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Austin Wintory Los Angeles, California

25% (or more) of the income here is used to support the non-profit Education Through Music - Los Angeles ( www.etmla.org ). Thank you for helping me support this extremely important organization!

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Austin Wintory recommends:

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Jessica Curry's DEAR ESTHER is a wonderful example of how expressive video game music can be. It's magnificent ... Austin Wintory

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This trombone quartet, composed by my dear friend Jeremy Howard Back, won the ASCAP Morton Gould Young Composer Award and couldn't be more deserving. This is a piece of RAW POWER. Just get it ... Austin Wintory

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supported by 726 fans who also own “Journey”

What's there left to say about this composition that hasn't been said a thousand times before? It's sweet, melancholic, innovative, recognisable, charming, mysterious, mournful, joyous, genre-defining, close to millions of hearts; it's nostalgia in tunes and one of the greatest original soundtracks ever created. Schattenseitenträumer

Celeste Original Soundtrack by Lena Raine

supported by 650 fans who also own “Journey”

Siento como si volviera a mi etapa de descubrimiento... Estoy encantado de apoyar tu carrera musical 😋 vitella

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Glowing melodic synth sequences meet jagged noise and other industrial textures on this new LP by soundtrack composer René G. Boscio. Bandcamp New & Notable Oct 13, 2020

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Embark on your own musical journey with the official soundtrack to the game Journey, composed by Austin Wintory. Featuring live orchestra and captivating soloist performances, the Journey soundtrack paints a moving, introspective backdrop to the game and stands on its own as a work of singular beauty. Austin Wintory s Soundtrack for Journey is the first videogame soundtrack to be nominated for a Grammy Award. Audio CD, 1 Disc.

Breaking G.A.N.G. News: Austin Wintory s Soundtrack for Journey becomes the first videogame soundtrack to be nominated for a Grammy Award. In case you haven t yet heard the groundbreaking news: For the first time in history, a soundtrack album from a videogame, Austin Wintory s spellbinding soundtrack for Journey, has been nominated for the Grammy Award, Best Score Soundtrack for Visual Media. I and the other officers of G.A.N.G. offer our hearty and well-deserved congratulations to Austin on this groundbreaking achievement.. What you may not know is the tremendous amount of the behind-the-scenes work and effort that went in making it possible for a game soundtrack even to be nominated... Rewind to 1998, when composer Chance Thomas, put together a group of a dozen of the top game composers to formally lobby NARAS (which organizes the Grammys) to create a new Grammy category for videogame music. At the time, the Grammy for original score was called Best Instrumental Composition Writing for a Motion Picture or for Television. Videogame soundtracks weren t even eligible to even be nominated at the time! Chance and those of us in that group showed how game music had changed it was no longer Pacman and Donkey Kong-- but often included full orchestral scores deserving of recognition by the music industry. It was slow work, and NARAS declined to create a new category. However after continued lobbying, in 2000 NARAS agreed that videogame soundtracks warranted a closer look, and became technically eligible, as the soundtrack category was modified to become Best instrumental Composition Written for Motion Pictures, Television or Other Visual Media . Yes, 2 years of lobbying resulted in adding 4 words to the existing soundtrack category, with videogames falling under the catchall of and other visual media. While significant, this still somehow put videogames below Motion Pictures and TV. A renewed concentrated effort was orchestrated by Chance, G.A.N.G., through its founder Tommy Tallarico and President Paul Lipson as well as EA s Steve Schnur, and NARAS s Leslie Ann Jones and Greg Gordon. Fast forward, and in 2011, Videogame music made history, getting additional attention from the music industry, as a song originally recorded for Civilization IV, included on Christopher Tin s album of original music, Baba Yetu, won the Grammy for "Best Instrumental Arrangement Accompanying Vocalists. Although released on a solo album, that represented the first time a Grammy was awarded to a song that was originally written for a videogame! In 2012 recognizing the importance of the artform of videogame music, NARAS decided to place Videogames, Movies and Television on equal footing, re-naming the soundtrack category Best Score Soundtrack for Visual Media. It is in that category, along with soundtracks for films composed by John Williams, Hans Zimmer and Howard Shore that Austin s Journey soundtrack will compete for the Grammy in 2013. Once again, congratulations to Austin on this groundbreaking achievement. And we should all thank Chance Thomas and the others inside and outside of GANG who lobbied tirelessly for years to help teach the world of the importance of videogame music as an art form, making it deserving of respect and recognition through awards such as the Grammy. It is no coincidence that providing this kind of education about game audio to the broader community in this case NARAS-- is one of the core missions of G.A.N.G. --Brian Schmidt-President, Game Audio Network Guild

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• Product Dimensions ‏ : ‎ 5.59 x 4.96 x 0.39 inches; 3.25 ounces
• Manufacturer ‏ : ‎ Sumthing Else
• Date First Available ‏ : ‎ July 3, 2012
• Label ‏ : ‎ Sumthing Else
• ASIN ‏ : ‎ B008DCOVP2
• Number of discs ‏ : ‎ 1
• #2,254 in Movie Soundtracks (CDs & Vinyl)

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Journey [Original Video Game Soundtrack]

Austin wintory.

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Journey (Original Video Game Soundtrack)

April 10, 2012 18 Songs, 59 minutes ℗ 2012 Sony Interactive Entertainment LLC, under exclusive license to Sony Music Entertainment

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Tommy Richman's Journey to the Billboard Charts | Billboard Explains

Tommy Richman took the Billboard charts by storm with "Million Dollar Baby." The hit single has topped the Hot R&B/Hip-Hop Songs Chart and debuted at No. 2 on the Billboard Hot 100, but who is the artist behind the viral hit? Keep watching to find out more!

Tetris Kelly: 

"Million Dollar Baby" is everywhere. The '80s punk-inspired track has catapulted Tommy Richman into the top five of the Hot 100 and shows no signs of slowing down. But who is Tommy Richman? How did he get his start? And what's next for him? This is Billboard Explains Tommy Richman's Journey to the Billboard Charts.

Hailing from Woodbridge, Va., Tommy first began releasing music on platforms like Spotify and SoundCloud back in 2016. He went on to release his song "Pleasantville" on YouTube as a freshman in college and received positive reactions from users online. Following the song's release, Tommy dropped out of college to pursue music full time. He went on to sign to Brent Faiyaz's independent record label, ISO Supremacy, and partnership with Pulse Music Group. He teamed up with Brent and Felix! on Faiyaz's Larger Than Life track "Upset," which debuted at No. 12 on Billboard ‘s Hot R&B Songs chart and reached a peak of No. 6.

Tommy went on to release singles "Soulcrusher" and "Selfish" in 2024 before he unleashed the viral TikTok hit "Million Dollar Baby." The track debuted at No. 1 on Billboard Streaming Songs chart with 38 million official U.S. streams in its first week, according to Lumenate. It debuted at No. 2 on the Hot 100 and topped the Hot R&B/Hip-Hop Songs chart. Since it hit the charts, "Million Dollar Baby" has remained steady in the top 10 of the Hot 100.

So what's next for Tommy?

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Joni Mitchell biography 'Traveling' tracks a journey that changed popular music

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• Allison Hagan

Joni Mitchell — an only child born on the Canadian prairies — reinvented herself for more than six decades, aptly singing “I’m on a lonely road, and I am traveling, traveling, traveling, looking for something, what can it be?”

NPR music critic and author Ann Powers ’ new biography, “ Traveling: On the Path of Joni Mitchell ” follows her wanderings and delves deep into the influences — the people, trends and circumstances — that paved Mitchell’s longer than 60-year journey.

Mitchell struggled with polio-induced paralysis, then didn't stop moving once she could. Now 80, slowed by a rare disease and a brain aneurysm, she embodies a mother role for many woman artists.

Mitchell made her way in a man's world. While she worked the coffee houses in Canada, a Toronto music critic wrote about her high cheekbones, lustrous blonde hair, full lips and brilliant smile. “But don't let just the looks of this girl dazzle you. Listen to her,” he remarked.

“It sums up something about music writing that's kind of embarrassing to me, a lifelong music writer, which is that even when a male music writer was trying to tell people to go beyond this woman's looks, he was still salivating over her,” Powers says. “At the same time, the fact that he felt the need to say, ‘Don't just look at her, listen to her,’ she was remarkable and people recognized her as such.”

In Los Angeles’ Laurel Canyon, Mitchell lived among artists like Graham Nash, Stephen Stills, Cass Elliot and Jackson Brown. Mitchell figured out how to become “one of the boys,” Powers says. The singer code-switched between masculine and feminine roles in both her life and music to form alliances with male musicians.

“Sometimes they were romantic, but oftentimes they were just as crucially creative,” Powers says. “It was that total devotion to music making and creativity and art making that drove her and caused her to carve out this space.”

Critics often hyper-focused on Mitchell’s relationships. When Rolling Stone published a chart of artists at the height of the Laurel Canyon music scene, Mitchell's name was surrounded by a lipstick mark representing her romantic partners.

“She was a studio rat. This was who she was making music with, and those musical connections are the truly important aspect of her life story,” Powers says. “And that's really what I wanted to illuminate.”

Fearing danger and reasoning that an appearance on "The Dick Cavett Show" would provide her more exposure, Mitchell’s manager didn’t want her to appear at Woodstock in 1969. Yet she wrote the song “Woodstock” — an example of Mitchell getting revenge, Powers says — after watching the iconic music festival on TV.

In 1971, Mitchell released her fourth studio album, “Blue.” In “A Case of You,” Mitchell “expresses her desire and her sensuality, not just her heartbreak,” Powers says.

“River” became “the great alternative Christmas carol” for people who feel isolated during the holidays, Powers says.

“‘River’ is an important song for me, thinking about Joni over her long career,” Powers says, “because such a huge part of Joni's story is this impulse to move on, to escape, reach a place of solitude that would be an antidote, that impulse to skate away.”

In the mid-1970s, Mitchell turned to jazz with collaborators including Herbie Hancock, Pat Metheny, Jaco Pastorius and Charles Mingus.

During this time, Mitchell dressed in what she described as a “sleazy suit” and an afro wig, painting her face brown to portray an alter ego she called Claude, then Art Nouveau. She went to a party dressed as a Black man, which many people gave her a pass for over many years.

It was a transgressive act of appropriation, Powers says. Mitchell said many times she believed “the spirit of a Black man lives within her” and she had a right to perform it, the author says.

“It was a time when a lot of white musicians thought they had a right to adopt Black inflection in their singing styles, to align themselves with nonwhite artists and cultures without recognizing their own privilege. So she was hardly alone in that,” Powers says. “But at the same time, that can't be a reason for us to move on without confronting the reality that it happened.”

In the 1990s, Mitchell released two orchestral albums, “Both Sides Now” and “Travelogue.” She worked on the albums with her ex-husband Larry Klein.

“It is one of the most ingenious examples of an artist whose voice has changed over time, finding a new setting and a new way to present this more mature, more weathered voice,” Powers says. “She is the torch singer now. She is that woman in the dark cafe or the bar with Richard that we met in her song ‘Last Time I Saw Richard.’ She is that person now.”

In 2015, Mitchell survived a brain aneurysm. It took years for her to recover. But in the mid-2020s, she forged a friendship with singer-songwriter Brandi Carlile, who inspired her to get back on stage.

Mitchell always appreciated her admirers, but also pushed back against the construct of fame and what she called “the star maker machinery.”

“She is in a period in her life of gratitude and of receptiveness,” Powers says. “I always sense a gleam in Joni's eye though that she's laughing a little bit about it too.”

Karyn Miller-Medzon  produced and edited this interview for broadcast with  Mark Navin .  Allison Hagan  adapted it for the web.

Book excerpt: 'Traveling: On The Path of Joni Mitchell'

By Ann Powers

Throughout my time winding along Joni Mitchell’s path, her songs infiltrated my brain. They directed my emotions, faded and changed to others. “Nothing Can Be Done” is the one that stuck as I turned toward the later phases of her life. I consider it a blues, maybe not musically—the music, written by [Larry] Klein, is a minor key variation of the soft-rock “Boys of Summer”—but in the way that genre designed to carry ancient pain encompasses both complaint and a certain hard acceptance. In the song, Joni confronts her lover, who’s just grabbed his keys to head out toward something or someone she can’t be.

But she also faces her aging self as she questions her impossible longing to keep things as they were. The song captures the feeling of being on the threshold, wavering, unbalanced, knowing there’s no choice but to accept gravity’s pull. Those words: I am not old, I’m told, but I am not young. Mitchell delivers them in clipped syllables. She’s not yet sure how to settle this argument with herself. Middle age equals ambiguity, and for women it can hit at any point after fertile young adulthood wanes, graying the days before the onset of whatever illness or other calamity finally fells you. Joni Mitchell must have thought about this as she stared down solitude again at fifty.

Nothing can be done but grow older, more damaged and wiser, more accepting of life’s cruelties, Joni sings. Then she asks: must I surrender with grace the things I loved when I was younger? She’s talking about sex, at least the ridiculous fire of it, the way it dominates and opens doors and burns down houses. She also might mean her own ego—that fiery “I” that has so much power over people, making them think they can thrive dependent only on themselves. Nothing can be done, Joni murmurs, besides opening up a little to the idea of compromise, to the possibility that others might know something that you don’t immediately understand about the way the world operates, or even about how you operate, how your life and work fit into a picture bigger than yourself. To surrender with grace is to open your arms. Share access to the life you’ve made with people who care about you, and trust that what you’ve done will live beyond the border of your fierce protectiveness. Let others reinterpret what you once insisted only you could say.

This is the work of making a legacy, and Mitchell turned toward it after Turbulent Indigo won its unexpected Grammy for Best Pop Album in a category that included younger and hotter stars like Madonna and Mariah Carey. That album had already signaled a new phase, away from the ebullient experimentation of her prime Klein years and toward a more contained reckoning with imperfection in the world and her own life. She still staged protests, in songs like “Sex Kills,” about AIDS and objectification, and “Borderline,” which bemoans the racial and gender divisions afflicting America. If, as Klein and Mitchell have both said, Turbulent Indigo is about the dissolution of their marriage, she processed her pain in lyrics that reached out toward others: the abandoned mothers in “The Magdalene Laundries”; the battered women of “Not to Blame.” As for her own predicament, this was still Joni: she identified with the most fabled sufferers, the biblical Job and Vincent van Gogh, in whose image she crafted a self-portrait for the album cover. All my little landscapes and all my yellow afternoons stack up around this vacancy, she sang in the title track, dedicated to him, identifying loneliness as a source of madness, or at least its main companion.

How to move on? She still had herself, the Joni Mitchell she had created within music over more than a quarter century. The future felt uncertain, but the past was right there. And the market was hungry for it. Before turning fifty, Mitchell had stayed away from retrospectives, though Reprise issued a limited-edition one in 1971; she didn’t want to look back. But now she started to think about how to witness her life in full.

As the 1990s turned toward the new century, Mitchell continued to create, though at nowhere near her previous pace. She did start releasing compilations, her way. The autumnal decades of her life would require patience and perspective. One thing about reaching maturity is that you realize that even as the future becomes ever more unclear, you cannot really be alone as you head there: there are the people who’ve forged this road, the ones who still walk with you even if you tried to walk away from them, and the ones who follow, to whom you owe your light, that legacy. Joni recognized this as she became the matriarch she’d never exactly planned to be.

Excerpted from “Traveling: On the Path of Joni Mitchell.” © 2024 by Ann Powers. Reprinted by permission of Dey Street Books, an imprint of HarperCollins Publishers.

This segment aired on June 11, 2024.

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How PJ Morton Went from Cape Town to Cairo and Back to Record His 'Special' New Album: 'Quite a Journey' (Exclusive)

The Grammy-winning musician tells PEOPLE about his new 'Cape Town to Cairo' album and how a transformative 30-day trip across Africa led to the "eclectic" project

Patrick Melon

• PJ Morton’s latest album, Cape Town to Cairo , inspired by a 30-day trip to Africa, is out now
• The five-time Grammy-winner told PEOPLE about the transformative voyage that led to his "eclectic" collection of songs 
• Morton says he plans to release a documentary about the making of Cape Town to Cairo 

PJ Morton is different now.

Last fall, the five-time Grammy winner and Maroon 5 band member, 43, embarked on an extraordinary voyage across Africa to record his new album, Cape Town to Cairo , out now.

The charming, nine-track LP — created in 30 days during travels to South Africa, Nigeria, Ghana and Egypt — meshes sounds of the diaspora across pop, gospel, jazz, R&B and soul. It’s perhaps Morton’s most experimental project to date, but the transformative journey to create it was unlike anything he anticipated.

The concept for the album began as a small but mighty challenge for the acclaimed singer-songwriter, who typically records wherever he’s currently living or in his musically rich hometown of New Orleans. But after pulling out “all the stops” on his 2022 opus Watch the Sun — which featured Nas , Jill Scott, El DeBarge, Stevie Wonder and more, and was also recorded in the same rural Louisiana studio as the latter’s 1979 album Journey Through the Secret Life of Plants — the musician found himself still “searching for inspiration.” 

So, he jetted off thousands of miles away to Africa, from Cape Town to Lagos to Accra to Cairo and back to Johannesburg to create a masterful work that echoed Paul Simon ’s Grammy-winning, African-inspired album, 1986’s Graceland .

Only Morton wasn’t chasing more accolades or special “sauce” to take back with him to the States. He instead tasked himself with getting fully immersed in the African cultures he encountered, from the food the locals ate to the clubs and churches they frequented to the music that fueled them. 

The end result was a cultural exchange of musical brilliance that culminated in the “best trip” of Morton’s life — and a sonically sprawling album that he calls a “special, magical thing.”

“I feel blessed that I was able to have this experience that I can share,” Morton tells PEOPLE. “Eventually I want to do a pilgrimage where I do that exchange and bring people to Africa every year, especially Black Americans, just to understand that connection and feel it.”

From collaborating with local acts such as Fireboy DML , Mádé Kuti , Asa , P.Priime and The Cavemen. to capturing the emotions of his quest, the indie artist tells PEOPLE all about the African expedition that changed his life, both musically and personally — and how it concluded with Cape Town to Cairo .

Courtesy of Morton Records

Cape Town to Cairo started out as a seed of an idea and quickly became a transformative journey for you. At what point during your trip to Africa did you realize you were onto something special with the album?

Maybe day one. I have really bad writer's block at times, so I was just hoping that this wasn't going to be that time. But that first day in Cape Town, I got in the studio, and it was almost as if Africa was just waiting for me to get there to release everything because I wrote three songs that first day. And after that, I was like, "OK, you can relax a little bit. You're not [having] writer's block, actually quite the opposite. It's like a wealth now of songs coming to you just being on the continent."

What made you turn the making of this album into a 30-day recording challenge?

I think, for better or worse, we were just going to see what happened. We were documenting it. We are creating a documentary that's going to follow the album because I wanted to see [the process]. I've never seen myself create anything from scratch, but I felt like that's what would make it special. Just to release an album today is not really as appealing to me. So this was like, "I want this to be a project. I want this to be an experiment. I want people to see the vulnerability in that and know that they can do that." Hopefully, this has people challenging themselves.

Cedric Tang

How did you feel when you first touched down in Africa?

It was quite a journey. We noticed right when we landed that the power went out in the airport. It was almost as if like, "All right, come on, you're earning your way into Africa." But when we finally made it to Cape Town, it was peace.

And Cape Town is beautiful. That's one of the things I can't wait to show the world. The images we've been shown of Africa throughout our lives were just contradictory. That's where [single] “Smoke & Mirrors” came from. I felt like I was lied to immediately. This beautiful greenage everywhere in Cape Town and the mountains and water. That's not what they showed me growing up of Africa, it's just not. This is pure beauty. So that was just a lesson in itself.

And then when the people tell you, "Welcome home." In Africa, it was hitting me every time, man. I could really feel the love in that, and I really felt like they were welcoming me home. 

How challenging was this recording process compared to your previous albums, considering you didn't write any music before or after you left Africa?

Man, it was a challenge. Because for me, I couldn't just write songs, that wasn't the plan. I could write a bunch of songs in 30 days, but do I want them to be on my album? Do they belong together? Are they saying what I want to say? That's a totally different thing altogether.

I've been writing songs a long time, so that wasn't the challenge. But writing them for me and writing them in a way that I felt lived up to what I try to do with bodies of work [was]. But I was really open and present, so I wasn't expecting a lot. I just really surrendered. In some studios, they don't have the things I'm usually used to, but I didn't take them as challenges. It's almost like these were welcomed obstacles that felt like a video game. It's like, that's just what I got to jump over to get to the next level.

You collaborated with a lot of local artists and producers on this new album. What was the chemistry like when you met these artists for the first time and immediately got into the studio?

It was a little awkward sometimes because I'm not even used to having people in the studio with me. I don't like people looking at me when I'm writing. A wrong look could make me second-guess my lyrics and stuff, so I usually don't have people there outside of my engineer [Reginald] “Reggie” [“Nic” Nicholas]. But this time I surrendered. I took it as like, “They got to be in here, we're trying to finish, let me put away what I'm usually used to." So I embraced it.

This album incorporates so many different elements across R&B and soul, jazz, pop, and gospel, which have ties to the diaspora. Did all of that energy hit you while you were working on the album, or did you feel like that was naturally going to happen when you got to Africa?

No, I had no idea. All I kept telling people was like, "I don't have any songs. I can't tell you. I know that would make you feel better. It would make me feel more comfortable, too." But I usually filter those things. Pop songs come up to me, and I'm like, "All right, this is my R&B album. Let me not put that on here, we'll save that for something else. This gospel idea coming out, let me save that for somebody else." Because I didn't have the luxury of time [with this album]. It was all just shooting out at the same time, all these influences. I'm a preacher's kid who's in a pop band — who’s an R&B singer [that] used to be signed to Young Money — in Maroon 5. I'm all over the place. I always have been, organically, too. 

So now when I didn't have time to filter it for everybody, it's like, well, yeah. “Simunye [(We Are One)]” comes in like a spiritual; “All the Dreamers” is an Afro-Cuban song; “Count on Me” is like a pop song; and “Please Be Good” is like an Afro-R&B song. So I allowed all these things to come out without filtering them because I didn't have time. It's like, you’re just going to get all the PJ this time, all with the blanket of Africa on it. It was a special vibe.

You didn't go to Africa just to make this album. You also wanted to immerse yourself in the different cultures, communities, food nightlife. How enriching was that for Cape Town to Cairo ’s final product?

I think that's what made it real. I know we're obsessed with first week [numbers], but ultimately, time is going to show that it was a real thing that happened, and it was a real connection. It wasn't just a record — it was something deeper than that. But I think that made all the difference than some artists out here who may be following a trend of Afrobeat because it's hot at the moment. It wasn't a trendy thing for me, and time will tell how eclectic the album is.

But spending that time, for me, that makes it a real thing. Because every time you mention a song, it brings me right back to the place. So I'm so happy that I didn't just go there to make a record and be in the studio; that I actually experienced everything through the locals. I wanted all of it, and that did make all the difference.

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NE-YO Embarks on Independent Journey With ‘2 Million Secrets’ Single: ‘I’m Excited to Embrace This New Beginning’

The "Miss Independent" singer ditches the major label system for the first time in his decorated career.

By Michael Saponara

Michael Saponara

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When an artist has been around for 20 years and accomplished as much as NE-YO has, it’s tough to find new challenges in the music industry.

After two decades spent in the major label system split between Def Jam and Motown Records, Billboard can exclusively report that NE-YO is officially a fully independent artist.

Taylor Swift Gives 'This Is What You Came For' Its Eras Tour Debut: 'A Little Bit Unexpected'

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“2 Million Secrets” and all of NE-YO’s releases for the foreseeable future will come via the Las Vegas native’s Compound Entertainment imprint. A self-directed visual for the vulnerable Hitmaka-produced single is set to arrive at 12 p.m. ET on Friday as well.

NE-YO will head home this summer to a sizzling Sin City for his Human Rebellion Residency, where he’ll perform inside the Encore Theater at Wynn Las Vegas on Aug. 7, Aug. 9, and Aug. 10.

Listen to “2 Million Secrets” below.

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Terre Haute janitor Richard Goodall on journey to his stunning America's Got Talent audition

Before Richard Goodall took the America’s Got Talent stage , there was one judge he told producers he just did not want to talk to: Simon Cowell.

So, naturally, the notoriously biting former “American Idol” judge was picked to introduce Goodall to a packed Los Angeles theater on March 28. Goodall had taken the first plane trip of his life to make it to the audition, and he was staying in Pasadena on a shoestring budget. As he stood before judges Cowell, Sofia Vergara, Heidi Klum and Howie Mandel, the 54-year-old school janitor from Terre Haute was visibly anxious.  

“You a bit nervous?” Cowell asked.

Goodall nodded: “This has been a long time coming.”

“We’re here, we’re rooting for you, Richard. Good luck,” Cowell said before turning to his fellow judges and adding, “I hope he’s good."

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If you’ve watched the viral moment that aired on Tuesday night, you know what happens from there. Goodall, affectionately known as Mr. Richard to the kids in the Vigo County school district where he’s worked for the last 23 years, brings the crowd to their feet with a blazing performance of Journey’s “Don’t Stop Believin’.”

Klum gave him a Golden Buzzer, which passes him straight to the live shows, starting in August, where viewers will decide his fate. Based on the thousands of messages he says he's received from fans around the world, he seems to be an early favorite.

His audition aired two months to the day after it was taped. On Thursday, Goodall was cleaning lockers at West Vigo Middle School.

"You can take so much love," he told IndyStar. "My gosh, how do you give it all back other than just singing and doing what you do?"

Richard Goodall's lifelong love of music

Goodall said he used to sit at home with his RadioShack stereo, belting along so loudly his mom would tap the ceiling downstairs with a broom to try and quiet him down.

"I love all kinds of music," he said. In fact, the first song he ever felt he nailed wasn't from the Journey catalog — it was Barry Manilow's " I Write the Songs ."

"I love those songs that are smooth at the beginning and have a slow build and then at the end you're just belting it out," he said.

Goodall started performing at karaoke nights in the 1990s, he said, and eventually on the contest circuit with local radio stations, primarily singing country and gospel. He stuck with the latter for several years, performing as part of two gospel trios, until the COVID-19 pandemic put everything on pause. Then, in June 2021, his wife, Patty, died of cancer .

"When you're married for so long and they pass away and you've got that void there, your biggest concern is figuring out who you are without them," he said. "And music was the bridge again."

Goodall's viral 2022 TikTok got Steve Perry's attention — and AGT's

This isn’t the first time Goodall has gone viral for his performance of the 1981 rock classic.

A clip of him performing at a school talent show was posted to TikTok in 2022 and has since amassed more than 3 million views. Journey shared the clip on their official TikTok account and the video Goodall posted to his personal account received a supportive comment from former frontman Steve Perry himself.

That performance first caught the eye of America's Got Talent producers more than a year ago, Goodall told IndyStar, but for whatever reason, his first opportunity to join the show for Season 18, which ran from May to September of last year, didn't pan out. So, he deleted the producer's number and moved on with his life.

Then, Mandel reposted the video last September with the caption "Needs to be on agt."

Goodall wouldn't let himself get excited about it this time, he said, until the flight was booked and he had tickets in hand. Even then, it didn't seem real. The audition lined up perfectly with the school district's spring break, so he didn't have to miss work, and a friend offered to drive him to the Indianapolis airport and care for his three chihuahuas during his five-day trip.

Once Goodall landed in LA, the experience was surreal.

"I was more than a fish out of water," he said. "I was an amoeba out of a fish out of water."

Production paid for his flight and accommodations and a $25 per diem for food. The first night, he walked half a mile to a nearby Whole Foods and bought a pound of lunch meat, a loaf of bread, two cartons of cottage cheese, some bottled water and mayo and mustard. Sightseeing wasn't an option, since cabs and attractions were too expensive. So, to pass the time, he walked around the area."They take so good care of their old buildings," he said. "City Hall is absolutely gorgeous, their post office — the leaded glass is beautiful."

And on his free Wednesday evening, he used his per diem to treat himself to a spaghetti dinner.

"I had all these fancy people — Gucci purses and Hilfiger, you could tell these people had money — and here I am, sitting like a king on this sidewalk with my wonderful spaghetti and meatballs and garlic shrimp. ... I was on top of the world."

A GoFundMe has been created to help offset the cost of his anticipated 10-day trip to Los Angeles to compete in the live shows — and to allow his fiancée, Angie, to travel with him.

'I'm going to give it my all' on America's Got Talent

On Thursday, after cleaning out lockers at the middle school, Goodall was headed to his second job, cleaning the office of a local fence company. Whatever happens next with America's Got Talent, he said, he's already had an amazing experience.

"I don't have any expectations of winning the show," he said. "I'm going to give it my all and I'm going to try to be the best competitor that I can be."

If he does win, he plans on continuing to live as normal a life as possible. He says he'd use the $1 million prize to buy a double-wide trailer in a senior living community in Florida and enjoy retirement — with the occasional pasta and seafood dinner. "I'm not a fancy person," he said.

With all the negativity in the world today, he's glad to be of inspiration to the people who have connected with his story of capturing the Golden Buzzer.

"I think people just need something — anything — just something to realize that not everything's bad," he said. "I have my bad days just like everybody else, but we're still here, we're still fighting, we're still kicking."

America's Got Talent airs Tuesdays at 8 p.m. on NBC and can be streamed the following day on Peacock.

GoFundMe to support Richard Goodall

To give to the GoFundMe created to support Goodall during his trip to compete in America's Got Talent, visit bit.ly/4c08uj3 .

Contact IndyStar pop culture reporter Holly Hays at [email protected]. Follow her on X/Twitter: @hollyvhays.

My Journey to JWU: Tyler Miles '28

• Annie Kennedy
• 13 June 2024

Welcome to Tyler Miles, who will join us this fall to study graphic design . Here’s a bit of background about this SkillsUSA champ who won a scholarship to Johnson & Wales University.

What is your hometown?

Although born in Connecticut, I have experienced the latter half of my youth in Burrillville, a quiet town in the northwest corner of Rhode Island. Although off the beaten path for most, Burrillville has built a reputation for its beautiful nature scenes throughout our surprisingly expansive town.

How did you get interested in graphic design? Can you talk about something you’ve created, or a style you like to use?

Art, design and creativity have always played an integral part in my story; for as long as I can remember I have experimented with every medium of self-expression through art. My love for graphic design as I know it today truly stems from my love of music and how musicians collaborate with designers to create breathtaking visuals that tell moving stories of love, loss and everything in between.

It has been this bridge that drives me to expand my creative horizons every day, from working with a small indie artist to develop his first merch collection to shooting for the stars and creating concept designs for pop icons like Lady Gaga. I strive to explore every facet of myself and how that ultimately transcends into meaningful design.

How did you get involved in SkillsUSA? What was it like to compete against other students?

I have been involved in SkillsUSA since my freshmen year of high school. I truly owe my participation to my former advisor and mentor, JWU alumnus Brooke Gatchell ‘20. It was her enthusiasm for all this organization has to offer that inspired me to pursue higher leadership and help serve as an advocate for career and technical education.

Competing in SkillsUSA Rhode Island’s Advertising Design competition has been a transformative experience. Utilizing crucial design skills in real-world scenarios promotes creative problem-solving, as myself and peers designed advertisements for tangible clients. This unique experience yielded me the gold medal.

Last year you became national vice president for SkillsUSA. What has that leadership experience entailed?

Over the past year, I have been both privileged and honored to serve as the SkillsUSA national high school vice president. This once-in-a-lifetime experience has allowed me to travel across the country as I advocate for career and technical education and empower the next generation of skilled workers. From Rhode Island to Washington, D.C., to Houston, Texas, and back, I have worked to support and train SkillsUSA’s 400,000+ members, advocate for legislation on capitol hill and empower our up-and-coming workforce.

I hope to continue my journey of advocacy and leadership as I help guide JWU’s own SkillsUSA chapter into a new era full of burgeoning opportunity and visibility.

What are some of your other hobbies?

I love art of all forms from design to photography. I strive to explore art forms in which I can express my perspective on the world in new and innovative ways.

Additionally, I love to attend concerts and live shows of all sorts. One of my favorite concerts I have had the privilege of attending was Taylor Swift’s Eras Tour; she is a perfect example of self-expression through both verbal and visual artistry that ignites ambition within my inner creative.

How did you hear about JWU’s National Student Organization scholarship application? What did it feel like to learn that you won?

I heard about the scholarship through my mentor, Brooke Gatchell. As a JWU alum herself, she was aware of JWU’s immense support and partnership with student organizations such as SkillsUSA.

Getting the call informing me that I had been awarded this full-tuition scholarship was surreal and a true honor. Receiving this scholarship will allow me the space to pursue meaningful and enriching creative experiences free of the burden of college tuition.

Tell us how you first heard of JWU. Why did you choose our Graphic Design program?

My mother is a JWU alum, but I was first introduced to Johnson & Wales in person through their partnership with SkillsUSA Rhode Island, as the organization hosts our annual Fall Leadership Conference on JWU’s Harborside campus. I chose JWU’s Graphic Design program with ease and pride.

Attending a JWU Open House as a junior in high school, I was struck by JWU’s career-oriented curriculum and genuine staff members, which quickly made it stand out as a top contender in my college search.

What were your first impressions of JWU?

I was impressed with the school's diversity of studies and attention to detail in all its programs. From culinary to graphic design JWUs state-of-the-art facilities, caring faculty and unique presentation left an indelible impression after my first visit.

What are you most looking forward to experiencing at JWU?

I look forward to meeting new people from all over the world, expanding my creative and design expertise through hands-on experiences, and living out my college career in the beautiful city of Providence.

Do you have a dream job or goal in mind for after JWU?

As music has played such an integral role in my life, I aim to work with musical artists to aid in developing and actualizing their vision in a visual form factor. Graphic Designers at record labels like UMG, Columbia and beyond help shape how listeners and viewers visually digest a record through mediums like merchandise, album covers and music videos. As artists embark on tours, they express themselves and their music in a whole new way through live performance, and I dream of continuing to help them tell their stories through photography and design as they share their albums with fans all over the world.

Who has helped you in your college journey?

Although there are so many individuals who have supported me throughout my high school career and transition into post-secondary education, my mom has been a constant supporter, advocate and source of encouragement. She has always challenged me to empower my potential, celebrate my success and help me overcome seemingly impossible challenges. Her active role in my life has been instrumental in shaping the young man I am today.

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