As of [11/16/15], the barcade/music venue The 1up — Colfax is just a barcade. The business announced in a press release that their Colfax location would cease hosting live events effectively immediately, to “focus on core business.”
1up owner Jourdan Addler said that hosting concerts had long been a business aspiration. “It was always a dream of mine to combine music and arcade games,” said Addler. “But ultimately, I think I’ll leave the music industry up to the experts.”
“I definitely have a newfound respect for the independent venues in this town,” he added.
There are no current permanent plans for the now-vacant venue space [at 717 East Colfax], although it may serve as a temporary staging area for a forthcoming third 1up. “It’s a blessing in disguise, because we can use it to test layouts for our third location,” Addler said. Though the whereabouts of business’s newest establishment hasn’t been decided, Addler said it will be the largest of the three. “We’re looking to make a statement with this one.”
The 1up — Colfax opened its doors in June 2012 and added a concert venue in December 2013. In the two years it served as a venue, it hosted 350 shows and saw the likes of Sam Bush, Jaime xx and Dean Ween grace its stage.
The venue had shows on the books at least through Jan. 1 2016, which have all since been cancelled. Online ticket sales for the cancelled shows will automatically be refunded on Nov. 20. Customers who purchased tickets at the box office can email info@1up2up.com for assistance.
Addler would not comment as to why the venue didn’t see out the rest of its show calendar, although he stated he knew ahead of time that Vermont band RAQ’s show at the venue on Saturday, Nov. 14 would be its last. RAQ, on the other hand, did not. “I wish we would have known,” said RAQ singer and keyboardist Todd Stoops. “We would have played even harder.”
By Dylan Owens
http://www.heyreverb.com/blog/2015/11/17/1up-colfax-ceases-live-event-operations/110311/
[Thanks to Alex Teitz, http://www.femmusic.com, for alerting us to this news.]
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‘AMERICAN IDOL’ FINAL SEASON SHADOWED BY PHILLIP PHILLIPS LEGAL DRAMA
An attempt to void the ‘Idol’ winner’s deal, a poaching lawsuit from producers and an important hearing on Dec. 4.
In early January, the 15th and final season of American Idol will begin. One of the mysteries involves whether producers will have their biggest alumni return, and if so, whether that will include 11th season winner Phillip Phillips.
Earlier this year, Phillips filed a petition with the California Labor Commissioner (CLC) in an effort to void his deals with companies affiliated with Idol producer 19 Entertainment. He’s asserting that the management contract he made as a precursor to his success on the program runs afoul of the Talent Agencies Act, the California law that says only licensed talent agents can procure employment for clients. If he’s successful, this could have ramifications for more Idol stars as well as others who have appeared in reality TV competition shows.
Usually, the adjudication of TAA disputes is a painfully slow and arduous process, but surprisingly, the CLC has scheduled a hearing to discuss the issues in the Phillips case on Dec. 4. About a month away from the season premiere of Idol, the hearing could spur discussion between the parties. That is, if the producers are interested in having Phillips return.
Then again, there’s added complication thanks to a lawsuit that 19 Entertainment filed in late September against music manager Michael McDonald and Mick Management.
After Phillips came forward to complain how 19 had “manipulated” him into accepting jobs for its own benefit, 19 turned around and sued McDonald for having “unceremoniously duped Phillips into attempting to terminate” its relationship with the Idol star.
The poaching lawsuit alleges that Phillips became a sensation thanks to 19’s “tireless efforts,” responsible for his $5 million earnings in 2013 alone, but that McDonald “actively pursued Phillips whenever possible,” pressured him to break off relations, which caused Phillips to begin airing grievances to 19 and eventually file an action with the CLC.
In response, McDonald seeks to have the $2 million lawsuit paused in favor of Phillips’ CLC petition, arguing that if the artist was successful, 19 wouldn’t be able to prove “that its Contract is or ever was valid,” thus precluding claims of tortious interference and unjust enrichment.
19 disputes this assessment, telling a judge in court papers last week that it need not demonstrate the existence of a valid contract to prevail. And even if otherwise, and Phillips was successful, 19 argued that the CLC could sever unlawful portions of the contract rather than void the whole thing. Further, the Idol company warned that a stay in litigation “would stop this litigation dead in its tracks for possibly up to five, or even nine years, due to the notoriously long time it takes for the CLC to reach decisions in proceedings alleging violations of the Talent Agencies Act.”
Yes, that’s how long the nightmarish, bureaucratic California agency overseeing labor disputes can take.
But something a little strange happened after 19 made this warning. The very next day — last Thursday — an attorney at the CLC set the December 4 hearing date.
Suddenly, Phillips’ bold attempt to review a management contract arising from a reality TV show is on the fast track. The question, though, could be whether Idol wants any fallout from this legal dispute interfering with what should be the final celebration of a path-breaking show. Officially, American Idol begins January 6, though the competition — and what happens on-air — will be influenced by auditions before judges much sooner.
By Eric Gardner
http://www.hollywoodreporter.com/thr-esq/american-idol-final-season-shadowed-841908
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ADELE’S ‘HELLO’ IS THE FASTEST-SELLING SINGLE IN 18 YEARS
Adele’s power ballad “Hello” sold 480K digital copies in the U.S. in its third week of release. It’s the first song to top 400K in each of its first three weeks since Elton John’s “Candle in the Wind 1997” 18 years ago. Only 12 songs have topped the 400K mark in weekly sales (either physical or digital) two or more times since Nielsen SoundScan began tracking music sales in 1991. Here’s a complete list.
“Candle in the Wind 1997” by Elton John
Elton’s somber tribute to the late Princess Diana topped the 400K mark in each of its first five weeks in October and November 1997. Elton and his lyricist, Bernie Taupin, originally wrote the song about Marilyn Monroe for his 1973 album Goodbye Yellow Brick Road. Taupin adapted the lyric following Diana’s death in a Paris car crash. Elton performed it at her funeral in Westminster Abbey on Sept. 6, 1997. George Martin, who produced the Beatles’ classics, produced the record. The song was coupled with a new song, “Something About the Way You Look Tonight.”
“Blurred Lines” by Robin Thicke featuring T.I. + Pharrell
Thicke’s strutting smash topped 400K in weekly sales four times — for three consecutive weeks in June and July 2013, and for a fourth week in August. The song was heavily influenced by Marvin Gaye’s 1977 hit “Got to Give It Up (Pt. 1)” — so much so that Gaye’s heirs prevailed in a lawsuit and Gaye’s name was added to the writing credits. This was the first single from Thicke’s sixth studio album, Blurred Lines.
“I Will Always Love You” by Whitney Houston
Houston’s steely version of Dolly Parton’s 1974 ballad topped the 400K mark for three consecutive weeks in December 1992 and January 1993. It later won a Grammy for Record of the Year. This is the only song on this list that wasn’t written or co-written by the lead artist. It’s also the only song on this list by an artist who has passed away. This was the first single from the soundtrack to Houston’s first movie, The Bodyguard.
“Somebody That I Used to Know” by Gotye featuring Kimbra
Gotye wrote and produced this quirky song, which topped the 400K mark for three consecutive weeks in April 2012. It later won a Grammy for Record of the Year. The song, which is reminiscent of Sting’s music, samples Luiz Bonfás 1967 song “Seville.” This was the second single from Gotye’s third studio album, Making Mirrors.
“Happy” by Pharrell Williams
This feelgood smash topped the 400K mark for three consecutive weeks in February and March 2014. Williams wrote the song for the movie Despicable Me 2 and later received an Oscar nomination. It’s one of only two songs on this list that were written by just one writer. The other is “I Will Always Love You.” (Gotye shared his songwriting credit with Bonfás.) Williams also co-wrote “Blurred Lines.” This was the first single from Williams’s second solo studio album, G I R L.
“Hello” by Adele
Adele’s striking ballad has topped the 400K mark in each of its first three weeks. This marks the first time that a song by a female artist has done that since (at least) 1991. This is the first single from Adele’s upcoming third studio album, 25, out this Friday.
“Right Round” by Flo Rida
This catchy ditty topped 400K in each of its first two weeks in February 2009. The song samples Dead or Alive’s 1985 hit “You Spin Me Round (Like a Record).” The then-little-known Kesha sang the female background vocal. Eleven songwriters are credited on this song. (It’s not easy to make a song sound this simple!) The writers include Bruno Mars and Philip Lawrence, who also co-wrote Mars’s two hits on this list. This is the only song on this list by a hip-hop star in the lead position. (T.I. is featured on “Blurred Lines.”) This was the first single from Flo Rida’s second studio album, R.O.O.T.S.
“Grenade” by Bruno Mars
This smash about a man who really, really needs to move on topped 400K for two weeks running in December 2010 and January 2011. This was the second single from Mars’s debut album, Doo-Wops & Hooligans.
“Born This Way” by Lady Gaga
Gaga’s LGBT anthem topped 400K in each of its first two weeks in February 2011. The success of this song helped pave the way for Macklemore & Ryan Lewis’s “Same Love” and, at least in a small way, Obergefell v. Hodges, the landmark Supreme Court case which held that the right to marry is guaranteed to same-sex couples by the Fourteenth Amendment. This was the first single from Gaga’s second full-length studio album, Born This Way.
“I Knew You Were Trouble” by Taylor Swift
Swift’s dubstep-tinged smash topped 400K twice — in October 2012, when it debuted, and again in December. This is the only song on this list that didn’t reach #1 on the Hot 100. It peaked at #2 on that chart, behind Bruno Mars’s “Locked Out of Heaven” (which topped 400K only once). This was Swift’s first major hit that didn’t appear on the Hot Country Songs chart. It paved the way for her total break from country with her 1989 album. This was the third single from Swift’s fourth studio album, Red.
“Roar” by Katy Perry
Perry’s motivational smash topped the 400K mark twice, in its debut week in August 2013 and again in its third week in September. Perry’s co-writers include Dr. Luke (who also co-wrote “Right Round”) and Max Martin (who also co-wrote “I Knew You Were Trouble”).“Roar” is this decade’s “Eye of the Tiger,” a song which gets a name-check in the lyric. This was the first single from Perry’s third pop studio album, PRISM.
“Uptown Funk” by Mark Ronson feat. Bruno Mars
This sassy smash topped the 400K mark twice, in December 2014 and again in January 2015. The song is a throwback to the Minneapolis sound of the 1980s, typified by Prince and Morris Day & The Time. It also borrows from the Gap Band’s 1980 R&B hit “I Don’t Believe You Want to Get Up and Dance (Oops, Up Side Your Head)” — to the degree that the five writers of that song were given co-writing credits on this song. This is the frontrunner to win the Grammy for Record of the Year on Feb. 15. This was the first single from Ronson’s fourth studio album, Uptown Special.
By Paul Grein | Yahoo Music
https://www.yahoo.com/music/adeles-hello-is-the-fastest-selling-single-in-213524389.html
[Original article contains videos of all of the aforementioned winning songs.]
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