aspects of cloud-native, as well as the business and marketing aspects of it. So, as you mentioned, my name is Kevin Crawley. I work at a company called Containous. They are the company who created Traefik, the cloud-native load balancer. We've also created a couple other projects, and I'll talk a little bit about those later. For Containous, I'm a developer advocate. I work both with the marketing team and the engineering team. But also I moonlight as a co-founder and a co-owner of Single Music. And there, I fulfill mostly SRE type duties and also architect duties where a lot of times people will ask me feedback, and I'll happily share my opinion. And Single Music is actually based out of Nashville, Tennessee, where I live, and I started that with a couple friends here.Emily: Tell me actually a little bit more about why you started Single Music. And what do you do exactly?Kevin: Yeah, absolutely. So, the company started out of really an idea that labels and artists—and these are musicians if you didn't pick up on the name Single Music—we saw an opportunity for those labels and artists to sell their merchandise through a platform called Shopify to have advanced tools around selling music alongside that merchandise. And at the time, which was in 2016, there weren't any tools really to allow independent artists and smaller labels to upload their music to the web and sell it in a way in which could be reported to the Billboard charts, as well as for them to keep their profits. At the time, there was really only Apple Music, or iTunes. And iTunes keeps a significant portion of an artist's revenue, as well as they don't release those funds right away; it takes months for artists to get that money. And we saw an opportunity to make that turnaround time immediate so that the artists would get that revenue almost instantaneously. And also we saw an opportunity to be more affordable as well. So, initially, we offered that Shopify integration—and they call those applications—and that would allow those store owners to distribute that music digitally and have those sales reported in Nielsen SoundScan, and that drives the Billboard Top 100. Now since then, we've expanded quite considerably since the launch. We now report on sales for physical merchandise as well. Things like cassette tapes, and vinyl, so records. And you'd be surprised at how many people actually still buy cassette tapes. I don't know what they're doing with them, but they still do. And we're also moving into the live streaming business now, with all the COVID stuff going on, and there's been some pretty cool events that we've been a part of since we started doing that, and bands have gotten really elaborate with their live production setups and live streaming. To answer the second part of your question, what I do for them, as I mentioned, I mostly serve as an advisor, which is pretty cool because the CTO and the developers on staff, I think there's four or five developers now working on the team, they manage most of the day-to-day operations of the platform, and we have, like, over 150 Kubernetes pods running on an EKS cluster that has roughly, I'd say, 80 cores and 76 gigabytes of RAM. That is around, I'd say about 90 or 100 different services that are running at any given time, and that's across two or three environments, just depending on what we're doing at the time.Emily: Can you tell me a little bit about the sort of technical evolution at Single? Did you start in 2016 on Kubernetes? That's, I suppose, not impossible.Kevin: It's not impossible, and it's something we had considered at the time. But really, in 2016, Kubernetes, I don't even think there wasn't even a managed offering of Kubernetes outside of Google at that time, I believe, and it was still pretty early on in development. If you wanted to run Kubernetes, you were probably going to operate it on-premise, and that just seemed like way too high of a technical burden. At the time, it was just myself and the CTO, the lead developer on the project, and also the marketing or business person who was also part of the company. And at that time, it was just deemed—it was definitely going to solve the problems that we were anticipating having, which was scaling and building that microservice application environment, but at the time, it was impractical for myself to manage Kubernetes on top of managing all the stuff that Taylor, the CTO, had to build to actually make this product a reality. So, initially, we launched on Docker Swarm in my garage, on a Dell R815, which was like a, I think was 64 cores and 256 gigs of RAM, which was, like, overkill, but it was also, I think it cost me, like, $600. I bought it off of Craigslist from somebody here in the area. But it served really well as a server for us to grow into, and it was, for the most part, other than electricity and the internet connection into my house, it was free. And that was really appealing to us because we really didn't have any money. This was truly a grassroots effort that we were just—we believed in the business and we thought we could quickly ramp up to move into the Cloud. So, that's exactly what happened though. Like, we started making money—also, this was never my full-time job. I started traveling a lot for my other developer relations role. I worked at Instana before Containous. Eventually, the whole GarageOps thing just wasn't stable for the business anymore. I remember one time, I think I was in Scotland or somewhere, and it was, like, two o'clock in the morning at home here in Nashville, and the power went out. And I have a battery backup, but the power went out long enough to where the server shut down, and then it wouldn't start back up. And I literally had to call my wife at two o'clock in the morning and walk her through getting that server back up and running. And at that point in time, we had revenue, we had money coming in and I told Taylor and Tommy that, “Hey, we're moving this to AWS when I get back.” So, at that point, we moved into AWS. We just kind of transplanted the virtual machines that were running Docker Swarm into AWS. And that worked for a while, but up until earlier this year, it became really apparent that we needed to switch the platform to something that was going to serve us over the next five years.Emily: First of all, is ‘GarageOps' a technical term?Kevin: I mean, I just made it up.Emily: I love it.Kevin: I mean, it was just one of those things where we thought it was a really good idea at the time, and it worked pretty well because, in reality, everything that we did, up into that point was all webhook-based, it was really technically simple. But anything that required a lot of bandwidth like the music itself, it went directly into AWS into their S3 buckets, and it was served from there as well. So, there wasn't really any of this huge bandwidth constraint that we had to think about, that ran in our application itself. It was just a matter of really lightweight JSON REST API calls that you could serve from a residential internet connection if you understand how to set all that stuff up. And at the time, I mean, we were using Traefik, which version 1.0 at the time, and it worked really well for getting all this set up and getting it all working, and we leveraged that heavily. And at that time in 2016, there wasn't any competitor to Traefik. You would use HAProxy or you use NGINX, and both of those required a lot of hand-holding, and a lot of configuration, and it was all manual, and it was a nightmare. And one of the cool things about Docker Swarm and Traefik is that once I had all the tooling set up, it all sort of just ran itself. And the developers, I don't know around 2017 or '18, we had hired another developer on the staff. And realistically, if they wanted to define a new service, they didn't have to talk to me at all. All they did was create a new repo in GitHub, change some configuration files in the tooling we had built—or that I had built—and then they would push their code to GitLab, and all the automation would just take over and deploy their new service, and it would become exposed on the internet, if it was that type of a service, it was an API. And it would all get routed automatically. And it was really, really nice for me because I really was just there in case of the power went out in my garage, essentially.Emily: You said that up until earlier this year, this was more or less working, and then earlier this year, you really decided it wasn't working anymore. What exactly wasn't working?Kevin: There were a few different things that led us to switching, and the main one was it seemed like that every six to twelve months, the database backend on the Swarm cluster would fall over. For whatever reason, it would just—services would stop deploying, the whole cluster would seemingly lock up. It would still work, but you just couldn't deploy or change anything, and there was really no way to fix it because of how complicated and how I want to say how complex the actual databases and the data that's been stored in it because it's mostly just stateful records of all the changes that you've made to the cluster up until that point. And there was no real easy way to fix that other than just completely tearing everything down and building it up from scratch. And with all the security certificates, and the configuration that was required for that to work, it would literally take me anywhere between five to ten hours to tear everything apart, tear everything down, set up the worker nodes again, and get everything reestablished so that we could deploy services again, and the system was accepting webhooks from Shopify, and that was just way too long. Earlier this year, actually we crossed into, I want to say in January, we had over 1400 merchants in Shopify sending us thousands of orders every day, and it just wasn't acceptable for us to have that length of downtime 15, 20, 35 minutes, that's fine but several hours just wasn't going to work.Our reputation up until that point had been fairly solid. That issue or incident hadn't happened in the past eight months, but we were noticing some performance issues in the cluster, and in some cases where we were having to redeploy services two, three times for those services to apply, and that was sort of like a leading indicator that something was going to go wrong pretty soon. And it was just a situation where it was like, “Well, if we're going to have to go offline anyways, let's just do the migration.” And it just so happened that in April, I was laid off from my job at Instana and I was fortunate enough to be able to find a new job in, like, a week, but I knew that I wanted to complete this migration, so I went ahead and decided to put off starting the new job for a month. And that gave me the means, and the opportunity and the motive to actually complete this migration. There were some other factors that played into this as well, and that included the fact that in order to get Swarm stood up in 2016, I had to build a lot of bespoke tooling for the developers and for our CI/CD system to manage these services in the staging and production environment, handling things like promotion and also handling things like understanding what versions of the services are running in the cluster at any given time, and these are all tools that are widely available today in Kubernetes. Things like K9s, or Lens, or Helm, Kustomize, Skaffold, these are all tools that I essentially had to build myself in 2016 just to support a microservice environment, and it didn't make sense for us to continue maintaining that tooling and having to deal with some of their limitations because I didn't have time to keep that tooling fresh and keep it up-to-date and competitive with what's in the landscape today, which are the tools that I just described. So, it just made so much sense to get rid of all that stuff and replace it with the tools that are available today by the community and has infinitely more resources poured into them than I was ever able to provide, or I will ever be able to provide even as a single person working on a project. The one that was sort of lingering in the background was the fact that we have here recently started doing album releases, and artists are coming to us where they will sell hundreds of thousands of albums within a very short period of time, within several hours, and we were reaching the constraints of some of our database and our backend systems to where we needed to scale those horizontally. We had, kind of, reached the vertical limits of some of them, and we knew that Kubernetes was going to give us these capabilities through the modern operator pattern, and through just the stateful tooling that has matured in Kubernetes that wasn't even there in 2016, and wasn't something that we could consider, but we can now because the ecosystem has matured so much.Emily: So, yeah, it sounds like basically you were running up against some technical problems that were on the verge of becoming major business problems: the risk of downtime, and the performance issues, and then it also sounds like some of the technical architecture was limiting the types of products, the types of services that you could have. Does that sound about right?Kevin: Yeah, that's a pretty good summary of it. I think that one of the other things that we had to consider too was that the Single ecosystem, like the Single Music line of products has become so wide and so vast—I think we're coming up on five or six different product lines now—and developers need an 8 core laptop with 32 gigs of RAM just to stand up our stack because we're starting to use things like Kafka and Postgres to do analytics on all this stuff, and we're probably going to get to the point within the next 18 months to where we can't even stand up the full Single Music stack on a local machine. We're going to have to leverage Kubernetes in the Cloud for developers to even build additional products into the platform. And that's just not possible with Swarm, but it is with Kubernetes.Emily: Tell me a little bit about what has changed since making the migration to Kubernetes. And I'm actually also curious, the timeframe when this happened is really interesting, and you talked a little bit about offering these streaming services for musicians. I mean, it's an interesting time to be in the music industry. Interesting, probably in both the exciting sense and also negative sense. But how have things changed? And how has Kubernetes made things possible that maybe wouldn't have been possible otherwise?Kevin: I think right now, we're still on the precipice, or on the leading edge of really realizing the capabilities that Kubernetes has unlocked for the business. I think right now, I mean, the main benefit of it has been just a overwhelming sense of comfort and ease that has been instilled into our business side of the company, our executive side, if you will. The marketing and—of course, the sales and marketing people don't really know that much about the technical challenges that the engineering side has, and what kind of risk we were at when we were using Swarm at the time, but the owner did. There's three co-owners of the company, it's myself, Taylor, and Tommy. And Taylor, of course, is the CTO, and he is very well have the risk because he is deeply invested in the platform and understands how everything works. Now, Tommy, on the other hand, he just cares, “Is it up?” Are customers getting what their orders—are they getting their music delivered? And so, right now it's just there's a lot more confidence in the platform behaving and operating like it should. And that's a big relief for the engineers working on the project because they don't have to worry about whether or not the latest version of their service that they deployed has actually been deployed; or if the next time they deploy, are they going to bring down the entire infrastructure because the Swarm database corrupts, or because the Swarm network doesn't communicate correctly like it missed routes. We had issues where staging versions of our application would answer East-West traffic—like East-West request traffic that is supposed to go in between the services that are running in the cluster—like staging instances would answer requests that were coming from production instances when they weren't supposed to. And it's really hard to troubleshoot those problems, and it's really hard to resolve those. And so right now it's just a matter of stability. The other thing that is enabling us to do is handle the often difficult task of managing database migrations, as well as topic migrations, and, really, one-off type jobs that would happen every once in a while just depending on new products being introduced or new functionality to existing products being introduced. And these would require things like migrations in the data schema. And this used to have to be baked into the application itself, and this was really sometimes kind of tricky to manage when you start talking about applications that have multiple replicas, but with Kubernetes, you can do things like tasks, and jobs, and things that are more suited towards these one-off type activities that you don't have to worry about a bunch of services running into each other and stepping on each other's feet anymore. So, this, again, just gives a lot of comfort and peace of mind to developers who have to work on this stuff. And it also gives me peace of mind because I know ultimately, that this stuff is just going to work as long as they follow the best practices of deploying a Kubernetes manifest and Kubernetes objects, and so I don't have to worry about them breaking things per se, in a way in which they aren't able to troubleshoot, diagnose, and ultimately fix themselves. So, it just creates less maintenance overhead for me because as I mentioned at the beginning of the call, I don't get paid by Single Music, unless of course, they go public or they sell. But I'm not actually a full-time employee. I'm paid by Containous, that's my full-time job, so anything that allows me to have that security and have less maintenance work on my weekends is hugely beneficial to my well being and my peace of mind, as well. Now, the other part of the question you had, as well, is in terms of how are we transitioning, and how are we handling the ever-changing landscape of the business? I think one of the things that Kubernetes lets us do really well is pivot and introduce these new ideas and these new concepts, and these new services to the world. We get to release new features and products all the time because we're not spending a ton of time having to figure out, “Well, how do I spin up a new VM, and how do I configure the load balancer to work, and how do I configure a new schema in the database?” The stuff, it's all there for us already to use, and that's the beauty of the whole cloud-native ecosystem is that all these problems have been solved and packaged in a nice little bundle for us to just scoop up, and that enables our business to innovate and move fast. I mean, we try not to break things, but we do. But for the most part, we are just empowered to deliver value to our customers. And for instance the whole live-streaming thing, we launched that over the course of, maybe, a week. It took us a week to build that product and build that capability, and of course, we've had to invest more time into it as time has gone on because not only do our customers see value in it, we see value in it, and we see value in investing additional engineering and business marketing hours into selling that product. And so again, it's just a matter of what Kubernetes, and the cloud-native ecosystem in general—and this includes Swarm to some extent because we could not have gotten to where we did without Swarm in the beginning, and I want to give it its proper dues because, for the most part, it worked really well, and it served our needs, but it got to the point where we kind of outgrew it, and we wanted to offload the managing of our orchestrator to somebody else. We didn't want to have to manage it anymore. And Kubernetes gave us that.Emily: It sounds like, particularly when we're talking about the live streaming product, that you were able to build something really quickly that not only helped Single's business but then obviously also helped a lot of musicians, I'm assuming at least. So, this was a way to not just help your own business, but also help your customers successfully pivot in a time of fairly large upheaval for their industry.Kevin: Right. And I think one of the cool things that we experienced through the pandemic is that we saw a fairly sharp rise in sales in general in music, and I think it kind of speaks to the human nature. And what I mean by that, is that music is something that comforts people and gives people hope, and also it's an outlet. It's a way for people to, I don't want to say, disconnect because that's not really what I mean, but it gives them a means to experience something outside of themselves. And so it wasn't really that big of a surprise for us to see our numbers increase. And, I mean, the only thing that kind of did surprise—I mean, it's not a surprise now in retrospect, but one of the things that we observed as well, as soon as all the George Floyd protests started happening across the United States, the numbers conversely dropped, and at that point, we realized that there was something more important going on in the world. And we expected that and we were… it was just an interesting observation for us. And right now, I mean, we're still seeing growth, we're still seeing more artists and more bands coming online, trying to find new ways to innovate and to try to sell their music and their artwork, and we love being a part of that, so we're super stoked about it.Emily: That actually might be a good spot for us to wrap up, but I always like to give guests the opportunity to just say anything that they feel like has gone unsaid.Kevin: Well, I mean, one of the things I do want to talk about a little bit is some of the stuff that we're doing at Containous as well. As a developer advocate, I think one of the things that I really enjoy in that aspect is that this gives me an opportunity to work closely with engineers in a way in which—a lot of times, they don't have an opportunity to experience the marketing and the business side of the product, and the fact that I can interact with my community and I can work with our open-source contributors and help the engineers realize the value of that is incredible. A few things that I've done at Containous since I've joined is we are working really hard at improving our documentation and improving the way in which developers and engineers consume the Traefik product. We also are working on a service mesh, which is a really cool way for services to talk to each other. But one of the things that we've recently launched two that I want to touch on is our plugin system, which is a fairly highly requested feature in Traefik. And we launched it with Pilot, which is a new product that allows the users of Traefik to install these plugins that manipulate the request before it gets sent to the service. And that means our end-users are now empowered to create their own middleware, in essence. They're able to create their own plugins. And this allows them really unlimited flexibility in how they use the Traefik load balancer and proxy. The other thing that we're working on, too, is improving support for Kubernetes. One of the surprises that I had when migrating from Traefik version 1 to Traefik 2, when we did the Single migration to Kubernetes, was once I figured out the version two configuration, it was really easy to make that migration, but it was difficult at first to make the translation between the version 1 schema of the configuration into the version 2. So, what we're working on and what I'm working on right now with our technical writer, is a series of how-tos and guides for users of Kubernetes to be empowered in the same way that we are at Single Music to quickly and easily manage and deploy their microservices across their cluster. With that, though, I mean, I do want to talk one more thing, on maybe some misconceptions about cloud-native and Kubernetes.Emily: Oh, yes, go ahead.Kevin: Yeah, I mean, I think one of the things that I hear a lot of is that Kubernetes is really hard; it's complex. And at first, it can seem that way; I don't want to dispute that, and I don't want to dismiss or minify people's experience. But once those basic concepts are out of the way, I think Kubernetes is probably one of the easiest platforms I've ever used in terms of managing the deployment and the lifecycle of applications and web services. And I think probably the biggest challenge is for organizations and for engineers who are trying to adopt Kubernetes is that in some ways, perhaps they're trying to make Kubernetes work for applications and services that weren't designed from the ground up to work in a cloud-native ecosystem. And that was one of the things that we had the advantage of in 2016 was even though we were using Docker Swarm, we still followed something which was called the ‘Twelve-Factor App' principle. And those principles really just laid us out for a course of smooth uninterrupted, turbulence-free flying. And it's been really an amazing journey because of how simple and easy that transition from Docker Swarm into Kubernetes was, but if we had built things the old way, using maybe Packer and AMIs and not really following the microservice route, and hard coding a bunch of database URLs and keys and all kinds of things throughout our application, it would have been a nightmare. So, I want to say to anybody who is looking at adopting Kubernetes, and if it looks extremely daunting and technically challenging, it may be worth stepping back and looking at what you're trying to do with Kubernetes and what you're trying to put into it, and if there needs to be some reconciliation at what you're trying to do with it before you actually go forth and use something like Kubernetes, or containers, or this whole ecosystem for that matter.Emily: Let me go ahead and ask you my last question that I ask everybody which is, do you have a software engineering tool that you cannot live without, that you cannot do your job without? If so, what is it?Kevin: Yeah, I mean, Google's probably… [laughs] seriously, it's one of my most widely used tools as a developer, or as a software engineer, but in terms of, like, it really depends on the context of what I'm working in. If I'm working on Single Music, I would have to say the most widely used tool that I use for that is Datadog Because we have all of our telemetry going to there. And Datadog gives me a very fast and rapid understanding of the entire environment because we have metrics, we have traces, and we have logs all being shipped there. And that helps us really deep dive and understand when there's any type of performance regression, or incident happening in our cluster in real-time.As far as what my critical tooling at Containous is, because I work in Marketing and because I work more in an educational-type atmosphere there, one of the tools that I have started to lean on heavily is something most people probably haven't heard of, and this is for managing the open-source community. It's something called Bitergia. And it's an analytics platform, but it helps me understand the health of the open-source community, and it helps me inform the engineering team of the activity around multiple projects, and who's contributing, and how long is it taking for issues and pull requests to be closed and merged? What's our ratio of pull requests and issues being closed for certain reasons. And these are all interesting business-y analytics that is important for our entire engineering organization to understand because we are an open-source company, and we rely heavily on our community for understanding the health of our business.Emily: And speaking of, how can listeners connect with you?Kevin: There's a couple different ways. One is through just plain old email. And that is kevin.crawley@containous—that's C-O-N-T-A-I-N-O—dot U-S. And also through Twitter as well. And my handle is @notsureifkevin. It's kind of like the Futurama, “Not sure if serious.” I mean, those are the two ways.Emily: All right. Well, thank you so much. This was very, very interesting.Kevin: Well, it was my pleasure. Thank you for taking the time to chat with me, and I look forward to listening to the podcast.Emily: Thanks for listening. I hope you've learned just a little bit more about The Business of Cloud Native. If you'd like to connect with me or learn more about my positioning services, look me up on LinkedIn: I'm Emily Omier, that's O-M-I-E-R, or visit my website which is emilyomier.com. Thank you, and until next time.Announcer: This has been a HumblePod production. Stay humble.

Live Insurrection es el primer álbum en vivo de la banda Inglesa-estadounidense de heavy metal Halford, publicado en 2001 por Metal God Entertainment. Su grabación se llevó a cabo en la gira promocional de Resurrection entre 2000 y 2001, e incluye canciones de su primer álbum de estudio con Halford y algunos temas de Judas Priest y Fight. Por otro lado, en la portada figura Rob Halford besando la bandera de Chile. En Japón se publicó el 27 de marzo de 2001 y contó con una pista adicional, una versión en vivo de «Blackout» de Scorpions, grabada con la participación especial del guitarrista rítmico Rudolf Schenker. Además, el disco incluye las canciones de estudio «Screaming in the Dark» —que no había sido publicada en ninguna producción anteriormente— «Heart of a Lion» y «Prisoner of Your Eyes», estas últimas fueron escritas en la década de los ochenta por Judas Priest y que hasta entonces figuraron en el disco Second Heat de Racer X y en la versión remasterizada de Screaming for Vengeance, respectivamente. Por último, el tema «Light Comes Out of Black» fue escrita por Rob Halford en 1992 y apareció en la banda sonora de la película Buffy la Cazavampiros, interpretada junto a Pantera. Por otro lado, el 21 de abril de 2002 el sistema Nielsen SoundScan informó que hasta esa fecha se habían vendido 25 532 copias del álbum en los Estados Unidos. Título Escritor(es) Duración «Resurrection» Rob Halford, Patrick Lachman, Roy Z, John Baxter 4:02 «Made in Hell» Halford, Z, Baxter 4:13 «Into the Pit» Halford 4:15 «Nailed to the Gun» Halford 3:35 «Light Comes Out of Black» Halford 5:00 «Stained Class» Halford, Glenn Tipton 5:32 «Jawbreaker» Halford, K. K. Downing, Tipton 3:25 «Running Wild» Tipton 3:02 «Slow Down» Halford, Z, Bob Marlette 4:40 «The One You Love to Hate» (con Bruce Dickinson) Halford, Z, Dickinson 3:11 «Life in Black» Halford 4:26 «Hell's Last Survivor» Halford, Mike Chlasciak 3:24 «Sad Wings» Halford, Patrick Lachman, Chlasciak 3:33 «Saviour» Halford, Lachman, Z 2:57 «Silent Screams» Halford, Marlette 7:32 Disco 2 N.º Título Escritor(es) Duración «Intro» (removido en la remasterización de 2009) 0:14 «Cyberworld» Halford, Z, Chlasciak 3:04 «The Hellion» Halford, Downing, Tipton 0:48 «Electric Eye» Halford, Downing, Tipton 3:29 «Riding on the Wind» Halford, Downing, Tipton 3:10 «Genocide» Halford, Downing, Tipton 7:36 «Beyond the Realms of Death» Halford, Les Binks 6:51 «Metal Gods» Halford, Downing, Tipton 4:34 «Breaking the Law» Halford, Downing, Tipton 3:50 «Blackout» (con Rudolf Schenker, incluida en la versión japonesa y en la remasterización de 2009) Herman Rarebell, Klaus Meine, Rudolf Schenker 4:19 «Tyrant» Halford, Tipton 4:41 «Screaming in the Dark» (grabación de estudio) Halford, Lachman, Z, Baxter 3:41 «Heart of a Lion» (grabación de estudio) Halford, Downing, Tipton 3:51 «Prisoner of Your Eyes» (grabación de estudio)

Napalm Death special with Barney Greenway   Napalm Death are a British extreme metal band formed in Meriden, West Midlands, England, in 1981.While none of its original members remain in the group since December 1986, the lineup of vocalist Mark "Barney" Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera has remained consistent of the band's career since 1992's Utopia Banished, although, from 1989 to 2004, Napalm Death were a five-piece band after they added Jesse Pintado as the replacement of one-time guitarist Bill Steer; following Pintado's departure, the band reverted to a four-piece rather than replace him. The band is credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal, using a noise-filled sound that uses heavily distorted, down-tuned guitars, grinding overdrive bass, high speed tempo, blast beats, and vocals which consist of incomprehensible growls, or high-pitched shrieks, extremely short songs, fast tempos, and sociopolitical lyrics. The band's debut album Scum, released in 1987 by Earache Records, proved substantially influential throughout the global metal community. According to the Guinness World Records, their song "You Suffer" is the shortest song in the world, at only 1.316 seconds long. Napalm Death have released sixteen studio albums, and are listed by Nielsen SoundScan as the seventh best-selling death metal band in the United States.

Nick Galieti sits down with David Archuleta and discusses what members can do for the #LightTheWorld 2017 Campaign through acts of service. David also shares experiences he has had in his career and as a missionary. ----- (Bio courtesy of official website.) David Archuleta became a star when he was just 16. In 2008 more than 30 million television viewers fell in love with his angelic voice and their 44 million votes made him runner-up in Season 7 of “American Idol.” Soon after, the young Utahan signed with Jive Records and his first single “Crush,” debuted at No. 2 on the Billboard Hot 100 chart the week of its release. According to Nielsen SoundScan, the track sold 166,000 downloads that first week in the U.S. and subsequently more than 1.92 million digital copies. Three months later, David’s self-titled album, “David Archuleta,” went gold, selling more than 750,000 copies in the U.S., and more than 900,000 worldwide. “It was so neat to see how positive fans were about ‘Crush,’” David said of the enthusiastic reception for his chart debut. In 2012, David, a member of The Church of Jesus Christ of Latter-day Saints, put his singing career on hiatus so he could volunteer for a two-year stint as a full-time missionary in Santiago, Chile, at the La Misión Chile Rancagua. He’s described his experience of the mission as “a dream come true.” His decision to serve was influenced by his mother, who told him it was singer Donny Osmond who had helped get her interested in The Church of Jesus Christ of Latter-day Saints. “I never thought I would have the guts to talk to so many different people,” Archuleta says of his time in Chile, adding that, since he’s completed his mission there, he’s never been more confident of either his singing or speaking skills — in English or in Spanish. Pursuing a greater sense of purpose as he did on his mission, is nothing new to Archuleta who battled a bout of vocal cord paralysis when he was 13, while competing on CBS’s “Star Search.” He chronicled the debilitating experience in his New York Times bestselling 2010 memoir, “Chords of Strength: A Memoir of Soul, Song, and the Power of Perseverance,” and the determination to overcome obstacles, such as the worrying illness, resonates in the overall message of the songs he wrote for his second album, “The Other Side of Down.” “Instead of acting like everything in life is so hard and confusing, look at it this way: The only way you can go from here is up,” he says. “It’s our decisions and how we handle things that matter, even when they get rough. If we keep holding on, looking at things positively and working hard, we can improve our lives, help ourselves, and even help the greater good.” David returned from Chile in March 2014 eager to perform and record once again. Since his return he’s traveled to the Middle East to perform for U.S. troops, recorded the song “Glorious” for the recently released “Meet The Mormons” movie, and been busy writing songs for a release planned for 2016.

Nick Galieti sits down with David Archuleta and discusses what members can do for the #LightTheWorld 2017 Campaign through acts of service. David also shares experiences he has had in his career and as a missionary. ----- (Bio courtesy of official website.) David Archuleta became a star when he was just 16. In 2008 more than 30 million television viewers fell in love with his angelic voice and their 44 million votes made him runner-up in Season 7 of “American Idol.” Soon after, the young Utahan signed with Jive Records and his first single “Crush,” debuted at No. 2 on the Billboard Hot 100 chart the week of its release. According to Nielsen SoundScan, the track sold 166,000 downloads that first week in the U.S. and subsequently more than 1.92 million digital copies. Three months later, David’s self-titled album, “David Archuleta,” went gold, selling more than 750,000 copies in the U.S., and more than 900,000 worldwide. “It was so neat to see how positive fans were about ‘Crush,’” David said of the enthusiastic reception for his chart debut. In 2012, David, a member of The Church of Jesus Christ of Latter-day Saints, put his singing career on hiatus so he could volunteer for a two-year stint as a full-time missionary in Santiago, Chile, at the La Misión Chile Rancagua. He’s described his experience of the mission as “a dream come true.” His decision to serve was influenced by his mother, who told him it was singer Donny Osmond who had helped get her interested in The Church of Jesus Christ of Latter-day Saints. “I never thought I would have the guts to talk to so many different people,” Archuleta says of his time in Chile, adding that, since he’s completed his mission there, he’s never been more confident of either his singing or speaking skills — in English or in Spanish. Pursuing a greater sense of purpose as he did on his mission, is nothing new to Archuleta who battled a bout of vocal cord paralysis when he was 13, while competing on CBS’s “Star Search.” He chronicled the debilitating experience in his New York Times bestselling 2010 memoir, “Chords of Strength: A Memoir of Soul, Song, and the Power of Perseverance,” and the determination to overcome obstacles, such as the worrying illness, resonates in the overall message of the songs he wrote for his second album, “The Other Side of Down.” “Instead of acting like everything in life is so hard and confusing, look at it this way: The only way you can go from here is up,” he says. “It’s our decisions and how we handle things that matter, even when they get rough. If we keep holding on, looking at things positively and working hard, we can improve our lives, help ourselves, and even help the greater good.” David returned from Chile in March 2014 eager to perform and record once again. Since his return he’s traveled to the Middle East to perform for U.S. troops, recorded the song “Glorious” for the recently released “Meet The Mormons” movie, and been busy writing songs for a release planned for 2016.

Brian and Bill take a little time to discuss one of the tracks from the deluxe edition of the La's set titled album, "I Am the Key." After Bill tells a wedding story that he forgot to tell on the main episode and Brian fawns over the songs harmonies, the two take a really deep dive into two of Bill's favorite subjects: data sifting and Pearl Jam. A listener challenged our claim that Pearl Jam's Ten outsold Nevermind. We accept the challenge and take it to the mat. We discovered some surprising facts, including how the RIAA and Nielsen Soundscan work, what labels have to do to receive gold and platinum certifications, and of course which album really outsold which (on both US domestic and international levels)!

This week, we've got feature interviews with country singer Jason Benoit and jazz guitarist Thomas Carbou in addition to some interesting figures from Nielsen Soundscan on the state of the Canadian music industry halfway into 2015. Benoit was recently announced as the winner of the CCMA's Atlantic Canada Discovery Program, only to be nominated for the Rising Star Award of the 2015 CCMAs weeks later. It's been a busy summer for the native Newfoundlander, and we talk about his success thus far and how his singles like "Gone Long Gone" came together. As for Carbou, Mike spoke with him ahead of a performance at the 2015 Montreal International Jazz Festival. Named as one of Montreal's top guitarists to watch, his style is sure to impress. He and David Binney chat about some things they have underway. And don't miss our Canadian Spotlight Song of the Week from North Sydney, NS's City Walk. The track is called "Summer," and it's a great tune worthy of the season after which it's named.

Today's Throwback Thursday looks at the continued strength of the vinyl revival. Tune in during the 8 am hour when Jeff Spurgeon plays a special vinyl track. The numbers are striking: CD sales declined nearly 15 percent last year. But vinyl sales moved in the opposite direction: up 32 percent from 2012, according to Nielsen SoundScan. Trendy retailers such as Urban Outfitters and Whole Foods are stocking vinyl records. Sales of turntables are up and artists like conductor Gustavo Dudamel, pianist Valentina Lisitsa and the Brooklyn Rider string quartet are releasing LPs. While the black disc never went away among purist deejays and audiophiles, it has made a broader comeback, especially among hipsters, college students and nostalgic baby boomers. “The whole idea of actually holding a piece of music in your hand has become sort of a quaint concept because you can carry thousands of songs around in your pocket," said Greg Milner, author of Perfecting Sound Forever: The Story Of Recorded Music. However, "if you are going to have a material object, it may as well be something that’s so far removed from digital formats.” Brooklyn Rider violist Nicholas Cords believes that vinyl records put a listener in a physical space, such as a living room or bedroom. For the quartet, "it connects us to a past, a heritage of string quartet playing that we very much admire. It was a symbolic connection to something we really love." When Brooklyn Rider released its 2012 album “Seven Steps” on vinyl (as well as MP3 and CD) the group invoked past greats like the Capet, Rosé, and Busch String Quartets, who first became known to the world through their pioneering 78 rpm releases in the 1930s and '40s. Cords dismisses the suggestion that LPs are a gimmick, noting that their creation can be painstaking and costly given the different mastering processes involved. What's more, a vinyl release is a way to connect with a specific fan base. Detractors argue that vinyl has plenty of drawbacks: it's not portable, it scratches, it warps and player needles wear out. But its advocates point out that, unlike MP3s, the sound of vinyl is not compressed and any surface noise actually adds warmth to the listening experience. “One of the reasons why people like vinyl is it imparts a kind of unreality to the sound,” said Milner. “People think of it as real but it actually gives you this thing that maybe you don’t hear in real life because in real life you’re not hearing things through the veil of hiss and noise.” But despite the love heaped on vinyl and its reported comeback, it barely moved the needle for the music industry in 2013. "Vinyl is only about two percent of total album sales, so when you talk about a revival you have to talk about it in the context of everything everyone is listening to,” said Claire Suddath, a writer for Bloomberg Businessweek. In October, Suddath reported that the number of LPs sold in the U.S. represented only 1.4 percent of all albums sold. While vinyl may not save a troubled industry – one that saw even download sales drop last year – Cords notes that it represents a link with tradition in an age when music formats can seem overly disposable. "I just don’t see vinyl going away," added Milner. “It’s a good format, it’s durable, it will last a long time.” Listen to the full segment above, take our poll and leave a comment: Do you listen to vinyl? If so, why? .chart_div { width: 600px; height: 300px; } loadSurvey( "vinyl-comeback", "survey_vinyl-comeback");