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Music Releases (more headlines) 04-27-2017

New Digital Album Of Clarinetist And Composer Tale Ognenovski: “Mozart Clarinet Concerto In A, K. 622 Arranged For Two Clarinets By Tale Ognenovski”

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Email: steveogn@yahoo.com
Website: http://www.taleognenovski.mk
Music: http://www.youtube.com/watch?v=qvqdG4eSIIA
Tale Ognenovski (April 27, 1922 - June 19, 2012) was a Macedonian multi-instrumentalist who played clarinet, recorder (“kavalche”), tin whistle, small bagpipe, zurna, and drums. Stevan Ognenovski, Mag. Scient., the only son of clarinetist and composer Tale Ognenovski and Nevena Ognenovska on the base of recording of “Mozart Clarinet Concerto in A Major, K.622” from 2005, arranged in 2015 nine new tracks with two clarinets, first clarinet and second clarinet performed by Tale Ognenovski. In this sensational recording Tale Ognenovski performed with first, second and two clarinets. Tale Ognenovski performed on a standard-range A clarinet, Buffet Crampon, System Boehm, Model No. 1. Tale Ognenovski with his son Stevan Ognenovski, Mag. Scient. arranged for two clarinets Musical Masterpiece “Clarinet Concerto in A major, K. 622” composed by musical genius Wolfgang Amadeus Mozart . With this arrangement for two clarinets, Tale Ognenovski on clarinet with accompaniment of his son Stevan Ognenovski, Mag. Scient. on drum recorded two Audio CD entitled: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” (Record label: Independent Records, USA. Catalog: IR43832) and "Mozart and Ognenovski Clarinet Concertos" (Record label: Independent Records, USA. Catalog: IR37223). Perhaps these two Audio CDs are unique recordings in the world where every notes of measure numbers III/311-313 are played by Tale Ognenovski exactly as they are written in: “W. A. MOZART KONZERT für klarinette und orchester A dur – A major – La majeur K.V. 622 Ausgabe für Klarinette und Klavier von H. Kling”, published by VEB Breitkopf & Härtel Musikverlag Leipzig, EDITION BREITKOPH Nr. 2300, Printed in Germany. This Audio CD entitled: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” with Audio CD entitled: “Mozart and Ognenovski Clarinet Concertos" performed by Tale Ognenovski are unique recordings in the world with simultaneously playing two clarinets with mixing two different arrangements: for first clarinet and second clarinet performed by the same clarinetist (Tale Ognenovski). When you listen these three tracks:
Track 4 – “Mozart Clarinet Concerto in A, K. 622 Allegro Arranged for Two Clarinets by Tale Ognenovski”
Track 5 – “Mozart Clarinet Concerto in A, K. 622 Adagio Arranged for Two Clarinets by Tale Ognenovski”
Track 6 – “Mozart Clarinet Concerto in A, K. 622 Rondo Allegro Arranged for Two Clarinets by Tale Ognenovski”
of the Digital Music Audio CD entitled: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” you will have impression that Tale Ognenovski uses two clarinets simultaneously with two different arrangements. In other words: use two clarinets by a single performer (Tale Ognenovski) - Playing the first clarinet with first arrangement and second clarinet with second arrangement that's played simultaneously – by one performer (Tale Ognenovski). In reality these three tracks were made by mixing one audio recording with clarinet performance according the arrangement for first clarinet (performed by Tale Ognenovski) and separate audio recording (performed by Tale Ognenovski) with clarinet performance according the arrangement for second clarinet. It was possible to make a mix of two audio recording with arrangements for the first and second clarinet (performed by Tale Ognenovski) thanks to the excellent synchronization of performance of the arrangement for the second clarinet by clarinetist Tale Ognenovski while he simultaneously listening to the tape of his performance on the clarinet with the arrangement for the first clarinet. Such perfect synchronization of two clarinets by the performance of two different arrangements (performed by Tale Ognenovski) in recording concert of “Mozart Clarinet Concerto in A, K. 622” is unique in the world. Digital Music Audio CD entitled: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” is another confirmation that Tale Ognenovski is the greatest clarinetist of all time and one of the most important musicians of all time in the world.

Track List:
Mozart Clarinet Concerto in A, K. 622 Allegro Arranged for First Clarinet by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Adagio Arranged for First Clarinet by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Rondo Allegro Arranged for First Clarinet by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Allegro Arranged for Two Clarinets by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Adagio Arranged for Two Clarinets by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Rondo Allegro Arranged for Two Clarinets by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Allegro Arranged for Second Clarinet by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Adagio Arranged for Second Clarinet by Tale Ognenovski
Mozart Clarinet Concerto in A, K. 622 Rondo Allegro Arranged for Second Clarinet by Tale Ognenovski

Music from CD: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” is available on Amazon (Download) – http://taleognenovski.mk/amozart2c.html
iTunes (Download) – http://taleognenovski.mk/imozart2c.html
CD: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” (Record label: Independent Records, USA. Catalog: IR43832) together with CD entitled: “Mozart and Ognenovski Clarinet Concertos" (Record label: Independent Records, USA. Catalog: IR37223,) performed by Tale Ognenovski, one of the most important musicians of all time, titan of the clarinet and astonishing virtuoso clarinetist will go down in history as the best “Mozart Clarinet Concerto in A, K. 622” ever recorded and which will transcends the centuries.

CD: “MOZART and OGNENOVSKI Clarinet Concertos” is available on
Amazon (Download) – http://taleognenovski.mk/amozartog.html
Amazon (Physical Audio CD) – http://taleognenovski.mk/amozartcd.html
iTunes (Download) – http://taleognenovski.mk/imozartog.html

Tale Ognenovski's biographer is his son Stevan Ognenovski, who wrote the book entitled: Tale Ognenovski Virtuoso of the Clarinet and Composer (2000). Publishing house is Matica Makedonska, Skopje, Republic of Macedonia ISBN 9989483124. The book is published in both Macedonian and English. The content of the book are: the biography of Tale Ognenovski and music notation of compositions of 67 Macedonian Folk Dances, "Tale Ognenovski Clarinet Concerto No.1" and "Tale Ognenovski Jazz composition No. 1" (all composed by Tale Ognenovski). List of 300 Instrumental Compositions composed or arranged by Tale Ognenovski and recorded by Tale Ognenovski at Recording Labels:
MRT, Macedonian Radio Television, Republic of Macedonia
RTB, now PGP-RTS Radio Television of Serbia, Serbia
Jugoton, now Croatia Records, Croatia
IR, Independent Records, USA
can be found at Website http://www.taleognenovski.mk
Tale Ognenovski , Clarinetist and Composer was a member of the Composers’ Association of Yugoslavia (Former Yugoslavia) from 1963 till 1991. Tale Ognenovski’s 300 instrumental compositions have been protected by the Musical Copyright Society of the Republic of Macedonia ZAMP - Macédoine (Здружението за заштита на авторски музички права-ЗАМП) since 1963. ZAMP – Macédoine is the member of CISAC, the International Confederation of Societies of Authors and Composers.
In his book, For Our Music Dushko Dimitrovski writes: "The prodigy, however, is called Tale Ognenovski...The impossible becomes possible: two, "usually non-complimentary" parallel-existing worlds of sounds Europe The Orient are in Tale Ognenovski's music naturally brought closer together, understand each other and merge. Has Ognenovski's ingenuity in advance not done something that with the power of empirical palpability and outright proof, will convince us that Macedonia with the power of both worlds of melodies being borne and present in her galaxy of sounds is the one predetermined to play the role of a tonal catalyst for the future universal connection and natural mixing and circulation of the creative idea of East West East?
During his tours around the world, Tale Ognenovski performed with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in a multitude of concerts. In the United States (65 concerts, from January 22, 1956 till April 12, 1956), Canada (Toronto Massey Hall, February 13, 1956), Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund), France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959), Bulgaria (November and December, 1955), Romania, (9 concerts, December, 1957 and January 1958), Albania (9 concerts, October, 1957), Bosnia and Herzegovina, Monte Negro, Slovenia, Serbia and Croatia. The public and audiences greeted Macedonian National Ensemble for Folk Dances and Songs " wherever they performed with great warmth, and showed their appreciation with huge applause. Tale Ognenovski and all other members of the Ensemble became international ambassadors of music.
The New York Times for Tale Ognenovski performances as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York City on January 27, 1956 wrote, "Display of Tremendous Skill … joy and delight … folk arts, comes from Macedonia … brilliantly spectacular and wonderfully unfamiliar dances … great individuality … wide variety … incredible phrases … the dances are ravishing, and their range is truly astonishing … remarkable music on both orthodox and unorthodox instruments … a raucous and unforgettable pipe … wonderful art but also a superb show … Surely one performance in New York is not enough … “ - Article entitled "Ballet: Yugoslav Folk Art; 'Tanec' Dancers Appear at Carnegie Hall in Display of Tremendous Skill" , written by music critic John Martin, The New York Times, January 28, 1956, p.11, and, “spectacle … stunning show that any set of spectators would find hard to resist … thousand different shades of dynamics … rapidity … conscious virtuosity … the broken circles of the kolo of the Macedonian mountains … curious musical instruments that accompany many of the dances … a dateless reed pipe …” - Article entitled "THE DANCE: FOLK ART; Group From Yugoslavia In Impressive Debut Learning vs. Magic No Macedonian Monopoly The Week's Events" , written by music critic John Martin, The New York Times, February 5, 1956, p. 114. These musical terms written in these articles are the most brilliant musical expressions written for performance by an instrumental soloist (with orchestra) in Carnegie Hall in New York published in The New York Times from 1891 until now.
Tale Ognenovski played as virtuoso clarinet and reed pipe (“kavalche”) soloist of Macedonian National Ensemble for Folk Dances and Songs "Tanec" on one of the most popular television programmes in the United States, the Ford Foundation TV Programme "OMNIBUS", on January 22, 1956. This programme was seen by millions of Americans. This TV debut of ‘Tanec’ on CBS (Columbia Broadcasting System) Television Network, one of the largest radio and television broadcasting companies in the United States, created great interest in all 65 concerts in many towns throughout the United States and Canada. A copy of this programme may be viewed free of charge on a videocassette at the Library of Congress in Washington, D.C. On the Library of Congress Internet Web site, https://lccn.loc.gov/88705799 is written: Main Title: Omnibus. IV, vol. 15 / TV-Radio Workshop of the Ford Foundation; Producer, Robert Saudek. Published/Created: United States: CBS Television Network, 1956-01-22. Contents: The Yugoslav national folk ballet / directed by Elliot Silverstein; with the Tanec dance troupe from Macedonia (20 min,)...
Allmusic's reviewer, Craig Harris, noted: "The only professional folklore ensemble in Macedonia, the Tanec Ensemble are dedicated to the preservation of traditional Macedonian music, dance, and costuming. Founded by the government of the People's Republic of Macedonia in 1949, the group has shared their musical heritage with audiences around the world for more than half a century, performing an estimated 3,500 concerts in 31 countries'... The ensemble reached their peak during the late '50s, when influential clarinet and pipes player Tale Ognenovski was a member..." - Article entitled "Biography of Ensemble Tanec". http://www.allmusic.com/artist/p509257
Тale Ognenovski played as virtuoso and clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York , on January 27, 1956 for most parts of the programme, including the Macedonian folk dances ‘Bride’s Dance’ (‘Nevestinsko Oro’), ‘Chupurlika’, ‘Shopska Podripnuvachka’ ('Sopska Poskocica'), ‘Kopachka’, ‘Shepherd’s Dance (‘Ovcharsko Oro’), ‘Soborski Igri’, Macedonian songs, Serbian folk dances and songs and ‘Shote’, an Albanian folk dance. Tale Ognenovski was a virtuoso clarinet soloist in ‘Sopska Poskocica’ (‘Shopska Podripnuvachka’) but he also helped arrange the music for he added his own improvisations to some parts of the dance. This has also been the case with others folk dances where Tale Ognenovski has performed as virtuoso clarinet and reed pipe soloist. Following every concert of ‘Tanec’s’ North American tour, critics in almost every newspaper commented about the Macedonian folk dance ‘Sopska Poskocica’: “… To make the point, in “Sopska Poskocica”, five young men took over the stage and indulged in show-off tactics to attract the girl... An audience which jammed Carnegie to capacity (the house had been sold out by last Monday) cheered and applauded the folk dancing with as much enthusiasm as if it had been witnessing classical, theatrical ballet at its most glittering.” – Article: ‘Yugoslav Folk Ballet,’ written by Walter Terry, the New York Herald Tribune, January 28, 1956. ; “... Until half-past eight, Carnegie Hall was full to capacity, without any of it’s near enough 3000 seats available... To choose which were the most successful of the program's seventeen folk dances, when all were greeted with stormy applause, is really very difficult and risky… “Shopska podripnuvachka” (“Sopska Poskocica”) was even repeated, and to repeat a performance on the American stage is a really rare and exclusive event…” – Article: “The First Days in America, written by Stjepan Pucak, former Tanjug correspondent and Croatian journalist , Nova Makedonija, Skopje Republic of Macedonia, February 7, 1956.; “...IF IT EVER COMES to an all out global brawl, I want the Yugoslavs on my side. That is, if the Yugoslav National Folk Ballet, which spent the week-end in the Civic Opera house, is a fair sample.. called Tanec, which is the Macedonian word for dance, this group of 37 dancers, singers and musicians is a kaleidoscope of the Balkans... When five of them dance the “Sopska Poskocica,” which apparently just means they are showing off to the girls. I would keep them any day as a fair trade for the four little swans in “Swan Lake.”...” – Article: “On the Aisle - Yugoslav Ballet a Colorful Addition to International Dance.”, written by Claudia Cassidy, Chicago Daily Tribune, Chicago, February 6, 1956. ; “... A Sopska Poskocica is devised to show the girls how handsome, wonderful, brilliant, exciting and sensational their man friends are. It does. The rate at which it is danced, and the tremendous energy and precision of six men who dance it, is unique and demanded a repetition...If you see “Tanec” which simply means “Dance” advertised again, you won’t want to miss it.” – Article: “Yugoslav Dancers Shoot the Works”, written by Paul Hume, The Washington Post and Times Herald, February 10, 1956.; “… The first impression, however, must be one of rhythmic precision... Nor was the performance without spectacle... Sopska Poskocica it was no more than a show-off dance. As such it was highly effective…” – Article: “Music in Toronto”, written by John Kraglund, The Globe and Mail, February 14, 1956.; “… But I know they started many a knee jogging to complicated Macedonian rhythms … The Yugoslav troupe provided a magnificent demonstration of that Balkan urge for expressing one’s self in subtly rhythmic and violently evocative body movements… and never more so than in a number titled simply “Macedonian Tune,” which in its intricate rhythms and plaintive melody should at least make Dave Brubeck send out an emergency call for Darius Milhaud...” – Article: “Yugoslav Ballet Proves Folk Dancing ‘Tricky’ “, written by R. H. Hagan, the San Francisco Chronicle, San Francisco, March 8, 1956. ; “… For authentic folk dancing, wild and free and yet subject to its own intricate disciplines, this group would be hard to beat… the “Sopska Poskocica” in which the young men display their athletic prowess for the girls...It all makes quite a spectacle and is well worth seeing.” – Article: “Yugoslav Folk Ballet Opens Engagement”, written by Albert Goldberg, the Los Angeles Times, March 13, 1956.; “A hundred years ago on the rugged roads of Macedonia, bands of brigands used to plunder the caravans of rich merchants and, like Robin Hood, pass on some of their spoils to the poor ... this spring, the Yugoslav National Folk Ballet is making a first, and highly successful tour of the U.S. … Together they make as vigorous a display of dancing as the U.S. has ever seen…” – Article: “Dance Bouncing Brigands from Yugoslav come to U.S., Life magazine, USA, Vol. 40, No. 15, pp. 173-174, April 9, 1956.
Macedonian National Ensemble for Folk Dances and Songs "Tanec"’s triumphant appearance on American television, in the Ford Foundation ‘Omnibus’ programme on January 22, 1956 in New York City opened America’s doors to a wealth of Macedonian musical talent. What followed would be called a Musical Sensation. ‘Tanec’s performances at Carnegie Hall and at other famous concert halls were displays of tremendous skill, the likes of which North America had never seen before. Tale Ognenovski and other members of the Ensemble arrived as foreign ambassadors, but they received the warmest welcome and the most enthusiastic reception possible in North America. In their commentaries, the North American press gave such magnificent descriptions of the Ensemble’s performances that it could be concluded that Macedonia was the ‘centre of the folk universe’. During an 84-day journey throughout the United States and Canada Ensemble ‘Tanec’ travelled ten thousand kilometres and performed 66 concerts in 53 different towns. They were described as a Great Cultural Event by the American press, with articles appearing in The New York Times, The New York Daily Mirror, The New York Herald Tribune, The New York World Telegram, The New York Daily News, Boston Traveler, Boston Globe, Chicago Daily News, Chicago Daily Tribune, Saint Louis Globe Democrat, San Francisco Chronicle, Los Angeles Times, San Diego Union, The Milwaukee Journal, Washington News, Baltimore Sun, The Christian Science Monitor, Denver Rocky Mountain News, Life, The Philadelphia Inquirer, The Globe and Mail, Dance Observer, The Washington Post and the Times Herald. This tour is one of the longest and the most triumphant of tours in the history of world music. Ensemble ‘Tanec’ twice repeated this giant success, first with their 72-concert tour of Germany from August 15 until October 27, 1956, and secondly with their 83-concert tour of France from September 20 until November 25, 1959. They played two concerts in Dortmund, Germany on September 18 and 19, 1959.
Tale Ognenovski won the "11 October" Award and took top honors at a glittering Award ceremony in the Macedonian Parliament on October 11, 2003. The "11 October" Award is the highest and the most prestigious national award in the Republic of Macedonia. Tale Ognenovski received "Certificate for National Pension" from Nikola Gruevski, Prime Minister of Republic of Macedonia in the Museum of the Macedonian Struggle, Skopje, Republic of Macedonia on March 3, 2012. All About Jazz celebrated April 27, 2009, the birthday of Tale Ognenovski with All About Jazz recognition: Jazz Musician of the Day: Tale Ognenovski, with announcement published at his website.
Tale Ognenovski, clarinetist and composer, was included in the book entitled: “The Greatest Clarinet Players of All Time: Top 100” written by Alex Trost (Author) and Vadim Kravetsky (Author). Publisher: CreateSpace; 1 edition (August 25, 2013). Language: English; ISBN-10: 1492255270; ISBN-13: 978-1492255277. The book is available on Amazon.com.
31 Tracks of Tale Ognenovski in four Digital Music Albums: “Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski” (Record label: Independent Records, USA. Catalog: IR43832), "Mozart and Ognenovski Clarinet Concertos" (Record label: Independent Records, USA. Catalog: IR37223), “Macedonian Clarinet Jazz Composed By Tale Ognenovski” (Record label: Independent Records, USA. Catalog: IR38824) and "Jazz, Macedonian Folk Dances and Classical Music" (Record label: Independent Records, USA. Catalog: IR04542) are available on Amazon.com, iTunes…
For more information please visit:
http://www.taleognenovski.mk
http://www.youtube.com/user/steveogn
http://en.wikipedia.org/wiki/Tale_Ognenovski
http://www.facebook.com/TaleOgnenovskiClarinetist
https://plus.google.com/106334760000961341887/about
YouTube video: “Tale Ognenovski, The Greatest Clarinetist of All Time, Musical Genius, Composer...” https://www.youtube.com/watch?v=qvqdG4eSIIA

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