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Kourtney Kardashian interrupts my music video!

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A budding British singer got the surprise of a lifetime while filming a music video- bumping into reality TV star Kourtney Kardashian in the middle of a scene.

Joelle, 13, flew over to Los Angeles to put the finishing touches to the music video for her debut song ‘Big in LA’ when she was bizarrely interrupted mid-shot by then-pregnant Kourtney Kardashian.


Meet and greet… Kardashian and Joelle

Sporting dark shades and a black sun hat, Kourtney walked into shot on Rodeo Drive just moments before teenage singer Joelle appears- who remains unperturbed that a major celebrity has interrupted the filming.

Speaking to Yahoo! TV, Joelle admitted: “Mum told me to be professional at all times during filming as there were often people who kept walking into our video.

“When we started to film me coming out the shop on Rodeo Drive I was gobsmacked that after the director shouted “action”, they breezed past me as if I wasn’t there.

“I had to just carry on and walk out the shop as directed, but I shrugged my shoulders as I came out into shot as I knew they had already messed up that take and I would probably have to re-shoot it.”



But after checking back the footage they realised that the two intruders were Kourtney Kardashian and a friend, so the clip made the final cut.

After filming the video in LA earlier this year, the promising 13-year-old has told Yahoo! TV that she will be back in the US again this summer to record some more tracks.

“I’m really looking forward to it,” she said. “It will definitely be a summer out of the ordinary!”

Kourtney Kardashian gave birth to a baby girl on Sunday, naming her Penelope Scotland Disick.

Mary Elizabeth – 7 year old talent

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Florence Kopleff Memorial

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Photo of Florence Kopleff (right) courtesy of Georgia State University School of Music

Presented by:
Georgia State University School of Music
Arts at GSU
Kopleff Recital Hall at Georgia State University

Sunday at 3 p.m.


Florence Kopleff – You will forever be remembered by us in Atlanta and throughout the United States.




Thank you for all your contributions to the arts, to Atlanta, and to Georgia State University.

Amazing Memorial service – performances by Cary Lewis, Walter Huff, Tania Maxwell Clements, Kate Murray, Richard Clement, Maria Valdes, Serafina Furgiuele, and the Georgia State University Singers under the direction of Deanna Joseph.

Beautiful remarks by Dwight Coleman, Thomas Shaw (son of Robert Shaw,) Alice Parker, Sue Sigmon Williams, Lorna Haywood, and John Haberlin

Kopleff-Florence-1 Kopleff-Florence-02

Florence Kopleff (May 2, 1924-July 24, 2012) was an American contralto.

She was born in New York City, and died in Atlanta, GA of complications of diabetes.

She began her career in 1941 when she was in her senior year of high school. In 1954 the New York Times termed her performance at New York’s Town Hall “a debut recital of considerable distinction,” and further stated that “Her voice is a large, powerful instrument with a wonderful ringing sonority, evenly produced over a wide range.”[1] She was very active as a concert and oratorio singer, appearing and recording with many of the great conductors of her era, particularly as a soloist with the Robert Shaw Chorale. She was also a frequent soloist with the Atlanta Symphony Orchestra, of which Robert Shaw was the conductor. Time magazine once called her the “greatest living alto.”

She taught at Georgia State University starting in 1968, when she became a professor and the school’s first artist-in-residence. The GSU School of Music’s recital hall is named for her.

Grammy GPS Event

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If you want to learn about the music industry and make great networking connections, attend our Grammy GPS Event right here in Atlanta. Last year’s event was amazing!


Joe South

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Joe South – One of the greatest songwriters. I will miss you my friend.


Joe South, a singer-songwriter who wove confrontational lyrics into bouncy pop hits of the late 1960s and early ’70s, including “Games People Play,” “Walk a Mile in My Shoes” and “(I Never Promised You a) Rose Garden,” died on Wednesday at home in Flowery Branch, Ga., north of Atlanta. He was 72.

Michael Ochs Archives/Getty Images

The musician Joe South.


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The cause was apparently a heart attack, said Judy Thompson, a longtime friend.

Mr. South’s best-known song became a hit when it was recorded by someone else. “Rose Garden,” sung by Lynn Anderson, reached No. 3 on the Billboard pop chart in 1971, four years after Mr. South wrote it. The chorus — “I beg your pardon, I never promised you a rose garden/Along with the sunshine there’s gotta be a little rain sometime” — reflected a world-weariness characteristic of his writing.

In 1969 he targeted religion and insincerity in “Games People Play,” which thrust him toward stardom:

People walking up to you

Singing glory hallelujah,

And they’re tryin’ to sock it to you

In the name of the Lord.

It won a Grammy for song of the year in 1970.

Joseph Alfred Souter was born Feb. 28, 1940, in Atlanta. He changed his name years later after going into music.

Mr. South loved music and technology from an early age. His father gave him a guitar when he was 11, and he was performing on local radio by the age of 12. He built small radio stations of his own with limited signal range, partly so he could play his songs.

“He would even put it in his car and ride around so that the F.C.C. and anybody else couldn’t track him down,” said Butch Lowery, referring to the Federal Communications Commission. Mr. Lowery’s father, Bill, ran a radio station and eventually became Mr. South’s publisher and manager.

In 1958 Mr. South had a modest novelty hit, “The Purple People Eater Meets the Witch Doctor.” He played guitar for recording sessions in Nashville, Muscle Shoals, Ala., and elsewhere with a range of artists, including Bob Dylan (on his album “Blonde on Blonde”) and Aretha Franklin. Billy Joe Royal recorded several of his songs in the 1960s, including “Down in the Boondocks” and “I Knew You When,” before Mr. South established himself as a performer with some of the same songs. Elvis Presley played “Walk a Mile in My Shoes” in concert.

Mr. South is survived by a son, Craig, and a granddaughter. His first marriage ended in divorce. His second wife died in the late 1990s.

Mr. South largely disappeared from public view after his brother, Tommy, a drummer with whom he often recorded, committed suicide in 1971. In 2009 he released a new song for the first time in many years, “Oprah Cried.”

Cooper Piano – Over 100 Years of Valued Service

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Cooper Piano

Buying a piano is an exciting experience for both the seasoned musician and those who are just starting out. This thrilling adventure can also be a rather costly one. Therefore, much time should be taken when deciding which piano is the best fit. Whichever piano is chosen, it should bring great joy and satisfaction that lasts a lifetime. As with any other purchase, it is important to do substantial research before making the final choice. This can be done by looking at piano reviews, as well as the artists who play them. To ensure that I obtain trustworthy information when comparing the various piano brands available, I want to make sure that the reviewers I look at have an unbiased opinion.

Artist Endorsements – The Difference

To ensure that the opinions of reviewers are indeed unbiased, I investigated the details behind Baldwin piano artist endorsements versus the endorsements of other piano brands. With some piano brands, artists are paid and given special benefits for their endorsement. There are certain brands who require the artist to sign a formal agreement stating that they will not publicly play any other piano besides the one they have endorsed, unless specific events occur such as unavailability or mechanical problems. If the rules of the agreement are broken, the artist can lose their benefits. Considering the penalties may make someone question why artists would still choose to endorse these brands. Simply stated, they choose to do so because through the agreement they also receive great benefits, such as technical assistance and an extensive variety of pianos to choose from when and where the artists’ needs arise.

Unfortunately however, because of the benefits obtained from endorsing these brands, these artists could be considered as having a biased opinion of the piano they play. On the contrary, a musician who endorses a piano brand solely based upon their love for that instrument is much more convincing to consumers. An unbiased opinion such as this can be seen through Baldwin piano artist endorsements. Baldwin artists are not paid for nor do they receive special benefits for their endorsement. Baldwin piano simply ensures that they will do their best to supply pianos to artists when they need them. Artists who endorse this instrument do so because they have experienced the quality, stability, fine craftsmanship and brilliant sound of the Baldwin piano.

Making an Unbiased Decision

Baldwin pianos have stood the test of time and are played by musicians around the world. Several well known artists have been endorsing these pianos since the beginning of the 20th century. These artists represent a number of genres including classical, pop, jazz and country. Various concert pianists, classical composers, symphony orchestras, as well as film and theater composers use Baldwin pianos. Baldwin produced music can be heard on many famous movies, such as Schindler’s List, Star Wars and Superman. Several Grammy awards and millions of musical albums can also be attributed to the Baldwin piano. This tells me that artists choose these pianos based upon quality, not benefits.

After investigating the artist endorsements of various piano brands, it is interesting to see which are paid and which are unpaid. I am certain that those brands which do have paid endorsements still represent high quality pianos. However, when choosing the right piano for my home, peace of mind comes from knowing that the endorsements are given freely by artists and are not benefit driven.

Being certain that there are no strings attached when artists endorse Baldwin pianos, convinces me that this is indeed an outstanding instrument and definitely a top choice for my home.  What is your opinion about artist paid endorsements?

Finale Article About Peggy

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Finale: Where Peggy Still Johnson, Stephen King, John Mellencamp, and T-Bone Burnett Meet

By Scott Yoho7. November 2012 06:52

peggy with t bone burnett - music director

Peggy Still Johnson is an accomplished performer (piano and vocal), composer, arranger, educator, and more. Reading the accomplishments on her website bio is alternately inspiring, humbling, and dizzying in its diversity. She’s performed in Vegas, written choral and instrumental pieces for the dedication of the Mormon Temple in Atlanta, and has been active in the film world as a composer, music supervisor, casting agent, and coach (including work as a piano coach on The Curious Case of Benjamin Button).

Simultaneously with all of the above, she launched three Peggy Still-branded music schools which she sold last year (and which continue to prosper). It’s at this point of her story where we began our interview.

Peggy: So we sold the business last year. Right around the same time, I got called to work on the Ghost Brothers of Darkland County, which was written by Stephen King, with music by John Mellencamp, and T-Bone Burnett as the music director. I was hired to create the scores by transcribing them off of audio files.

SY: So you did the transcription by listening to the recordings, and creating the notation in Finale. Then did you meet with T-Bone Burnett to see if he was satisfied with your work?

PSJ: I first worked very closely with John’s guitarist, Andy York. Andy has been the lead guitarist in John Mellencamp’s band for over 20 years. He’s the show’s music supervisor and did much of the arranging. Later we all worked together with T-Bone Burnett and with John Mellencamp. They would provide feedback and I would make the changes.

SY: The show sounds fascinating.

PSJ: One of the things that sets the show apart is that it reaches everyone. The vocalists are not singing with a heavy vibrato, they’re singing rock and roll style: It’s something that the average listener can relate to. It’s basically a gothic tale, kind of showing what happens when family issues are not resolved.

We had people coming to the show who were not normal theatre-type people. They were people who really liked Stephen King, and they were people who really liked John Mellencamp and people who were intrigued. I firmly believe that it will open up the doors to a wider audience for musicals.

And the music is so good. I mean, they spent more than ten years working on this show to get it to where it got to last year.

SY: And the show premiered in Atlanta?

PSJ: Yes. It was very, very successful last spring. And now, they are talking with producers about bringing the show to New York.

SY: Would that mean additional work for you or is that book pretty much done?

PSJ: I’m still working on the book. The band basically plays by ear, so they already know their parts, but we’re trying to get all those parts on score.

SY: Let’s talk about your tools. When did you first use Finale?

PSJ: It was when I was in college, probably, oh, many years ago.

SY: Do you remember what version it was?

PSJ: I don’t even remember what version it was. It wasn’t anything like this. It wasn’t near as user-friendly as it is now.

SY: You really wanted to put music on the printed page.

PSJ: I did. My handwriting is not the best, and I thought it would look better if I had it on some kind of format that would be easier to read. And if I made a mistake I didn’t like the idea of having to redo it all again. I converted to computers early on, and I didn’t like the idea of backtracking. If I wanted to change one note I didn’t want to feel like I had to redo the entire page.

SY: We take that for granted today.

PSJ: We do. And I didn’t like really using pencil, either, because it’s hard to see. So I really hooked on to Finale early on. And through the years I’d use it all the time for a variety of projects. Even if I wasn’t asked to create a score, sometimes I’d create one in Finale to have ready access to vocal parts, harmonies, and things like that.

When I worked with high schools on their musicals, I would do all the tracks. I’d get the scores and I would play them all, all the accompaniments. And then I would play all of the vocal parts, and then I would make tracks that help the kids to learn the music quickly, so that we could focus on the show. And the same thing goes with, you know – and I would do all the arranging, because sometimes it was just a couple instruments versus an entire orchestra.

So I would use Finale to do that, too.

I think the other thing that is real important to me, and you’ll see it on my bio, is that I’m very education-oriented. I’ve taught for 20 some odd years and I still teach. And I believe that technology and music education are a great fit. I think if you incorporate technology, you’ll be a better educator.

Some educators are afraid to embrace technology. They still really like the pen to the paper kind of thing, but they don’t realize the benefits they’re missing. Like in Ghost Brothers we change keys all the time. They would come back to me and say, “Let’s change the key.” And it would be just a couple of buttons and that was it. I didn’t have to sit there and redo everything. It was so much easier. I had so much more flexibility. I could change tempos. I could change meters, anything.

SY: Again, all those things we take for granted today.

PSJ: Yes. It just saves you a lot more time so you can just focus on working on the musical part of things.

I couldn’t have said it better myself! I’d like thank Peggy for taking the time to talk with us and for her continued support of Finale.