“It’s really cool, I love that,” Musgraves said. “All facets like that are equally important to me, especially the songwriting. To be recognized for all those things makes me feel good.” The nominations were announced in New York on “Good Morning America” and in a later news conference by Sheryl Crow and FGL. Swift will be going for her third entertainer of the year award and was nominated for album for the multiplatinum “Red” and female vocalist of the year. Reigning entertainer of the year Blake Shelton and his wife, Miranda Lambert, are next with five nominations each. And Keith Urban and Florida Georgia Line have four apiece. Lambert and Shelton will be going for their fourth consecutive wins in the male vocalist and female vocalist categories and have a chance to again share a trophy, as they did last year when their song “Over You” won song of the year. In 2013, both share nominations in the musical event and video categories with Lambert’s trio Pistol Annies for their collaboration on Shelton’s song “Boys ‘Round Here.” The CMAs have turned into something of a party recently for the couple, who have been among the show’s top winners the past three years. “It’s so much fun for us each to be having individual success at the same time and we can celebrate it all together,” Lambert said in an email to The Associated Press. “Last year was so special being recognized for our song ‘Over You.’ Also, the CMAs happen around my birthday. It’s another reason to have a ‘Randa-rita!” Shelton and Swift are up for top honor entertainer of the year with Jason Aldean, Luke Bryan and surprise nominee George Strait, a two-time winner in the category who’s being feted by CMA voters as he retires from touring. Swift’s load of nominations isn’t that surprising. While sometimes a polarizing figure because of her pop music leanings, she’s gotten the full attention of CMA voters in recent years. She’s now up to 21 career CMA nominations and has two entertainer of the year awards among her seven wins, tying her with Barbara Mandrell as the lead female winner of the association’s top honor.
Taylor Swift, Kacey Musgraves Lead CMA Nominees
Brenton is setting the record straight. As a Life and Style source reported on September 12, 2013, “he was with a group of about eight people at Bar Masa in NYC on Wednesday night. At one point, after dinner, I heard someone ask him about hanging out with Taylor at Soho House two nights ago in Toronto and he said, ‘I took one photo with the girl! I mean, we were hanging out all night, but now suddenly she’s my girlfriend!'” The insider also claimed that Brenton already has a girlfriend, and that he’d be bringing her out on the red carpet sometime soon. Taylor seems to be denying the dating rumors as well. The “22” singer and the “Blue Lagoon: Awakening” star met for the first time on September 9 at a private party hosted by Harvey Weinstein. As an Us Weekly source reported on September 13, “Taylor thinks all these rumors about her and Brenton Thwaites are completely ridiculous. Harvey Weinstein took Taylor to his table and sat her next to Brenton. They had a nice time talking but no numbers were exchanged. A photographer asked to take their picture and they said yes.” The source continued, “she did think he was nice, but how could you be dating someone when you only just met them five minutes earlier? They are definitely not dating.” Would Taylor and Brenton make a cute couple? Or are some people too eager for another Taylor Swift breakup song? Subscribe to the Taylor Swift Examiner page for continued updates on her latest projects! Suggested by the author
Taylor Swift, Metallica and Jimi Hendrix Keep Toronto’s Music Tradition Rocking
Ridley also wrote the festivals most acclaimed film, 12 Years a Slave, but this is a very different piece of history that glancingly touches on black experience but is more focused on the process of personal and artistic transformation. Also read: Amy Winehouses Father Disses Beyonce, Andre 3000s Back to Black Cover for Gatsby Actor and rapper Andre Benjamin, of Outkast fame, makes a convincing Hendrix in look, speech and manner; the trickier part comes when he plays guitar, because Hendrix was so inimitable that every attempt to capture his sound and style is pretty much destined to fail. A group of veteran rock session musicians, including guitarist Waddy Wachtel, try valiantly, but Jimi is Jimi. And because the Jimi Hendrix estate is fractured, difficult and notoriously resistant to any attempts to put the story on film, Ridley couldnt use any of the music Hendrix wrote. That gave him the unenviable task of charting an artistic progression only through soundalike versions of the cover songs Hendrix performed, which is essentially impossible. Still, the personal stories are what connect in this bold and impressionistic work. And I even give Ridley a pass after he violates one of my pet movie-music peeves, which is when characters put a record on a turntable and we see the needle drop on the first track but hear a different song from the album. That happens here with Bob Dylans Blonde on Blonde album but it goes with a scene where Hendrix first drops acid, so I completely forgive Ridley for skipping the real first track, the thuddingly obvious Rainy Day Women #12 and 35 (aka Everybody Must Get Stoned) in favor of the far cooler and weirder Leopard Skin Pillbox Hat. Hendrix also makes a couple of appearances in actor and comic Mike Myers directorial debut, Supermensch: The Legend of Shep Gordon, a playful chronicle of and affectionate tribute to the rock manager best known for his decades-long stewardship of Alice Coopers career. Also read: Mike Myers Makes Directing Debut With Documentary Supermensch Its as if Brian Epstein, Marshall McLuhan and Mr. Magoo had a baby, explains Myers, not entirely helpfully, of the manager who came to known through Coopers carefully-calculated outrage and his own habit of wearing a t shirt with the indelible rock catchphrase No head, no backstage pass. Gordon comes across not just as a schemer and a playboy (though he clearly is both of those) but also a good guy, a moral businessman and a would-be family man, though hes had no children of his own. Myers is something of an ADD director accustomed to fast-paced comedy; hes constitutionally incapable of letting a sentence (or sometimes even a phrase) go by without illustrating it with old footage, recreations and the jokey use of pretty much any video he can find. The result is fast and funny and annoying, but the key to the film is that Gordon knows everybody and tells amazing stories, which range from hanging out at a Hollywood motel with Hendrix, Janis Joplin and Jim Morrison to taking joint custody of a cat with his next-door neighbor, Cary Grant. One priceless moment comes when Gordon describes meeting a famous French chef at a party at the Cannes Film Festival; Gordon says the chef was sitting at a table with Pablo Picasso, whereupon an onscreen title explains that Picasso had actually died by then, and Gordon was probably too stoned to realize that he wasnt partying with the artist.
Gary Allan blasts Carrie Underwood and Taylor Swift for not being country (Video)
“I also feel like we lost our genre.” He continues, “I feel like I don’t make music for a genre anymore. I did 10, 15 years ago. But since the Clear Channels and the Cumulus and all the big companies bought up all the chains, now it’s about a demographic.” “They’ve sliced everything up and [is] feeding it to the public. You used to be able to turn on the radio and you knew it was a country station just by listening to it. Now, you’ve got to leave it there for a second to figure it out.” Earlier this year, Allan scored his first No. 1 hit as a songwriter with “Every Storm (Runs Out Of Rain),” the lead offering from this “Set You Free” album. While possessing melodic charm steeped in the richness of country music, the arrangement is owed in large part to the new contemporary outlook, pulling in soul and rock influences. Likewise, Underwood’s “Blown Away” collection features boisterous pop and rock vibes on “Good Girl” and the title track — the latter is a double-platinum song about revenge and freedom. Throughout her album, however, Underwood explores more traditional themes and sounds. “Wine After Whiskey” and “Cupid’s Got a Shotgun” are prime examples of material that are direct results of the genre’s roots, pulling in Merle Haggard and Johnny Cash sensibilities. It should also be noted that the blonde powerhouse has also performed upwards of eight different times on the Grand Ole Opry — the radio show that made the genre famous in the 1920’s, originally called the WSM Barn Dance. Swift’s most recent project “Red” is an adventurous foray that digs deep into a pop mindset but still clings to her singer-songwriter background. While “I Knew You Were Trouble” and “We Are Never Ever Getting Back Together” are decidedly not country anthems, the album balances itself out with such tracks as “All Too Well” and “Stay Stay Stay.” These two gems highlight the strengths of Swift as a songwriter and storyteller and are distinctly country in their presentation. Swift might be probing into Hollywood more and more these days, but she hasn’t completely cut ties with the country music that started her impressive career.