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Country Giant Bill Anderson Honored On 60th Anniversary As Grand Ole Opry Member

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Much-loved country veteran Bill Anderson was honored by the Grand Ole Opry on Saturday (17) to mark his 60th anniversary as a member of the famous institution. Among the fellow stars taking part in the festivities were Sara Evans and Opry members Vince Gill and Mark Wills.

Tennessee Governor Bill Lee issued an official proclamation to name July 17 as Bill Anderson Day, while Nashville Mayor John Cooper made the same announcement for the city. The celebration came just two days after the exact 60th anniversary of the day that Anderson, now aged 83, became a member of the Grand Ole Opry on July 15, 1961, by which time he had already made significant inroads on his epic career.

The artist born in Columbia, South Carolina, who was a sportswriter and DJ before becoming an artist himself and signing to Decca, made his country chart debut in the last days of 1958 with “That’s What It’s Like To Be Lonesome.” By then, Anderson had just performed at the Opry for the first time, and was already a chart-topping songwriter, with Ray Price taking his “City Lights” to No.1 for 13 weeks. When he was invited to join the Opry, he became its youngest member at the time.

“First of all, it’s really hard to imagine I’ve been at the Grand Ole Opry for 60 years,” he said. “It seems like yesterday they asked me if I wanted to be a part of this great family, and of course I couldn’t wait to tell them yes and be a part of this wonderful family…I tell people all the time that the Grand Ole Opry is like Yankee Stadium to a baseball player, or Broadway to an actor, or Hollywood to someone in film. It’s the highest rung on the ladder. It’s as high as you can go in country music and I’m just thankful that I’ve gotten to be here for 60 years.”

Anderson’s first No.1 in his own name was “Mama Sang A Song” in 1962, the first of seven such bestsellers that also included “Still,” I Get The Fever,” and “World Of Make Believe.” He notched 80 country chart entries in total up until 1991.

He also shone as the co-writer of such No.1s as Lefty Frizzell’s “Saginaw, Michigan” (1964), Conway Twitty’s “I May Never Get to Heaven” (1979), and George Strait’s “Give It Away” (2006). He also co-wrote Kenny Chesney’s “A Lot of Things Different” and Brad Paisley and Alison Krauss’ “Whiskey Lullaby,” which like the Strait hit, won the CMA Song of the Year Award.

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RIAA Addresses IP Protections in USTR’S 2024 Unique 301 Report

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[[{“value”:”“The 2024 Special 301 Report provides a vital snapshot of the environment for music creators globally as well as a critical blueprint for US engagement with countries around the world to support them,” commented RIAA Chairman & CEO Mitch Glazier. 
The post RIAA Addresses IP Protections in USTR’S 2024 Special 301 Report appeared first on RIAA.”}]]

WASHINGTON, DC ( April 25, 2024) — Today, the United States Trade Agent (USTR) provided its yearly Unique 301 Report relating to deficiencies of copyright and other kinds of copyright (IP) securities in specific nations. The Report examines the existing legal, regulative, judicial, and enforcement actions on IP in those nations and recognizes the effect on United States music developers while likewise highlighting systemic concerns for United States federal government engagement to advance imagination worldwide. Amongst the cross-cutting concerns that show the music neighborhood’s input into the Unique 301 procedure, USTR Ambassador Katherine Tai acknowledged the important value of American developers’ contributions to United States tasks and financial development, keeping in mind Stakeholders from both unions and business in the imaginative sectors have actually highlighted the value of copyright defense and enforcement to their incomes and companies.”

” The 2024 Unique 301 Report offers an essential photo of the environment for music developers worldwide in addition to a vital plan for United States engagement with nations around the globe to support them, commented RIAA Chairman && CEO Mitch Glazier ” We value acknowledgment of uncomfortable patterns in many areas that would hurt the American music neighborhood, consisting of constraints on streaming rights, inadequate enforcement, and stream-ripping piracy, and the recognition of favorable advancements relating to copyright defense and enforcement. We motivate the United States Federal government in future Reports to resolve appropriate copyright defense in the context of AI as dedicated to by President Biden in the G7, and to oppose broad exceptions consisting of text and information mining. We likewise advise the United States Federal government to engage with nations based on continuous trade examinations, and to resolve deeply bothersome propositions on copyright and agreement matters, especially in South Africa.”

” We thank Ambassador Tai and the whole interagency group for their vigorous deal with this essential procedure. RIAA highly supports the United States Federal government’s extensive technique to promoting American developers globally, consisting of through existing and future IP discussions with the European Union, India and the UK.”

The post RIAA Addresses IP Protections in USTR’S 2024 Unique 301 Report appeared initially on RIAA

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Year-End 2023 RIAA U.S. Latin Music Income Report/ Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos

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[[{“value”:”Latin music in the U.S. has increased in popularity and value over the last eight years, outpacing overall recorded music… Read More »
The post Year-End 2023 RIAA U.S. Latin Music Revenue Report / Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos appeared first on RIAA.”}]]

Latin music in the U.S. has actually increased in appeal and worth over the last 8 years, outmatching general documented music each year throughout this duration of strong development. In 2023, the category struck its greatest mark yet at $1.4 billion, representing 16% development over 2022. Changed for inflation, Latin music market profits in 2023 are now 14% above the previous peak in 2005.

LINK TO FULL ENGLISH REPORT HERE

INFORME DE FIN DE AÑO 2023 DE RIAA SOBRE INGRESOS DE MÚSICA LATINA EN ESTADOS UNIDOS

La música latina en los EE. UU. creció en cuanto a su popularidad y valor durante los últimos ocho años, superando a la música grabada en basic cada año durante este período de fuerte crecimiento. En 2023, el género alcanzó su marca más alta con $1400 millones, que representa un crecimiento del 16 % con respecto a 2022. Ajustados por la inflación, los ingresos del mercado de la música latina en 2023 ahora están un 14 % por encima del pico previo en 2005.

ENLACE AL INFORME COMPLETO EN ESPAÑOL AQUÍ

The post Year-End 2023 RIAA U.S. Latin Music Income Report/ Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos appeared initially on RIAA

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Live Music On I-Drive Orlando

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Live Music on I-Drive Orlando; Supper & & Dancing at Cuba Libra. Friday’s & & Saturday’s; DJ Night. Friday and Saturday; Live Acoustic Music. Fridays and Saturdays.

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The post Live Music On I-Drive Orlando appeared initially on Weekly Calendar

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