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Girls Aloud
British Broadcasting Corporation Home. Post categories: TV , world. Latin Music has long had an influence on popular music of the day, from the Afro-Cuban jazz of Mario Bauza in the s right through to Santana bringing a Latin sound to the rock mainstream at Woodstock in It charts why the United States fell in love with the Latin sound and its impact on American culture and society.
Exploring jazz, country, mambo, salsa, Chicano rock, Tejano, right up to contemporary Latin pop, the series also looks at how Latin music has had a seminal influence on rock n roll. The New York Times points out how in this first episode, "snippets of hits by the Beatles Part one of the programme, East Side Story , takes us back to when the Afro-Cuban sound began to have an impact on music in the 's and 's. Meanwhile in Cuba, the Rumba and Mambo captivated tourists in the Mafia-owned nightclubs.
The Mambo Kings, among them Tito Puente and Tito Rodriguez , became the royalty of dancehalls frequented by movie stars, dancers and a mix of New Yorkers for whom "it was the beginning of integration". Episode 1 Trailer. With the arrival of Castro in Cuba, in , the flow of rhythms to the USA dried up and big bands gave way to "four boys and a drum kit". Carlos Santana describes how his own Latin-style rock music is part of a tradition dating back to Machito, Puente and Bauza.
With his stunning performance at Woodstock in , Santana helped place Latin music in the mainstream, mirroring the integration of Latinos within the USA. Santana at Woodstock in Post categories: Arena , Brian Eno. This Friday 22nd January sees the first showing of Arena's film on arguably one of the most important figures in music over the last 40 years or so, Brian Peter George St.
John le Baptiste de la Salle Eno. Covering Eno's interests in everything from cybernetics to evolutionary theory to the Harmonisation of the European Rail Operating System, the film avoids linear biography in favour of an impressionistic, almost fly on the wall approach.
What persuaded you to make the film with us when you hadn't agreed to being profiled before? Arena first of all - simple enough - and then when I met you and Anthony I felt this could be something different from the normal showbiz bollocks.
I've always liked Arena and felt a particular fondness for it because it uses my music as its theme. In the past I've shied away from TV because I don't enjoy the medium very much, but I've always admired Arena for being more like radio! By that I mean, for going into greater depth. I don't like celebrity programmes - but I do like programmes about how ideas are formed and evolve.
I didn't want to lean too heavily on my pop credentials, such as they are, but instead draw attention to this little bubble of ideas I've been involved with for a long time, and to the connections between them and what else is going on in the world. I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one. Some people are very good at being 'stars' and it suits them.
I'm grudging about it and I find it annoying. Do you have a favourite bit?! If you haven't seen it, perhaps someone could answer this one for you! I'm in the dark there love! I asked not to be told anything about it, and indeed I haven't been And if you missed it, you can read our interview with Nicola Roberts about the film here. Just over a year ago I was talking to Bruce Springsteen about death, as you do. Bruce was wearing a t-shirt with the skull and crossbones on it, and he gestured to it as we talked.
The mythology is always mixed - the skulls, the crossbones, the death's head. It's ever present, it cuts through all popular music. Mick was the guitarist in The Pirates - whose logo is, yes, the skull and crossbones - but he was a great deal more than that.
A few years back, he was appearing with Van Morrison on J ools Holland's Hootenanny when he played a solo on The Philosopher's Stone that was so gorgeous, so fluid and so spine-tingling that I've never been able to watch it again for fear of spoiling the memory. When I asked him about it afterwards, Mick was typically self-deprecating. Mick would never tell you that he was one of the greatest guitar players the UK ever produced, but he was.
Never follow The Pirates they used to say, and it was a very brave - or a very stupid - band who chose to go on after Mick's incendiary style had been unleashed for an hour or so.
It was, literally, jaw-dropping. You could see countless people in Pirate audiences stare opened mouth as they realised what he was doing, and then stare even harder as they tried to work out how. It was a bewildering mixture of lead and rhythm played simultaeneously and often at what seemed like impossible speed. But crucially, it was done always with taste and always in the service of the song. It wasn't technique for its own sake, but technique deployed to an end. You sensed that was what Van loved in him.
You can certainly hear it in his playing with Paul McCartney on Later and on Parkinson, pummelling rock'n'roll standards with an immensely powerful but restrained performance, a clarion call across the generations. And the stories he used to tell. Interrupting Elvis and Engelbert comparing collars in Las Vegas to get the King's autograph for his sister. Trying to borrow the money to become the Beatles' first promoter in London, only to be told - by Johnny Kidd no less - that they'd "never be bigger than Joe Brown ".
Turning up to a Dutch TV show with the Pirates to find they were expected to play on a full scale model of a galleon. And further back - an adolescence seduced by Teddy Boy style but hampered by setting fire to your quiff trying to dry it over a gas ring. In Gibson Martin Fender, the only man ever to use Battersea as the setting for a rock'n'roll song, and how your heart lifts when he hits the fluttering, choppy riff at that song's core. Mick was 65 when he died, and his website is full of tributes from people like Pete Townshend , and anecdote upon anecdote from a rock'n'roll life well lived.
But back home in Essex, Mick taught guitar to primary school children, children like Elliot, and they wrote as well: "Mick was teaching me acoustic guitar at school. Mick was a very good man he always tried to make a lesson fun and i would always look forward to my lessons on a Thursday. I will miss him a lot". Post categories: Arena , TV. The perenially wonderful Arena are currently putting the finishing touches to two programmes dedicated to the life and work of Brian Eno whose music is heard on the famous opening sequence.
Brian Eno's team and Anthony Wall Arena editor had been talking about doing a film. Obviously Brian had been approached by other people to do similar things, but without blowing our own trumpet too much I think it's worth saying that people will come and make films with Arena rather than anyone else.
Was the fact that Brian supplied the theme music a factor in his willingness to make the film? I think that's one aspect of it but there's also the fact that people have a lot of confidence and trust in the fact that Arena will do them justice. It's a great programme and I'm very proud to work for it.
Arena has a reputation for making 'film essays' rather than 'straight' documentaries. Can you talk a bit about your approach to this one? The Wikipedia type timeline music documentary seems quite prevalent at the moment, which is fine.
But you feel a little bit apprehensive these days when you're doing something a bit different, something more like an 'essay'. There's a sort of feeling that if you don't start your Eno film with Roxy Music then you've done it 'wrong'. It's quite a challenge to take another approach, and there's not a lot of that kind of programming around on television at the moment.
But on the other hand there's so much information out there already on the internet, that it kind of liberates you as a filmmaker in a way. You don't have to tell that linear story if you don't want to.
My son's first ever favourite song was Eno's Baby's on Fire. Oh and Roxy Music of course. But I didn't know much about Eno rather than he had this slight reputation as a sort of Magus. I just loved those early songs. I did a bit of reading and came up with an initial treatment. Some of those ideas are still quite strong in the film; little visual things and metaphors.
I loved that he came from a long line of postmen, and there was a lot of stuff about tape loops and looping. I had an idea that Brian would have a conversation with a long distance pilot; the idea of 'repetition being a form of change'.
So we met with Brian and his people who co-produced the film and they liked it. Brian was very keen on the importance of conversations; he subtly steered the film the way he wanted to go by choosing the people he wanted to speak to. We were a very low key presence, which he really liked. We would be invited into the studio on certain days when he would be talking to someone Richard Dawkins , Paul Morley or whoever. There was nothing very contrived about it. The first day we were there he was jamming with Karl Hyde , which I'd love to have used more of.
I'm sure it didn't get to the point that he forgot we were there or anything, but it was very relaxed and Brian gave us a lot of creative freedom. He was very charming. That was the tip of the iceberg really. Perhaps it was only when I was there, but it did seem that every time he switched on his computer, it didn't work.
I had taken a line with the film - that if you'd been brought up a strict Catholic like Brian and then had rejected all that, what do you believe in instead? And it's science. But that was too pretentious to put in the film! I asked him quite a lot of slightly bolshie questions about his corporate work. I think the word 'breadhead' came up. But of course he's perfectly comfortable with and honest about working for Microsoft or Nokia or whoever.
Eventually Anthony Wall said to me "Not everyone finds making money out of corporate work as contentious as you do" so I thought 'Is this really that interesting?
Nicola Waldron
The girls, who took part in the Royal Variety Performance this week, dropped in on the delighted youngsters yesterday. By Teesside Live. Get the latest news from Darlington direct to your inbox with our free email newsletter Invalid Email Something went wrong, please try again later. Subscribe We use your sign-up to provide content in ways you've consented to and to improve our understanding of you. This may include adverts from us and 3rd parties based on our understanding.
Nineteenth Annual Meeting Abstracts
On the first day of the gathering, the artists will take part in facilitated work sharing sessions with Jess Chandler and Shama Khana and Beth Bramich Flatness. In the evening, Studio Voltaire will host a meal for the artists and Studio Voltaire's cultural tenants. On Saturday morning, Florence Peake will lead a performance workshop p drawing on their previous performance works that include practices with objects and states of being connected to presence. This will be followed by a writing workshop with Daniella Valz Gen, exploring the element of Fire through poetry, somatic practice and observation and a dinner in Studio Voltaire's cafe. Sunday On the last day of the gathering, Adam Farah will present their work and lead a short workshop. Artist Advisor, Amanprit Sandhu will close the weekend with a debrief session. The group will begin their weekend with a zine-making workshop in Iniva's Stuart Hall library with Hamja Ashan.
Ayla Mota's iPhone explodes: Device emits smoke and sparks while charging
The free music, style and culture magazine. In your hands, dear readers, you hold the rst ever copy of our humble publication to nd its way past the keyboard cat, o the magical land of the internet and onto that hallowed medium of dead tree. Which, obviously, we did. A quick note. Until then, check thisisfakediy.
A loud festive cheer at hospital
British Broadcasting Corporation Home. Post categories: TV , world. Latin Music has long had an influence on popular music of the day, from the Afro-Cuban jazz of Mario Bauza in the s right through to Santana bringing a Latin sound to the rock mainstream at Woodstock in It charts why the United States fell in love with the Latin sound and its impact on American culture and society. Exploring jazz, country, mambo, salsa, Chicano rock, Tejano, right up to contemporary Latin pop, the series also looks at how Latin music has had a seminal influence on rock n roll. The New York Times points out how in this first episode, "snippets of hits by the Beatles
DIY, Spring 2011
Duet for Theremin and Lap Steel - "Absinthium". Duet for Theremin and Lap Steel - "Serpentariae". Atlanta's Duet for Theremin and Lap Steel are a duet, a duo. Their principal instruments are theremin and lap steel. They are evidently well-named. But at the same time that name, for me, suggests an emphasis on virtuosity, musicianship, the unacommpanied gifts of its individual players. In fact, the music of Duet for Theremin and Lap Steel feels more to me about dissolving the individual, forgetting the maker. Scott Burland and Frank Schultz make weather.
Doctor Echo
Can we bring yesterday back around, pop fans? Because the wait is finally over for one of our most requested episodes yet: Sugababes Part 3! Casually arriving hot on the heels of the Babes' 20th anniversary reissue of "One Touch" and news of them headlining Mighty Hoopla next year. Join Joel and David as we jump back to to celebrate one of Britain's greatest girl groups, the Sugababes, in their proper huge mainstream era "Change", which saw them top the album charts and score their sixth No.
43: Nicola Roberts - "Cinderella's Eyes" | 2000s Pop Music Podcast
A tribute to miners and the British Miners' Strike of A Right to Life or anti-choice song. Little baby. Inconvenience, interrupting other plans.
Our acapellas list
Log in No account? Create an account. Remember me. December 30th, , pm. What the hell, for old times sake, my favourite songs of No pressure then when you use something for the first time in years.
Unfortunately he neglected to thank his wife Kate in the acknowledgements, which was a daft oversight. It is much too late, but I hereby thank my fellow cat-slung sofa friend for being the constant support and discerning eye without whom none of the poems would be written. Kate, thank heavens for you. Sam Duckor Jones is both a poet and sculptor living in Featherston.
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