tag:blogger.com,1999:blog-129123802024-03-05T18:41:16.723+01:00Gabriel Real World NewsPeter Gabriel, Friends, Realworld, WomadAnonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.comBlogger1776125tag:blogger.com,1999:blog-12912380.post-25248003416403477102010-02-11T16:00:00.001+01:002010-02-11T16:02:50.032+01:00Scratch My Back !<div style="text-align: justify;">Exclusive album preview – Peter Gabriel: Scratch My Back<br /><br />Let us know what you make of the first Peter Gabriel record in eight years, which covers Talking Heads, Radiohead and Bowie<br /><br /></div><p style="text-align: justify;">For his first studio album in eight years, <a href="http://www.guardian.co.uk/music/peter-gabriel" title="More from guardian.co.uk on Peter Gabriel">Peter Gabriel</a> came up with an audacious plan. He decided to cover the work of his favourite artists and, in exchange, they would do the same for him. Scratch My Back is the first instalment of this project, and sees the 59-year-old, ex-Genesis man cover the likes of <a href="http://www.guardian.co.uk/music/radiohead" title="More from guardian.co.uk on Radiohead">Radiohead</a>, Talking Heads and <a href="http://www.guardian.co.uk/music/davidbowie" title="More from guardian.co.uk on David Bowie">David Bowie</a>. The artists whose songs you hear here will be returning the favour by performing Gabriel's songs on a forthcoming album, I'll Scratch Yours. </p><p style="text-align: justify;">You can hear Scratch My Back using the widget below. So has Gabriel improved on the originals here? Let us know in the comments section! </p><div style="text-align: justify;"><span class="inline embed embed-media"> <div><object type="application/x-shockwave- flash" id="TSWidget13773" data="http://cdn.topspin.net/widgets/bundle/swf/TSBundleWidget.swf?timestamp=1265399850" bgcolor="#000000" height="250" width="460"><param value="always" name="allowScriptAccess"><param name="allowfullscreen" value="true"><param name="quality" value="high"><param name="movie" value="http://cdn.topspin.net/widgets/bundle/swf/TSBundleWidget.swf?timestamp=1265399850"><param name="flashvars" value="widget_id=http://cdn.topspin.net/api/v1/artist/1535/bundle_widget/13773?timestamp=1265399850&theme=black&highlightColor=0x00A1FF"><param name="wmode" value="transparent"></object></div><div><object type="application/x-shockwave-flash" id="TSWidget13775" data="http://cdn.topspin.net/widgets/email2/swf/TSEmailMediaWidget.swf?timestamp=1265399875" bgcolor="#000000" height="80" width="460"><param value="always" name="allowScriptAccess"><param name="allowfullscreen" value="true"><param name="quality" value="high"><param name="movie" value="http://cdn.topspin.net/widgets/email2/swf/TSEmailMediaWidget.swf?timestamp=1265399875"><param name="flashvars" value="widget_id=http://cdn.topspin.net/api/v1/artist/1535/email_for_media/13775?timestamp=1265399875&theme=black&highlightColor=0x00A1FF"></object></div> </span> </div><div id="related"><div style="text-align: justify;"> </div><div style="text-align: justify;" class="blog-byline"> <span>Posted by</span> <a href="http://www.guardian.co.uk/profile/guardianmusic">guardian.co.uk/music</a> Wednesday 10 February 2010 <span class="timestamp">11.26 GMT</span> <span class="byline-publication "> <a href="http://www.guardian.co.uk/">guardian.co.uk</a> </span> </div><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-72549404149658010812009-12-17T20:55:00.003+01:002009-12-17T21:00:08.033+01:00Peter Gabriel vu par Franck Buioni<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.editionsducamion.com/upload/image/grande/gabrielmaxi.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 424px;" src="http://www.editionsducamion.com/upload/image/grande/gabrielmaxi.jpg" alt="" border="0" /></a>1977. Les hordes punks ont déboulé dans le paysage rock des seventies. The Sex Pistols, The Clash et The Jam réinstallent l’urgence rock, une notion totalement disparue durant l’époque progressive. Elvis est sur le point de mourir, les Rolling Stones font l’objet de toutes les suspicions et même les Beatles sont voués aux gémonies par les plus radicaux d’entre eux. The Who, The Pink Floyd ou Led Zeppelin donnent l’impression d’avoir perdu toute créativité, toute vitalité, toute énergie. Peter Gabriel, lui, avait pris la tangente dès 1975, disparaissant de l’espace musical britannique par un rejet immodéré du show business. I. L’électronique emplissait les studios, la crise s’installait pour durer et les minauderies tombaient en désuétude. L’avenir s’annonçait incertain, sombre et inquiétant. Mais justement, Peter Gabriel était l’homme de la situation, excellant dans le domaine du mystère, des ténèbres et des interrogations. Le moment semblait propice, et il savait que la décennie à venir serait sienne…<br /><br /><a style="font-weight: bold;" href="http://www.camionblanc.com/?p=detail_livre&ID=266">Chez Camion Blanc</a><br /></div><table border="0" cellpadding="2" cellspacing="0" width="100%"><tbody><tr> <td class="trait"><span class="textebleu">Auteur</span></td> <td class="trait" align="center">Franck Buioni</td> </tr> <tr> <td class="trait"><span class="textebleu">Prix</span></td> <td class="trait" align="center">32 €</td> </tr> <tr> <td class="trait"><span class="textebleu">Nombre de pages</span></td> <td class="trait" align="center">448</td> </tr> <tr> <td class="trait"><span class="textebleu">ISBN</span></td> <td class="trait" align="center">9782357790384</td> </tr> <tr> <td class="trait"><span class="textebleu">Code</span></td> <td class="trait" align="center">CB89</td></tr></tbody></table>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com4tag:blogger.com,1999:blog-12912380.post-17024819812451175012009-04-05T22:02:00.002+02:002009-04-05T22:06:18.154+02:00Peter Gabriel soutient Manu Chao passible d'une expulsion<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.20min.ch/images/content/2/1/9/21963689/2/1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 249px; height: 166px;" src="http://www.20min.ch/images/content/2/1/9/21963689/2/1.jpg" alt="" border="0" /></a>Le musicien et chanteur britannique <span style="font-weight: bold;">Peter Gabriel</span> a défendu vendredi le chanteur franco-espagnol <span style="font-weight: bold;">Manu Chao</span>, confronté à une menace d'expulsion du Mexique après des propos dont les autorités examinent actuellement l'éventuel caractère d'ingérence politique.<br /></div><div style="text-align: justify;"><br /><span style="font-weight: bold;">Peter Gabriel</span> a estimé que <span style="font-weight: bold;">Manu Chao</span> avait «absolument» le droit de s'exprimer sur la violente répression d'une manifestation qui s'est déroulée en 2006 dans l'Etat de Mexico (centre).<br /><span style="font-style: italic;">«Nous sommes tous des citoyens du monde et avons des responsabilités qui nous tiennent à coeur, en relation avec notre conscience et le monde»</span>, a affirmé <span style="font-weight: bold;">Peter Gabriel</span>, fondateur en outre de l'organisation <span style="font-weight: bold;">Witness</span> qui soutient les défenseurs des Droits de l'Homme dans la création de vidéos.<br /><br />Les autorités mexicaines examinent la possibilité d'expulser du Mexique <span style="font-weight: bold;">Manu Chao,</span> lui reprochant des propos pouvant être considérés comme une ingérence dans la politique mexicaine, avait indiqué à l'AFP jeudi le ministère de l'Intérieur.<br /><br />Peu après, le chanteur, qui participe au Festival International du Film de Guadalajara (ouest), avait annulé <span style="font-style: italic;">«pour des raisons privées»</span>, le concert qu'il devait y donner jeudi après la projection du documentaire <span style="font-style: italic;">«LT22 Radio La Colifata»</span>, qu'il a soutenu et dont il a composé la musique.<br /><br />L'auteur de <span style="font-style: italic;">«Clandestino»</span> avait qualifié mardi de <span style="font-style: italic;">«terrorisme d'Etat» </span>une intervention policière en 2006 à San Salvador Atenco, dans la banlieue de Mexico.<br /><br />Le 4 mai 2006, 2.000 policiers anti-émeutes avaient investi le village pour libérer 11 agents séquestrés par des villageois après des heurts violents, consécutifs à une tentative des policiers de déloger par la force des vendeurs ambulants et qui avait dégénéré en bataille rangée, faisant deux morts.<br /><br />Lors de l'intervention, plus de 200 personnes avaient été arrêtées et des brutalités policières, ainsi que des agressions sexuelles, avaient été dénoncées.<br /><br />L'article 33 de la Constitution mexicaine prévoit que <span style="font-style: italic;">«les étrangers ne peuvent en aucune manière s'immiscer dans les affaires politiques du pays» </span>et que le gouvernement a <span style="font-style: italic;">«le pouvoir exclusif de leur faire quitter le territoire national»</span>, immédiatement et sans jugement.<br /><br />Source: AFP<br /><br />20minutes, Act. 27.03.09</div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com4tag:blogger.com,1999:blog-12912380.post-39188527509522568852009-04-05T21:54:00.003+02:002009-04-05T22:00:18.756+02:00Rockers blancs, cœur noir<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://images.telerama.fr/medias/2009/03/media_40935/rockers-blancs-coeur-noir,M19982.jpg"><img style="cursor: pointer; width: 600px; height: 294px;" src="http://images.telerama.fr/medias/2009/03/media_40935/rockers-blancs-coeur-noir,M19982.jpg" alt="" border="0" /></a><br /><div style="text-align: justify;"><br />Peter Gabriel, David Byrne, Damon Albarn : trois rockers qui ont voué leur énergie à la scène world. Simple thérapie, besoin d'ailleurs ou volonté militante ? David Byrne sera ce soir à l’Olympia.<br /><br /></div><p style="text-align: justify;">Trois stars du rock, Peter Gabriel, David Byrne et Damon Albarn. Leur péché mignon est la world music. Fans subjugués, ils sont devenus les apôtres passionnés des artistes du Sud dont ils se sont entichés. Pour eux-mêmes, ils n'auraient probablement pas osé déployer pareille énergie prosélyte. Mais afin de propager la parole du Pakistanais Nusrat Fateh Ali Khan, du Brésilien Tom Zé ou du Nigérian Tony Allen, ils sont allés jusqu'à créer des labels spécifiques. Quel est le moteur qui a poussé ces visages pâles nés de l'autre côté de la Manche à promouvoir les musiques colorées issues de tous les horizons de la planète ? Quelles sont les motivations de ces « passeurs », trop vite suspectés de chercher un coup de pub ou de vouloir s'acheter une bonne conscience ? Trois hommes, trois parcours...</p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:100%;color:#800000;"><strong>L'enfance et l'histoire personnelle</strong></span><br /></p><p style="text-align: justify;">Né en 1950, <strong>Peter Gabriel </strong>s'emballe très tôt pour la soul music avec, dès l'adolescence, un coup de foudre pour les rythmes africains via un morceau du bluesman-rocker Bo Didley, imprégné de rumba congolaise... L'engouement hippie pour le peace and love, sitar indien et flower power compris lui fera creuser le même sillon mondialiste.<br /><strong></strong></p><p style="text-align: justify;"><strong>David Byrne, </strong>né deux ans plus tard en Ecosse, est encore un bébé quand sa famille s'installe au Canada, puis à Baltimore, sur la côte Est des Etats-Unis. <em>« Enfant, je voulais que l'on m'accepte, je voulais être un Américain moyen. Plus tard je me suis aperçu qu'avoir deux cultures présentait un avantage »,</em> déclare-t-il à <em>Globe</em> en 1987. Voilà qui rappelle le nomadisme de bien des musiciens expatriés. Pas étonnant qu'il ait très tôt appris le violon, l'ukulélé (guitare hawaïenne) et l'accordéon. Ou qu'il ait emprunté quantité de disques « ethniques » à la bibliothèque de son quartier.<br /><strong></strong></p><p style="text-align: justify;"><strong>Damon Albarn, </strong>né en 1968, est d'une autre génération. Il est assez discret sur son enfance londonienne. Mais ses parents, artistes designers, écoutaient des musiques arabes et son père a écrit un livre sur la culture islamique. Le goût de « l'autre » lui est donc forcément venu très tôt.</p><div style="text-align: justify;"> <strong><span style="font-size:100%;color:#800000;">Le déclic et ses détours</span></strong><br /><strong> </strong><br />D'abord batteur avant de devenir chanteur, <strong>Peter Gabriel</strong> quitte Genesis en 1975. Son électro-funk planant en solo culmine au début des années 80. C'est alors qu'a lieu le virage politico-humanitaro-musical qui s'incarne dans les tournées Human Rights Now !, organisées par Amnesty International. Dès lors s'élabore un mini-empire (si l'on peut dire) de la world music naissante. En 1982, il lance le Womad, festival mondial itinérant, avec, à l'affiche, dès la première édition, les Tambours du Burundi et les Musiciens du Nil. En 1989, il crée le label Real World, consacré aux musiques du monde, où se croisent Papa Wemba, Geoffrey Oryema, Toto La Momposina... Dans la foulée, il reconvertit un ancien moulin des environs de Bath en studios high-tech où il organise des rencontres entre musiciens venus de tous les continents.<br /><br />Beaucoup moins d'activisme du côté de <strong>David Byrne,</strong> le compositeur-parolier-guitariste et chanteur à la voix gorgée de soul du groupe Talking Heads. En pionnier d'une world music avant la lettre, il avait dès la fin des années 70, avec Brian Eno, puisé dans les polyrythmies africaines avant de sampler du gamelan balinais ou des muezzins arabes. Au début des années 80, Byrne fréquente les soirées Salsa meets jazz, organisées à SoHo, au SOB (Sounds of Brasil). Ses idoles se nomment alors Celia Cruz, Johnny Pacheco, Ray Barretto. Il les invite sur son album <em>Rei Momo</em> et sur la BO du film de Jonathan Demme <em>Dangereuse sous tous rapports</em>. Est-ce un hasard ? Son engagement pour les musiques du monde, comme celui de Peter Gabriel, s'accentue après la rupture avec son groupe, allant de pair avec sa carrière en solo. Premier palier : il réalise des compilations sur cassettes pour des amis. Deuxième étape : il crée le label world Luaka Bop, où il accueille la crème des musiciens latinos, le Brésilien Tom Zé, qu'il sort de l'oubli, la Péruvienne Susana Baca, à qui il offre une production à sa mesure.<br /><br /><strong>Damon Albarn, </strong>la voix des groupes Blur (brit pop) et Gorillaz (rock électro virtuel), se familiarise, lui, avec les musiques africaines en fréquentant un disquaire world de Portobello, le repaire bobo où il habite depuis dix ans, dans l'ancien quartier jamaïcain de Londres. A la demande de l'ONG anglaise Oxfam, il se rend pour la première fois au Mali en 2000. Son Mélodica (hybride harmonica-orgue) en bandoulière, il y enregistre, au bénéfice de la scolarisation des enfants des rues, l'album <em>Mali Music,</em> qui allie le son mandingue au dub et à la techno. Mais Albarn ne s'arrête pas là. A partir de 2002, il codirige le label Honest Jon's, où il accueille l'afro-beat atmosphérique de Tony Allen ou le chaâbi enjôleur d'El Gusto. Sans se faire prier, il participe aussi aux enregistrements de figures comme Amadou et Mariam ou U-Cef. Et, révulsé par l'absence de musiciens world au Live 8, organisé par Bob Geldof en 2005 – excepté Youssou N'Dour, appelé à la rescousse en dernière minute –, il se lance dans l'aventure Africa Express : ces concerts, en forme de gigantesques jam sessions itinérantes, associent artistes du Nord et du Sud (Rachid Taha, Femi Kuti, Baaba Maal...), sur les scènes de Londres ou de Lagos, comme celles de Liverpool ou de Kinshasa. Un peu comme le festival Womad de Peter Gabriel, mais loin de tout business et avec un culte revendiqué de la spontanéité. <strong></strong><br /><strong></strong><br /><strong><span style="font-size:100%;color:#800000;">Le comment et le pourquoi</span></strong><br /><strong> </strong><br />Damon Albarn semble s'être construit en opposition à <strong>Peter Gabriel. </strong>Il ne se prive d'ailleurs pas de critiquer la démarche de son aîné. <em>« Dans les studios Real World, on ajoute des effets technologiques aux musiques du monde, on les triture, on les mélange. Donc on les tue, on les dénature. Cela devient de l'ambient music »,</em> déclarait-il récemment dans une interview au <em>Monde...</em><br /><em></em></div><p style="text-align: justify;">Albarn affiche ainsi une certaine dose de mauvaise foi. Car s'il peut s'enorgueillir d'aller sur le terrain, il ne se prive pas lui non plus de « triturer » ou de « dénaturer », et ce dès le patchwork dévertébré de l'album <em>Mali Music.</em> Le purisme intégriste n'est de toute façon plus à l'ordre du jour, même pour les connaisseurs les plus exigeants, désormais convaincus que les musiques du monde ont toujours évolué avec leur époque – faute de quoi la plupart d'entre elles seraient déjà mortes. Dans le même temps, l'autre injonction, celle de la modernisation à tout prix a, elle aussi, pris un coup de vieux. Personne ne s'en plaindra. Peter Gabriel comme <strong>Damon Albarn</strong> éditent, sur leurs labels respectifs, aussi bien des hybrides allant jusqu'à l'électro que des albums purement roots. Chez Real World est même paru un des opus « traditionnels » les plus réussis de Nusrat Fateh Ali Khan. Chez Honest Jon's, les toutes dernières parutions sont consacrées à de superbes archives EMI : les unes, irakiennes, remontent aux années 20, les autres vont du gamelan balinais aux joyaux marocains, soudanais ou trinidadiens enregistrés pendant la première moitié du XXe siècle.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">S'il est un terrain sur lequel nos rockers se rejoignent finalement, c'est celui de l'effet que cette rencontre avec les autres musiques a eu sur eux. <strong>Damon Albarn :</strong> <em>« Le fait d'aller en Afrique a profondément changé ma vie et d'une certaine manière ça a fait de moi tout ce que je suis aujourd'hui.</em>(1)<em> »</em> <strong>Peter Gabriel </strong>: <em>« Lorsque je suis en Afrique, je deviens le cousin libéré de celui, un peu coincé, que je suis habituellement. »</em> <strong>David Byrne :</strong> <em>« Je me suis soigné tout seul en dansant le merengué. »</em></p><div style="text-align: justify;"> </div><p style="text-align: justify;">La world comme thérapie ? Comme apprentissage d'un rapport plus physique, moins cérébral à la musique ? Il y a beaucoup de cela chez nos trois zélateurs des musiques du monde, qui disent aussi chercher (et trouver) dans ces télescopages Nord-Sud de nouvelles voies d'exploration pour leur propre cheminement musical. Si l'on devait définir, en forçant le trait, la spécificité de chacun d'entre eux ? <strong>Peter Gabriel</strong> serait un militant un peu austère qui cherche à s'encanailler tout en se donnant bonne conscience ; <strong>David Byrne, </strong>un collectionneur impatient de partager ses coups de cœur, quitte à plonger dans la poussière des vieux entrepôts cubains pour dénicher quelques perles ; <strong>Damon Albarn,</strong> l'hédoniste ravi de voir du pays et de se faire de nouveaux amis.<br /></p><p style="text-align: justify;">Certains s'obstinent pourtant à qualifier ces aventuriers de vils opportunistes, d'affairistes, voire de colonialistes ! Pauvres gentils passeurs venus du rock qui avaient pour une fois mis une sourdine à leur ego…</p><div style="text-align: justify;"> <!-- texte --> </div><h4 style="text-align: justify;" class="v2008">Eliane Azoulay, Télérama n° 3089</h4><div style="text-align: justify;"> <br /><br /><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com1tag:blogger.com,1999:blog-12912380.post-79893161487406614692009-03-29T23:39:00.002+02:002009-03-29T23:44:40.272+02:00Peter Gabriel : « J’espère que ça va bientôt arriver »<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.armenews.com/IMG/arton49785-450x444.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 296px;" src="http://www.armenews.com/IMG/arton49785-450x444.jpg" alt="" border="0" /></a>Fondateur du groupe Genesis en 1967, impliqué dans l’action humanitaire et les droits de l’homme, parmi les 100 personnalités au monde les plus influentes (Time Magazine, 2008), Peter Gabriel souligne l’importance de la reconnaissance du Génocide des Arméniens dans un entretien publié dans le magazine Condé Nast Traveler, consacré aux voyages haut de gamme.<br /></div><div style="text-align: justify;"><br />« Lorsque j’ai écrit la musique du film ‘La Dernière tentation du Christ ‘(1), j’ai tout de suite pensé au duduk arménien qui est l’un des instruments les plus soul qui soit. J’ai aussi visité le Mémorial du génocide dédié aux 1,5 millions victimes de 1915, à l’occasion de l’anniversaire du joueur de duduk Djivan Gasparyan. Les Turcs nient le génocide, la Grande-Bretagne et les États Unis ne l’ont pas correctement reconnu. J’espère que ça va bientôt arriver. », a-t-il dit. Concluant, « Comme la ‘Commission Vérité et Réconciliation’ (2), en Afrique du Sud, vous avez besoin de clarifier le problème et accepter ce qui est arrivé par le passé avant d’être libre de vos mouvements. »<br /><br />Jean Eckian<br /><br />(1) La Dernière tentation du Christ (1988), de Martin Scorsese, dans lequel on entend la complainte du duduk joué par Djivan Gasparyan.<br /><br />(2) Commission chargée de découvrir et de révéler les fautes commises par un gouvernement. C’est Nelson Mandela qui l’avait mise en place après l’abolition de l’apartheid.<br /><br />http://www.info.gov.za/otherdocs/2003/trc/<br /><br /><a href="http://www.armenews.com/article.php3?id_article=49785"><span style="font-style: italic;font-size:78%;" >mardi 10 mars 2009,par Stéphane/armenews</span></a></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-62230565651939498592009-03-08T17:42:00.003+01:002009-03-08T17:47:39.562+01:00Joost Pushes Its Video Through Netlog, Keeping It In The Family<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.joost.com/static/layout-header-logo.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 39px; height: 97px;" src="http://www.joost.com/static/layout-header-logo.gif" alt="" border="0" /></a>VOD site <a style="font-weight: bold;" href="http://www.joost.com/" title="Joost">Joost</a> and pan-European social network <a style="font-weight: bold;" href="http://en.netlog.com/" title="Netlog">Netlog</a>, have signed a content sharing partnership giving the latter’s 41 million users access to Joost’s 57,000 TV shows, music videos and films. <span style="font-weight: bold;">Joost </span>benefits through more exposure and traffic for its catalogue and ads, while Netlog has some extra stickiness to keep its young audience coming back.</div><div> </div><p style="text-align: justify;">The <span style="font-weight: bold;">Joost/Netlog</span> connection is not such a shock. The pair have a venture capital backer, Index Ventures, in common. Index has been actively promoting its portfolio companies’ interests of late eg. creating a <span style="font-weight: bold;">Twitter</span> feed to blast out their messages. If it was responsible for marrying <span style="font-weight: bold;">Joost</span> and <span style="font-weight: bold;">Netlog</span>, then it’s a strategy that mirrors a recent link-up between <a style="font-weight: bold;" href="http://www.paidcontent.co.uk/entry/419-peter-gabriel-backed-music-sites-we7-the-filter-launch-online-radio" title="music player We7 and music recommendation service The Filter">music player We7 and music recommendation service The Filter</a><span style="font-weight: bold;">.</span> Both individually backed by <span style="font-weight: bold;">Peter Gabriel’s Real World Group</span>, the companies recently began sharing technology.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">In this link-up, all <span style="font-weight: bold;">Netlog</span> members will be kept up to date with <span style="font-weight: bold;">Joost</span> activity in their main news feed and will be able to show friends their viewing habits and opinions of shows. Joost will be creating or commissioning content specific to Netlog’s key markets of Belgium, the Netherlands and Germany.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">This is the second video site to sign a content-sharing deal this week: on Monday US VOD site Hulu signed a deal to <a href="http://www.paidcontent.co.uk/entry/419-hulu-syndicating-through-french-youtube-dailymotion-in-us-only/" title="syndicate its 40,000 TV show and film videos">syndicate its 40,000 TV show and film videos</a> to French VOD site Dailymotion.com, but unfortunately for Europeans it only extends to America.<br /></p><p style="text-align: justify;"><span>By</span> <a href="http://www.paidcontent.org/contact/1592/">Patrick Smith</a> , Paid content, Thu 05 Mar 2009 </p>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-34863544925515405872009-03-08T17:14:00.001+01:002009-03-08T17:16:40.615+01:00Artists announced for Peter Gabriel's WOMAD debut in Abu Dhabi next month<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.bi-me.com/myPictures/WOMAD.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 90px; height: 90px;" src="http://www.bi-me.com/myPictures/WOMAD.jpg" alt="" border="0" /></a>UAE. Abu Dhabi Authority for Culture and Heritage (ADACH) and WOMAD (World Of Music Arts & Dance) yesterday announced that the WOMAD Abu Dhabi three-day open-air festival is to be held on the evenings of Thursday 23, Friday 24 and Saturday 25 April on the Abu Dhabi Corniche, with an additional, special one-off concert on Friday 24 April at Al Jahili Fort in Al Ain. Furthermore, entry to both venues will be free of charge. </div><p style="text-align: justify;">‘The Corniche, with its backdrop of traditional architecture juxtaposed with modern cosmopolitan towers, provides the perfect stage for ADACH and WOMAD to promote their shared vision of bringing diverse cultures and peoples closer together through the music, arts and dance of many different countries and cultures around the world.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">"By hosting this three-day open-air festival, the first of its kind in the Gulf region, Abu Dhabi will bring a whole new cultural experience to the people of the UAE and will attract an audience from across the Gulf region and beyond, as well as offering the world an insight into the proud traditions and culture of the UAE," said HE Mohammed Khalaf Al Mazrouie, Director General ADACH.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">"We are delighted to begin a relationship with ADACH and Abu Dhabi. It is a great opportunity for WOMAD to find a home in the Gulf region. We have taken WOMAD to many places in the world, but this will be our first event in the Middle East, a part of the world whose strong and rich culture has been one of our inspirations. We are excited to be bringing our festival to all of the different peoples who make up modern day Abu Dhabi," said Peter Gabriel, Co-founder of WOMAD.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">"ADACH has a very powerful vision for the role of culture in Abu Dhabi and it is a privilege for WOMAD to be able to play a part in delivering that vision of bringing cultures together as we have done successfully all over the world," said Chris Smith, Director, WOMAD.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">An exceptional line-up of artists performing at the festival has been selected from around the world and within the Middle East region to provide a truly international experience. </p><div style="text-align: justify;"> </div><p style="text-align: justify;">The artists already confirmed for the WOMAD Abu Dhabi festival include: Abdulla Chhadeh & Syriana (Syria/Europe), Dulsori (Korea), Dhafer Youssef (Tunisia), Etran Finatawa (Niger), Paprika Balkanicus (South Europe), Rizwan-Muazzam Qawwali (Pakistan). Souad Massi (Algeria), Trilok Gurtu (India). </p><div style="text-align: justify;"> </div><p style="text-align: justify;">More artists will be announced over the coming weeks. (....)</p><p style="text-align: justify;"><a href="http://www.bi-me.com/main.php?id=32668&t=1&c=129&cg=4&mset=1011">Read more here</a><br /></p><div style="text-align: justify;"><br /><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-30762026547384658892009-03-08T17:07:00.003+01:002009-03-08T17:11:33.967+01:00Hits of Sunshine<div style="text-align: justify;"><span style="font-weight: bold;">Joseph Arthur and the Lonely Astronauts</span><br /><br />There is something inherently immoral about the <span style="font-style: italic;">"shuffle"</span> setting on iPods. Even archaic CD players allowed the listener to jumble tracks of a certain album if he so chose.<br /><br />Albums weren't meant to do this. The most interference a cassette tape or record got was a swift flip. Now Apple shamelessly allows the mixing of thousands of songs with no qualms about how their redistribution might affect, well, everything. I imagine artists create albums with the idea that they will be listened to in their entirety. Therefore, I abstain from shuffling.<br /><br />With that said, you will note that I was outside my head the other day, as my iPod was indeed on shuffle. Serving as background noise as meaningless as strangers' conversations, the random selections warranted no particular feelings. I know my music well, so when a song came on that I hadn't instantly recognized, I didn't quite know what to do. A glance at my iPod's display read: <span style="font-weight: bold;">Joseph Arthur and the Lonely Astronauts</span>,<span style="font-style: italic; font-weight: bold;"> "Faith."</span><br /><br /><span style="font-weight: bold;">Joseph Arthur</span> began writing music as a teenager. The Ohio-based musician dabbled in electronica before discovering his signature guitar-centric style. In the early 90s, <span style="font-weight: bold;">Arthur </span>signed to <span style="font-weight: bold;">Peter Gabriel's record label, Real World Records</span>. After five studio albums, Arthur decided to keep his touring band around for albums six and seven, and establish his own label, <span style="font-weight: bold;">Lonely Astronaut Records</span>. His latest release, <span style="font-weight: bold;">Temporary People</span>, includes musicians <span style="font-weight: bold;">Sibyl Buck, Kraig Jarret Johnson, Jennifer Turner, and Greg Wieczorek.</span><br /><br />I clumsily paused the song to see if I could compel any more information out of the slight electronic. I had the entire album, but this <span style="font-weight: bold;">Joseph Arthur</span> sounded almost nothing like the guy I fell in love with after hearing <span style="font-weight: bold; font-style: italic;">"In the Sun" </span>off 2000's <span style="font-weight: bold; font-style: italic;">Come to Where I'm From.</span><br /><br />I slipped a little further out of my head listening to<span style="font-weight: bold;"> Arthur</span>'s haunted voice on<span style="font-weight: bold; font-style: italic;"> "Faith."</span> His grainy vocal offsets nearly cheerful guitar riffs and cymbal-thick drums. <span style="font-weight: bold; font-style: italic;">"Faith comes in little waves,"</span> <span style="font-weight: bold;">Arthur</span> offers with a bit of optimism, as <span style="font-weight: bold; font-style: italic;">"the pain is what makes you believe." </span><span style="font-weight: bold;">The Lonely Astronauts'</span> chorus punches through the heavy-handed instrumentation with bright belts of affirmation making the song's mood more buoyant than glum.<br /><br />Now that my brain is square between my ears, I may confidently propose that to shuffle is to discover. I am in no way convinced that this happy bit of chance absolves any of the aforementioned offenses, but I suppose music's value surfaces when it is listened to rather than heard.<br /><br /><a href="http://media.www.thecsusmpride.com/media/storage/paper1149/news/2009/03/03/ArtsEntertainment/Hits-Of.Sunshine-3656888.shtml">Amy Salisbury, The csusm pride, Issue date: 3/3/09 Section: Arts & Entertainment</a><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-4870646623255596842009-03-08T16:43:00.003+01:002009-03-08T16:51:56.973+01:00Youssou N'dour ressucite Bob Marley<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.seneweb.com/clients/whatawhat/grandbalnyc08.jpg"><img style="cursor: pointer; width: 600px; height: 145px;" src="http://www.seneweb.com/clients/whatawhat/grandbalnyc08.jpg" alt="" border="0" /></a><br /><div style="text-align: justify;"><br /><span style="font-weight: bold;">LE FESMAN 2009 EN MARCHE… YOUSSOU NDOUR RESSUSCITE BOB MARLEY</span><br /><br />Après avoir visité le patrimoine musical européen, américain et oriental, <span style="font-weight: bold;">Youssou Ndour </span>investit les racines pures de la musique noire. Le lead vocal du <span style="font-weight: bold;">Super Etoile </span>se rend en Jamaïque pour réaliser un <span style="font-style: italic;">«album-hommage» </span>à <span style="font-weight: bold;">Bob Marley </span>et <span style="font-weight: bold;">Lucky Dube</span>, dans le cadre du Festival mondial des arts nègres de 2009 (Fesman). Tous les deux icônes du reggae, bien que décédés, restent vivants dans le cœur et l’esprit de plusieurs millions de citoyens du monde.<br /><br />Le déplacement de <span style="font-weight: bold;">Youssou Ndour</span> en Jamaïque s’inscrit dans le cadre du programme du Festival mondial des arts nègres de 2009 (Fesman) qui aura lieu à Dakar du 1er au 14 décembre. Un rendez-vous culturel qui va mobiliser des dizaines de pays à travers le monde, sous le parrainage du Brésil. C’est dans cette optique que le lead vocal du <span style="font-weight: bold;">Super Etoile </span>va travailler avec des musiciens de reggae, dans les studios de<span style="font-weight: bold;"> Bob Marley</span> (légende vivante, décédé le 11 mai 1981). Il s’agira, selon le service de communication de l’artiste, de <span style="font-style: italic;">«retourner aux sources» </span>de la musique ; le reggae symbolisant une certaine orthodoxie de la musique noire. <span style="font-weight: bold;">Youssou Ndour</span>, lancé par le Fesman dans cette initiative, va non seulement s’inspirer de l’immense répertoire culturel de la Jamaïque, en revisitant l’œuvre de <span style="font-weight: bold;">Bob Marley</span>, depuis ses premières expériences musicales, jusqu’à la maturité bien rendue. Une discographie riche que l’enfant de la Médina a, d’ailleurs, commencée à travailler dans le cadre de cet album qui, assurément, promet.<br /><br />Feu, le rastaman <span style="font-weight: bold;">Lucky Philippe Dube</span>, un des héritiers de <span style="font-weight: bold;">Bob Marley</span>, tombé un certain 18 octobre 2007 à Rosettenville au cours d’une tentative de vol de sa voiture, sera aussi ressuscité, à travers cet album. Ce chanteur, né le 3 août 1964 à Ermelo, Mpumalanga, en Afrique du Sud et qui repose dans la mythique province de Kwazulu Natal, intéresse les initiateurs du Fesman et <span style="font-weight: bold;">Youssou Ndour</span>. L’œuvre de <span style="font-weight: bold;">Lucky Dube</span> est riche de 24 albums. Depuis <span style="font-weight: bold; font-style: italic;">Lengane Ngeyethu</span> (1981), jusqu’à <span style="font-weight: bold; font-style: italic;">Respect </span>en 2006, en passant par <span style="font-weight: bold; font-style: italic;">Rastas Never Die </span>(1984), <span style="font-weight: bold; font-style: italic;">Think About The Children </span>(1985), <span style="font-weight: bold; font-style: italic;">Together As One</span> (1988), <span style="font-weight: bold; font-style: italic;">Prisoner </span>(1989), <span style="font-weight: bold; font-style: italic;">Captured Live</span> (1990), le chanteur sud-africain puise dans sa douloureuse expérience vécue, pour dénoncer le régime raciste dans lequel il a grandi. Des chefs-d’œuvre qui chantent la gloire et la renaissance du peuple noir.<span style="font-weight: bold; font-style: italic;"> Youssou Ndour</span>, initiateur, en 1985, d’un concert pour la libération de <span style="font-weight: bold; font-style: italic;">Nelson Mandela</span> au Stade de l'Amitié de Dakar (Ndlr :<span style="font-weight: bold;"> Léopold Sédar Senghor)</span>, n’avance pas, en vérité, en terrain inconnu. Lui qui, dans la jeunesse de sa carrière, a eu, comme <span style="font-weight: bold;">Lucky Dube</span>, à dénoncer le régime raciste de l’Apartheid, à travers sa musique.<br /><br />C’est donc un véritable retour aux sources pour le chanteur sénégalais qui a déjà travaillé avec des artistes de renommée internationale comme <span style="font-weight: bold;">Peter Gabriel</span>, <span style="font-weight: bold;">Paul Frederic Simon.</span> Car, même si <span style="font-weight: bold;">Youssou Ndour</span> a déjà joué avec des artistes comme le Camerounais <span style="font-weight: bold;">Manu Dubango</span>, le Congolais <span style="font-weight: bold;">Koffi Olomidé </span>dans l'album <span style="font-weight: bold; font-style: italic;">Bord Ezana Kombo</span> ; même s’il a expérimenté les sonorités orientales, récompensé par les Grammy Awards pour son album<span style="font-weight: bold; font-style: italic;"> Egypt</span> dans la catégorie meilleur album de musique du monde, il reste qu’il n’a pas assez flirté avec le reggae, incarné par l’immortel <span style="font-weight: bold;">Bob Marley</span>. Un genre musical qui résiste aux assauts du temps.<br /><br />La production déléguée du FESMAN 2009 envisage aussi de mettre à contribution les talents de <span style="font-weight: bold;">Thione SECK</span> et de <span style="font-weight: bold;">Coumba Gawlo</span> pour la réalisation du 1er disque de chants traditionnels africains au service des Etats-Unis d’Afrique. Et dans le cadre de ce projet culturel visiblement gigantesque, des noms d’artistes qui devaient être mis à contribution circulent dans la place. Il s’agit de <span style="font-weight: bold;">Baaba Maal </span>qui pourrait apporter sa contribution avec sa fibre plutôt blues, d’<span style="font-weight: bold;">Omar Pène</span>, de <span style="font-weight: bold;">Didier Awadi</span> pour ce qui est du Rap noir, de <span style="font-weight: bold;">Coumba Gawlo Seck </span>qui se positionne comme l’héritière africaine de <span style="font-weight: bold;">Myriam Makéba</span>, etc.<br /><br /><a href="http://www.lobservateur.sn/articles/showit.php?id=21388&cat=culture"><span style="font-style: italic;font-size:78%;" >Article Par MARIA D. T. DIÉDHIOU et M. Wane, L'observateur Senegal, Paru le Samedi 7 Mar 2009</span></a><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-27870431850933663092009-03-08T16:36:00.004+01:002009-03-08T16:42:23.159+01:00Joseph Arthur and the Lonely Astronauts, le 21mars à Brest<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.letelegramme.com/ar/imgproxy.php/PhotoIntuitions/2009/03/06/277428_4778581-arthur-h101a.jpg?article=20090306-1000277428&aaaammjj=20090306"><img style="cursor: pointer; width: 540px; height: 396px;" src="http://www.letelegramme.com/ar/imgproxy.php/PhotoIntuitions/2009/03/06/277428_4778581-arthur-h101a.jpg?article=20090306-1000277428&aaaammjj=20090306" alt="" border="0" /></a><br /></div><br /><div style="text-align: justify;">Vingt dates en France, une seule dans l'Ouest... Le Vauban, à Brest, a la chance - le mot est faible - d'accueillir <span style="font-weight: bold;">Joseph Arthur</span>, le 21mars. Découvert en 1996 par <span style="font-weight: bold;">Peter Gabriel,</span> «adoubé» par <span style="font-weight: bold;">Lou Reed</span>, il signe son premier album, <span style="font-weight: bold; font-style: italic;">«Big city secrets»</span>, sur le label <span style="font-weight: bold;">Real World.</span> Pas forcément simple d'accès, le disque s'impose petit à petit, à force d'écoute, comme un poison qui s'insinue. Ses autres albums auront, par la suite, la même saveur vénéneuse. Durs à percer, difficiles à définir, mais d'une grâce tout évidente.<br /><br /><span style="font-weight: bold;">Ballades «dylaniennes»</span><br /><br />La musique de l'Américain s'apprivoise. Tourmentée, nocturne, son oeuvre est d'une grande singularité. L'homme est un parolier de premier plan, un peintre doué aussi. La période <span style="font-weight: bold;">«Real World»</span> offrira des morceaux au calme précaire, intimistes, à la violence sourde, à la puissance évocatrice étonnante, servis par une guitare sèche, un traitement de la voix audacieux et un harmonica<span style="font-weight: bold; font-style: italic;"> «dylanien»</span>. Depuis quelques années maintenant, <span style="font-weight: bold;">Joseph Arthur</span> la joue collectif. Il se produira sur la scène du Vauban accompagné de ses <span style="font-weight: bold; font-style: italic;">«Lonely Astronauts»</span>, groupe composé de quatre autres musiciens dont deux femmes belles à tomber. Avec ce gang de <span style="font-style: italic;">«tueurs»</span>, il signe deux albums plus directs dont le dernier,<span style="font-style: italic;"> «Temporary People»</span>, chez <span style="font-weight: bold;">«Fargo»</span>, oscille entre ballades tamisées et rock'n'roll classieux. <span style="font-weight: bold;">Joseph Arthur </span>se produira aussi, le même jour et en solo, à 15h, pour un mini-concert à Dialogues Musiques, à Brest.<br /><br />Pratique : <span style="font-weight: bold;">Joseph Arthur and the Lonely Astronauts</span>, le 21mars à Brest, au Vauban. Location à Dialogues Musiques, et sur internet: www.digitick.com Renseignements: 02.98.43.20.89<br /><br /></div><a href="http://www.letelegramme.com/ig/generales/regions/finistere/folk-rock-joseph-arthur-a-brest-le-21-mars-06-03-2009-277428.php"><span style="font-style: italic;font-size:78%;" >Damien Goret, le Telegramme de Brest, ajouté le 6 mars 2009</span></a>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-87672559211484279922009-03-03T19:08:00.001+01:002009-03-03T19:11:25.712+01:00JOSEPH ARTHUR + KARKWA<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.lacoope.com/intrazik/intrazik_photo_soiree_web_25_27296_2017_20081215053533.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 161px;" src="http://www.lacoope.com/intrazik/intrazik_photo_soiree_web_25_27296_2017_20081215053533.jpg" alt="" border="0" /></a><span style="font-weight: bold;">Sur Culture.fr</span><br /><div style="text-align: justify;"><span style="font-weight: bold;"><br /></span><div style="text-align: left;"><span style="font-weight: bold;">JOSEPH ARTHUR & THE LONELY ASTRONAUTS + KARKWA</span><br /></div><br />Spectacle<br /><br />A la marge des grands courants, élevé par <span style="font-weight: bold;">Peter Gabriel</span>, qui révéla au monde le singulier <span style="font-weight: bold; font-style: italic;">Big City Secrets</span>, <span style="font-weight: bold;">Joseph </span>a perdu en chemin le public tout acquis à LA cause folk sophistiquée, et gagné de l'autre côté de l'Atlantique un chœur de louanges inégalé. Poète moderne et héraut d'une Amérique souvent blessée. Les douleurs de l'introspection font place aujourd'hui aux joies du groupe, avec <span style="font-weight: bold;">The Lonely Astronauts.</span> Avec <span style="font-weight: bold; font-style: italic;">Sticky Fingers</span> et <span style="font-weight: bold; font-style: italic;">Exile On Main Street </span>en ligne de mire, <span style="font-weight: bold; font-style: italic;">Temporary People </span>jubile et se décontracte, tout de guitares vêtu, d'orgues amples et de jolis chœurs.<br /><br />Depuis dix ans, les Québécois de <a href="http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=141482149"><span style="font-weight: bold;">Karkwa</span></a> ont franchi montagnes et tremplins pour affiner un projet artistique audacieux, quelque part entre <span style="font-weight: bold;">M.Ward, Steve Reich et Patrick Watson</span>, pour faire court.<br /><br />Site internet : <a href="http://www.lacoope.com/">www.lacoope.com</a><br /><br />Date / lieu / horaire :<br /><br />JOSEPH ARTHUR & THE LONELY ASTRONAUTS + KARKWA - Representation<br />Le 17/3/2009<br />Jours d'ouverture : mardi<br />Horaires : 20h30<br />Tarifs : 17 euro(s)<br />COOPÉRATIVE DE MAI<br />rue Serge Gainsbourg<br />CLERMONT FERRAND 63100</div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-47901943262654442352009-03-01T23:16:00.001+01:002009-03-01T23:20:17.594+01:00B&W Music Club offers 24-Bit Versions<div style="text-align: justify;"><span style="font-weight: bold;">B&W Music Club</span> albums now available in super high quality 24-bit versions. Even better sounding recordings for streaming. Members have more choice than ever before. 16-bit versions still available for burning to CD and uploading to iPods®.<br /><br /><span style="font-weight: bold;">The Peter Gabriel</span>-curated B&W Music Club is expanding its campaign for high-quality music downloads by offering all new albums in 24 bit FLAC (Free Lossless Audio Codec). These incredibly high-quality music files get listeners closer than ever to the sound the artist heard in the studio.<br /><br />Starting with an exclusive first opportunity to hear the new album from Mercury Music Prize nominated <span style="font-weight: bold;">Portico Quartet</span>, all B&W Music Club albums, which are specially recorded at <span style="font-weight: bold;">Peter Gabriel's Real World Studios,</span> will be available in this format.<br /><br />This means that subscribers have a choice of three formats for download. The new 24 bit FLAC format, a 16bit FLAC version and a 16bit Apple Lossless version. The new file format is also available for people on a free trial, who can download an EP of 24 bit lossless music.<br /><br />Even with this improved choice, the decision making process for which format users should download remains a simple one: iTunes users should stick to the 16bit ALC format; people wanting to burn the file to CD but use another music program can choose the 16 bit FLAC file. However, if you want to experience the benefits of 24 bit audio, then you can download the 24 bit FLAC file and listen to it either direct from your computer, stream it wirelessly using a device such as the Sonos system, or burn the file to DVD for playback in a disc player.<br /><br />Since it's launch in May 2008, <span style="font-weight: bold;">B&W Music Club</span> has brought members a wide variety of different musical styles, all from exceptional artists: <span style="font-weight: bold;">Gwyneth Herbert</span>; <span style="font-weight: bold;">Dub Colossus</span>; former<span style="font-weight: bold;"> Suede</span> frontman <span style="font-weight: bold;">Brett Anderson</span>; guitarist <span style="font-weight: bold;">Tom Kerstens</span>; 16-year old piano prodigy <span style="font-weight: bold;">Benjamin Grosvenor</span> and an exclusive lossless EP download from <span style="font-weight: bold;">Dave Stewart</span>. Future releases include the new album from <span style="font-weight: bold;">Dengue Fever</span>, a band that blends Cambodian pop music with West Coast psychedelic rock.<br /><br />B&W offers free trial memberships via its website, where users can download a four-track EP a month for three months. Full membership of B&W Music Club allows you to download the full album each month, and costs $39.95 for six months or $59.95 for a year, which works out less than $3 an album.<br /><br />For further information please visit <a href="www.bowers-wilkins.co.uk/sos.">www.bowers-wilkins.co.uk/sos.</a><br /><span style="font-style: italic;font-size:78%;" ><br />Posted by <a href="http://forum.ecoustics.com/cgi-bin/bbs/board-profile.pl?action=view_profile&profile=npr-users"><!--/email--><!--name-->Nicoll Public Relations, Inc.<!--/name--></a> on Saturday, February 28, 2009</span><!--email--><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-11816216757829102502009-03-01T16:06:00.006+01:002009-03-01T16:14:03.621+01:00AR Rahman: "I share my Oscars with Peter Gabriel"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.expressbuzz.com/Images/article/2009/2/28/28feb_rahman.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 300px; height: 250px;" src="http://www.expressbuzz.com/Images/article/2009/2/28/28feb_rahman.jpg" alt="" border="0" /></a><span style="font-weight: bold;">‘Oscar was like my national award’</span><br /><br /><div style="text-align: justify;">CHENNAI: <span style="font-style: italic;">“There are many forces that divide us here from caste to religion. May music be the force that unifies us,”</span> began <span style="font-weight: bold;">AR Rahman</span>, in a speech that was marked with characteristic humility and oodles of references to religion. Who better to state that than the musician himself who has left the entire country to collectively celebrate his arrival at the international platform with two Oscars? (...)<br /></div><div style="text-align: justify;"><span id="ctl00_ContentPlaceHolder1_lblDetailNews1"><span style="font-weight: bold;"><br />AR Rahman</span> says his award was a recognition for <span style="font-weight: bold;">World Music</span>, given the nature of his score for the film. <span style="font-style: italic;">“So, I thought I must owe it all to <span style="font-weight: bold;">Peter Gabriel,</span> the musician who is seen as one of the forerunners to propagate <span style="font-weight: bold;">World Music</span>. He has in fact, inspired many Indians like me and <span style="font-weight: bold;">Mandolin U Shrinivas</span>. I’d like to share my award with him,”</span> Rahman said. (...)<br /><a href="http://www.expressbuzz.com/edition/story.aspx?Title=%E2%80%98Oscar+was+like+my+national+award%E2%80%99&artid=LCzzkEcnnUw=&SectionID=lifojHIWDUU=&MainSectionID=lifojHIWDUU=&SEO=AR+Rahman,+Slumdog+Millionaire,+Oscars&SectionName=rSY%7C6QYp3kQ="><span style="font-size:78%;"> </span></a></span><br /><a href="http://www.expressbuzz.com/edition/story.aspx?Title=%E2%80%98Oscar+was+like+my+national+award%E2%80%99&artid=LCzzkEcnnUw=&SectionID=lifojHIWDUU=&MainSectionID=lifojHIWDUU=&SEO=AR+Rahman,+Slumdog+Millionaire,+Oscars&SectionName=rSY%7C6QYp3kQ="><span style="font-size:78%;"><span style="font-style: italic;">Sharadha Narayanan, Express Buzz, 28 Feb 2009 </span></span></a><br /></div><span id="ctl00_ContentPlaceHolder1_lblDetailNews1"><p><br /></p></span>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com1tag:blogger.com,1999:blog-12912380.post-18376935707368645662009-03-01T15:49:00.001+01:002009-03-01T15:51:55.717+01:00Daniel Lanois Signs With UMPG<div style="text-align: justify;">Universal Music Publishing Group (UMPG) has signed a publishing agreement with producer/songwriter/musician <span style="font-weight: bold;">Daniel Lanois</span> covering his catalog and future works.<br /><br /><span style="font-style: italic;">"We are thrilled to welcome <span style="font-weight: bold;">Daniel Lanois</span>, one of the most distinctive and celebrated composers, songwriters, artists, and producers of our time, to our publishing family,"</span> said UMPG chairman and CEO<span style="font-weight: bold;"> David Renzer</span> said in a statement.<br /><br /><span style="font-weight: bold;">Lanois</span> has performed and/or produced albums for <span style="font-weight: bold;">U2, Peter Gabriel, Bob Dylan, the Neville Brothers</span> and many more. He is a co-writer and co-producer on <span style="font-weight: bold;">U2</span>’s upcoming <span style="font-style: italic; font-weight: bold;">“No Line On The Horizon.”</span><br /><br /><span style="font-style: italic;font-size:78%;" >By Ed Christman, Billboard, N.Y., February 24, 2009 - Publishing</span><br /><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-62969868131581961522009-03-01T15:40:00.003+01:002009-03-01T15:46:22.354+01:00Rescuing Pakistan from the Taliban<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://newsweek.washingtonpost.com/onfaith/salman_ahmad/salman_ahmad.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 145px; height: 100px;" src="http://newsweek.washingtonpost.com/onfaith/salman_ahmad/salman_ahmad.jpg" alt="" border="0" /></a> In its 60-plus turbulent years as an independent country, Pakistan has been held together by its music, poetry, films, literature and sports. Pakistan is an overwhelmingly Muslim nation, but culture -- not religion -- is the glue that binds people in this critical U.S.-allied country. </div><div style="text-align: justify;" class="entry-body"> <p>But now the Taliban are grafting an alien form of Islam onto Pakistan, with dire consequences for Pakistanis, the region and possibly the world. Earlier this month the Pakistani government and army made a deal with the Taliban and gave them control of the Swat valley. The government ceded this region near the Afghan border after countless suicide attacks resulted in the loss of many military and civilian lives. </p> <p><span style="font-weight: bold;">President</span> <span style="font-weight: bold;">Asif Ali Zardari</span>'s ill-conceived appeasement will only embolden the Taliban and may squelch more of Pakistan's voices of peace just when Pakistanis and the world need to hear them most. </p> </div><div style="text-align: justify;"> </div><p style="text-align: justify;">In Swat and elsewhere in the North-West Frontier Province, arts and culture are under attack, as are women's rights. The city of Swat used to be a haven for arts, music and tourism. There is now eerie silence. The Taliban have shut down girls' schools, imposed sharia law and destroyed music shops. Cinemas are being locked down. The fanatics' idea is simple: to asphyxiate Pakistan's rich and vibrant culture and replace it with their own. </p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-weight: bold;">President Obama</span> has promised to listen to the Muslim world. The president and Secretary of State <span style="font-weight: bold;">Hillary Clinton</span> and Pakistan and Afghanistan envoy <span style="font-weight: bold;">Richard Holbrooke</span> can start by listening to Pakistani artists who embody peace, modernity and cross-cultural dialogue.</p><div style="text-align: justify;"> </div><p style="text-align: justify;">For the past 20 years Pakistani music and pop culture has built a national and global following. The late <span style="font-weight: bold;">Nusrat Fateh Ali Khan</span>, the iconic Qawwali singer, collaborated with<span style="color: rgb(255, 153, 0);"> </span><span style="font-weight: bold; color: rgb(255, 153, 0);">Peter Gabriel </span>and <span style="font-weight: bold;">Eddie Vedder </span>of <span style="font-weight: bold;">Pearl Jam</span>. Pakistani rock bands and singers like <span style="font-weight: bold;">Junoon, Strings, Jal and Atif Aslam</span> have been huge draws in India, America and Europe. Last year Pakistani director <span style="font-weight: bold;">Shoaib Mansoor</span>'s movie <span style="font-weight: bold; font-style: italic;">In the Name of God </span>was a box office hit in both Pakistan and India. The film portrays the difficulties of being a liberal Muslim in Pakistan after 9/11 -- something that's just getting harder. (...) <a href="http://newsweek.washingtonpost.com/onfaith/salman_ahmad/2009/02/rescuing_pakistan_from_the_tal.html">read more here</a><br /></p>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-74867541177880109952009-03-01T15:18:00.005+01:002009-03-01T15:31:18.008+01:00"Beyond Our Differences"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.beyondourdifferences.com/"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 600px; height: 400px;" src="http://www.johnhopebryant.com/.a/6a00d834515f7b69e20105369de81f970c-500wi" alt="" border="0" /></a><br /><div style="text-align: justify;">This ambitious 2008 PBS program asks the world's great thinkers and religious and political leaders for solutions to the world's many problems. Hopeful reflections come from such diverse people as A<span style="font-weight: bold;">ndrew Young, Peter Gabriel, Deepak Chopra, the Dalai Lama, Desmond Tutu and Noam Chomsky</span>. Unrated, 72 minutes. No DVD extras. shoppbs.org.<br /></div><br /><a href="http://www.beyondourdifferences.com/">http://www.beyondourdifferences.com/</a>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-10826032202439770872009-02-22T13:25:00.003+01:002009-02-22T13:33:11.177+01:00Annie Lennox: 'Shining Light'<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://images.digitalspy.co.uk/08/32/200x200_annie_lennox_collection.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 200px;" src="http://images.digitalspy.co.uk/08/32/200x200_annie_lennox_collection.jpg" alt="" border="0" /></a><span style="font-style: italic;font-size:78%;" >By Nick Levine, Music Editor</span>, <span style="font-style: italic;font-size:78%;" >digital spy</span><br /><br />Released on Monday, March 2 2009<br /><br />Member of the British rock aristocracy covers decade-old indie anthem for <span style="font-style: italic;">'Best Of' </span>comp – sounds pretty heinous, right? Imagine <span style="font-weight: bold;">Sting</span> taking on <span style="font-style: italic;">'Last Nite'</span> or <span style="font-weight: bold;">Peter Gabriel </span>having a crack at <span style="font-style: italic;">'Pumping On Your Stereo'.</span> But against the odds, <span style="font-weight: bold;">Annie Lennox</span>'s cover of <span style="font-style: italic;">'Shining Light'</span> – an <span style="font-weight: bold;">Ivor Novello </span>winner for Ash back in 2001, lest we forget – is the best thing she's done in years.<br /><br />This is largely because it's filled with something <span style="font-weight: bold;">Lennox</span>'s own songs have been missing lately – joy. Here she sounds positively radiant, wrapping her still magnificent voice around Tim Wheeler's tender, vaguely spiritual lyrics. The result, flanked by typically gorgeous <span style="font-weight: bold;">Lennox </span>harmonies, is really quite life-affirming. Hmm... maybe Sting should think about that Strokes cover after all?<br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-42556619161872099232009-02-22T12:20:00.002+01:002009-02-22T12:32:28.731+01:00Face-to-face with Youssou N’Dour<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.sunnewsonline.com/images/logo/sub-logo/columnists_logo.gif"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 180px; height: 100px;" src="http://www.sunnewsonline.com/images/logo/sub-logo/columnists_logo.gif" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.sunnewsonline.com/images/columnistpix/mike-awoyinfa.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 36px; height: 42px;" src="http://www.sunnewsonline.com/images/columnistpix/mike-awoyinfa.gif" alt="" border="0" /></a><span style="font-style: italic;font-size:78%;" >BY MIKE AWOYINFA [ mikeawoyinfa@sunnewsonline.com ]</span><span style="font-style: italic;font-size:78%;" > Saturday, February 21, 2009</span><br /><div style="text-align: justify;"><br />It was a case of the hunter being hunted as the unique, youthful <span style="font-weight: bold;">Youssou N’Dour</span>, the world-acclaimed Senegalese superstar singer sensationally turned the table against me. He took my tape recorder from me and started interviewing me—as you can see in this picture taken at our meeting in Lagos.<br /><br />I had gone to interview him after his headline performance at the Glo CAF Award night, but he couldn’t believe his ears as I sang to him three of his hit songs—songs like <span style="font-weight: bold; font-style: italic;">‘Set’</span> and <span style="font-weight: bold; font-style: italic;">‘Mame Bamba.’ </span>He was particularly impressed by my knowledge of the song <span style="font-weight: bold; font-style: italic;">‘Without a Smile’ </span>(same)—a sorrowful, melodious song lamenting the harsh, dry Sahelian terrain of his homeland where the trees stood gaunt and leafless, where the cows and goats were all dying under a severe drought. It is a song that features the jazz saxophonist <span style="font-weight: bold;">Branford Marsalis </span>playing a beautiful, melancholic solo—a melodic masterpiece that haunts every connoisseur of good music.<br /><br /><span style="font-style: italic;">“Oh, you know the song?” </span><span style="font-weight: bold;">N’Dour </span>asks me as I hum the opening guitar melody. <span style="font-style: italic;">“You like that song?”</span> Of course, I do.<br /><br />In Nigeria, a country where he is almost an unknown and unsung prophet, <span style="font-weight: bold;">N’Dour</span> is moved and mesmerized by the fact that a journalist knows him in and out, and can even sing some of his songs. He got emotional. I could almost see happy tears of appreciation in his eyes encased in a pair of black glasses.<br /><br />For my effort, <span style="font-weight: bold;">Youssou N’Dour </span>rewarded me with a free a cappella of the song which I recorded and which I will treasure for life. When he opens his mouth to sing, <span style="font-weight: bold;">Youssou N’Dour </span>transports you straight to celestial realms. I don’t want to use the word orgasmic, because children could be reading this piece. He is blessed with that special, golden voice that God gave to special people like our very own I.K. Dairo, whose house is just a stone’s throw away from my father’s compound in Ijebu-Jesha.<br /><br /><span style="font-style: italic;">“Branford is a good friend of mine,” </span><span style="font-weight: bold;">Youssou N’Dour </span>tells me as we engage in this long conversation between a musical idol and a devotee. <span style="font-style: italic;">“Every time I go to the U.S., he came to us and played with us. It was <span style="font-weight: bold;">Sting</span> who made the connection between us. <span style="font-weight: bold;">Branford </span>is now a really big friend of mine. He is one of most talented musicians in the world.”</span> <span style="font-weight: bold;">Youssou,</span> surprisingly speaks good English with a French and pseudo-American twist.<br /><br />I ask the famous singer what the song <span style="font-weight: bold; font-style: italic;">‘Without a Smile’</span> is about. <span style="font-style: italic;">“It’s about the desert, the countryside,”</span> he explains. <span style="font-style: italic;">“People are expecting water and there is a year where there is drought, no water and all the animals are really dying. The song is about someone who follows the animals to see whether they are alive or dead. He didn’t know exactly if the animals are dead, but he asked. And people tried to help him to go to the area where the water is. It is really something traditional, something really local.</span><br /><br /><span style="font-style: italic;">“Branford loved the song, because we did a late show in America and we played together. And we had a little time in the dressing room and I said: </span>‘Listen, <span style="font-weight: bold;">Branford</span>, I have a new song.’ <span style="font-style: italic;">And the guitar player started the melody of the song and <span style="font-weight: bold;">Branford </span>said: </span>‘I love it. When are you gonna record this song?’ <span style="font-style: italic;">I said:</span> ‘Next month.’ <span style="font-style: italic;">He said:</span> ‘Send me a tape. I can follow you on the song.’ <span style="font-style: italic;">And I sent him a tape. Three days after, he sent me back the tape with his own solo input. It blew my mind.”</span><br /><br />I have not started this column with an introduction because <span style="font-weight: bold;">Youssou N’Dour</span>, is a global superstar who needs no introduction anywhere in the world—except, perhaps in Nigeria.<br /><br />And over here, I am very proud to announce myself as his No.1 fan. So when he came to Nigeria to perform at the Glo CAF Award, I seized the opportunity to get this world exclusive interview which is one of the most fulfilling interviews of my career as a journalist.<br /><br />For 45 precious minutes, there he sat face-to-face with me, sipping a bottle of Coca-Cola and munching peanuts as I bombarded him with questions I had always sought answers to. He talked about everything—his musical journey, his musical heroes, his humble beginnings, his stardom, his parentage, his love life and his divorce. Of course, we talked about his friend <span style="font-weight: bold;">Dr. Mike Adenuga</span>, whose biography we are writing—how they met at the airport in Mauritania and how they became instant friends, after begging Adenuga for a ride in his plane to Dakar.<br /><br />One thing you can say of <span style="font-weight: bold;">Youssou N’Dour</span>: He is a nice, humble, funny, approachable guy without airs of superstardom around him. Talking about superstardom, he is a star who ranks among the greats like <span style="font-weight: bold;">Bruce Springsteen, Tracy Chapman, Peter Gabriel, Bono, Sting and Stevie Wonder</span> some of whom he has performed with on the world stage for A<span style="font-weight: bold;">mnesty International</span>. What stands <span style="font-weight: bold;">Youssou N’Dour </span>out is his unique angelic voice. And the beautiful poignant melodies. From our conversation, I got to know <span style="font-weight: bold;">Youssou N’Dour</span> as a newspaper publisher and a radio station owner in Senegal.<br /><br />On why he went into newspaper publishing, he says: <span style="font-style: italic;">“First, what I think is that I am a young African who has had success, who has some money, who can play everywhere around the world. I have some money and I think about putting the money back into my country, supporting my country and helping to develop the economy, helping to support my fans and the people who helped me to be where I am today. I want to help the young people of my country. I have to create jobs for young people. There are a lot of talents in Senegal and all over Africa who don’t have a job. I have over 220 people working in my newspaper and on my radio. And for me, it is really important.</span><br /><br /><span style="font-style: italic;">The other thing is that I try to be someone who helps the country to develop. My mission is to give people the opportunity and the voice to say what they want to say. I am not a politician. I am simply someone who wants to help the country and contribute to the flourishing of the institution of democracy in my country.”</span><br /><br />It is still like a dream, but for real, I interviewed, <span style="font-weight: bold;">Youssou N’Dour,</span> the first African global superstar. If you don’t believe me, turn to the Great Encounter column inside this paper. </div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-6979022976954018872009-02-21T15:43:00.002+01:002009-02-21T15:50:33.405+01:00Books - War Child: A Child Soldier's Story<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.monstersandcritics.com/image.php?file=/downloads/downloads/books/warchildachildsoldiersstory_1/images/51Xcod2nTPL.jpg&width=134"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 134px; height: 203px;" src="http://www.monstersandcritics.com/image.php?file=/downloads/downloads/books/warchildachildsoldiersstory_1/images/51Xcod2nTPL.jpg&width=134" alt="" border="0" /></a>In the mid-1980s,<span style="font-weight: bold;"> Emmanuel Jal</span> was a seven year old Sudanese boy, living in a small village with his parents, aunts, uncles, and siblings. But as Sudan’s civil war moved closer—with the Islamic government seizing tribal lands for water, oil, and other resources—Jal’s family moved again and again, seeking peace. Then, on one terrible day, <span style="font-weight: bold;">Jal </span>was separated from his mother, and later learned she had been killed; his father Simon rose to become a powerful commander in the Christian Sudanese Liberation Army, fighting for the freedom of Sudan. Soon, <span style="font-weight: bold;">Jal </span>was conscripted into that army, one of 10,000 child soldiers, and fought through two separate civil wars over nearly a decade.<br /></div><div style="text-align: justify;"><br />But, remarkably, <span style="font-weight: bold;">Jal </span>survived, and his life began to change when he was adopted by a British aid worker. He began the journey that would lead him to change his name and to music: recording and releasing his own album, which produced the number one hip-hop single in Kenya, and from there went on to perform with <span style="font-weight: bold;">Moby, Bono, Peter Gabriel, </span>and other international music stars. Shocking, inspiring, and finally hopeful, <i><span style="font-weight: bold;">War Child</span> </i>is a memoir by a unique young man, who is determined to tell his story and in so doing bring peace to his homeland. </div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-9490079335537722592009-02-21T15:27:00.002+01:002009-02-21T15:31:52.493+01:00Soweto choir gets Oscar invite<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.joburg.org.za/images/stories/2009/feb/soweto_gospel_choir_top.jpg"><img style="cursor: pointer; width: 560px; height: 265px;" src="http://www.joburg.org.za/images/stories/2009/feb/soweto_gospel_choir_top.jpg" alt="" border="0" /></a><br /><br /><div style="text-align: justify;"><span style="font-weight: bold;">The Soweto Gospel Choir </span>will perform at the Oscars - the first time a South African act has received such an invitation. The choir has been nominated for an award for its song, <em style="font-weight: bold;">Down to Earth</em><span style="font-weight: bold;">.</span><br /><br />Joburg's pride, the Grammy-Award winning <span style="font-weight: bold;">Soweto Gospel Choir</span>, will be performing at the 81st Academy Awards on Sunday, 22 February. <p>It's the first time the choir will perform at the Oscars, as the awards are better known, as well as the first time a South African act will perform at the annual red carpet event. The ceremony, taking place at the Kodak Theatre in Hollywood, in the United States, will be broadcast on MNET at 7.30pm on Monday, 23 February. </p> <p>One of the choir's many songs, a collaboration with songwriters <span style="font-weight: bold;">Peter Gabriel </span>and <span style="font-weight: bold;">Thomas Newman</span>, has been nominated for an Oscar for Best Original Song. It already has a Grammy Award under its belt, for Best Song Written For Motion Picture, Television Or Other Visual Media. <em style="font-weight: bold;">Down To Earth</em><span style="font-weight: bold;"> </span>is the theme tune for the Disney animated movie, <em style="font-weight: bold;">Wall-E</em>, which itself has been nominated for Best Animated Feature Film.(....)</p><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-71100542787111622702009-02-21T15:07:00.004+01:002009-02-21T15:14:17.987+01:00Nightmoves Captured On DVD<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://g8.undercoverhd.com/imgsresized/article/080226santana260208-0233.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 250px; height: 250px;" src="http://g8.undercoverhd.com/imgsresized/article/080226santana260208-0233.jpg" alt="" border="0" /></a><span style="font-size:78%;">by Paul Cashmere - February 20 2009</span><span style="font-size:78%;">, photo by Ros O'Gorman</span><br /><br /><span style="font-size:78%;"><span style="font-style: italic;">Santana playing Rod Laver Arena, Melbourne Australia</span></span><br /><br />Nightmoves, the music TV show hosted by <span style="font-weight: bold;">Lee Simon</span> in the 70s and 80s, has been resurrected on DVD.<br /><br />Nightmoves first aired in Australia on May 13, 1977 on Channel 7. It was originally designed to be an adult version of Countdown.<br /><br />Simon continued to host the show when he took up the job of Program Director at EON-FM. The show gave birth to the simulcast, a joint radio and television broadcast, giving the audience to chance to hear the show in stereo. (Yes kids, we still had mono television in the early 80s).<br /><br />Nightmoves attracted the real music stars, as opposed to the pop stars. The DVD features performances from international stars J<span style="font-weight: bold;">oe Cocker, Graham Parker, Peter Frampton, Santana and Graham Bonnet.</span> The Aussie line-up features extremely rare to find songs by <span style="font-weight: bold;">Billy T, Wendy and the Rockets, Kevin Borich, Mother Goose and The Ferrets.</span><br /><br />But wait, there’s more. The 3 disc set also features interviews with <span style="font-weight: bold;"><span style="color: rgb(255, 153, 102);">Peter Gabriel</span>, Steve Winwood, Phil Collins, Glenn Shorrock and Beeb Birtles, Bill Wyman</span> and more. Nightmoves will be released on March 2.</div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-90262610282192662252009-02-21T12:24:00.002+01:002009-02-21T12:31:13.754+01:00Dengue Fever's Cambodian Pop Is Perfect Soundtrack for Lost World<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://blog.wired.com/underwire/images/2009/02/19/denguefever_kevinestrada.jpg"><img style="cursor: pointer; width: 600px; height: 300px;" src="http://blog.wired.com/underwire/images/2009/02/19/denguefever_kevinestrada.jpg" alt="" border="0" /></a><br /><div style="text-align: justify;"><span style="font-style: italic;font-size:78%;" >By Scott Thill, February 19, 2009</span><br /></div><p style="text-align: justify;"> Los Angeles hybrid groove band <span style="font-weight: bold;">Dengue Fever </span>has combined Cambodian pop with surf, ska, psychedelia and funk, winning crossover success and critical acclaim. The group's next move? Playing a live soundtrack for <em>The Lost World</em>, the 1925 film adaptation of Sir Arthur Conan Doyle's dino-sci classic, when it screens this May at the San Francisco Film Festival. </p><div style="text-align: justify;"> </div><p style="text-align: justify;"> <object align="right" height="110" width="300"><embed src="http://media.imeem.com/m/1r6pzoKLff/aus=false/" type="application/x-shockwave-flash" wmode="transparent" height="110" width="300"></embed></object>The score will drop in what's shaping up to be a busy season for the sextet, which is led by siren <span style="font-weight: bold;">Chhom Nimol.</span> She was already a reputable Khmer singer in Cambodia before she was discovered by brothers <span style="font-weight: bold;">Ethan</span> and <span style="font-weight: bold;">Zac Holtzman</span>, who founded <a style="font-weight: bold;" linkindex="57" href="http://www.myspace.com/denguefevermusic">Dengue Fever</a> in 2001. </p><div style="text-align: justify;"> </div><p style="text-align: justify;">For more on the band and its Cambodian musical influences, check out the biopic, <a style="font-weight: bold;" set="yes" linkindex="58" href="http://sleepwalkingthroughthemekong.com/"><em>Sleepwalking Through the Mekong</em></a> (trailer below). The movie, which will be released on DVD in April, follows <span style="font-weight: bold;">Dengue Fever </span>as its members tour Phnom Penh and explores the roots of Cambodian rock from the '60s and '70s. The band will embark on a lengthy American and European tour in support of the DVD release.<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;"> <span style="font-weight: bold;">Dengue Fever</span>'s third effort,<span style="font-weight: bold;"> </span><a style="font-weight: bold;" linkindex="59" href="http://www.amazon.com/Venus-Earth-Dengue-Fever/dp/B00114XM36"><em>Venus on Earth</em></a>, was picked up last year by <span style="font-weight: bold;">Peter Gabriel's Real World Records</span> for distribution outside of the United States and Canada. As a band out of time and genre, the group seems a perfect fit for the San Francisco Film Festival's screening of a <span style="font-style: italic;">Library of Congress lifer. </span></p><div style="text-align: justify; font-style: italic;"> </div><p style="text-align: justify;"><span style="font-style: italic;"> "</span><a style="font-style: italic;" linkindex="60" href="http://en.wikipedia.org/wiki/The_Lost_World_%281925_film%29"><em>The Lost World</em></a><span style="font-style: italic;"> is a classic exploration of man's fascination with his own prehistory," </span>explained Film Society programming associate Sean Uyehara. <span style="font-style: italic;">"Like the territory depicted in the film, Dengue Fever's music comes from a time and place that no longer exists. The band and film both evoke the same kind of nostalgia." </span></p><div style="text-align: justify;"> <object height="505" width="640"><param name="movie" value="http://www.youtube.com/v/ohR-9ugs9V0&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/ohR-9ugs9V0&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="505" width="640"></embed></object><br /></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-26429960604983358152009-02-21T12:06:00.003+01:002009-02-21T12:12:05.438+01:00Diverse musicians 'Change' their tunes for peace<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i.usatoday.net/life/_photos/2009/02/19/play-for-changex-large.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 258px;" src="http://i.usatoday.net/life/_photos/2009/02/19/play-for-changex-large.jpg" alt="" border="0" /></a><span style="font-style: italic;font-size:78%;" >By <a linkindex="44" class="linkedBylineName" href="http://www.usatoday.com/community/tags/reporter.aspx?id=187">Edna Gundersen</a>, USA TODAY</span><div style="text-align: justify;"> </div><div style="text-align: justify;" class="inside-copy"><br /><span style="font-size:85%;"><span style="font-style: italic;">Natural studio: <span style="font-weight: bold;">Playing for Change founder Mark Johnson,</span> left, records an Indian musician for the album.</span></span><br /><br />Further proving that music is the universal language, more than 100 musicians across the planet are entwining talents to promote world peace. </div><div style="text-align: justify;"> </div><p style="text-align: justify;" class="inside-copy"><i style="font-weight: bold;">Playing for Change — Songs Around the World</i>, a 10-tune CD/seven-track DVD due April 28 on Hear Music, captures mixes of known artists and street musicians from locales as far-flung as Nepal, the Himalayas and the Palestinian territories. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="inside-copy">Grammy-winning engineer <span style="font-weight: bold;">Mark Johnson</span> spent a decade seeking and sequencing montages, including footage of the late <span style="font-weight: bold;">Bob Marley</span> on his <i style="font-weight: bold;">War/No More Trouble</i> updated with <span style="font-weight: bold;">U2's Bono</span> and players from the Congo, Israel, India, Ireland, South Africa, the USA, Zimbabwe and Ghana. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="inside-copy">A video of<span style="font-weight: bold;"> </span><i style="font-weight: bold;">Stand By Me</i>, with U.S. buskers <span style="font-weight: bold;">Roger Ridley</span> and <span style="font-weight: bold;">Grandpa Elliott </span>spliced into a single performance with musicians from the Netherlands, Russia, Spain, Venezuela, France and Brazil, has drawn 7 million YouTube viewers (also at playingforchange.com). </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="inside-copy">Others tackle <span style="font-weight: bold;">Marley's </span><i style="font-weight: bold;">One Love</i><span style="font-weight: bold;">,</span> <span style="font-weight: bold;">U2/Bob Dylan's </span><i style="font-weight: bold;">Love Rescue Me</i>, <span style="font-weight: bold;">Peter Gabriel's </span><i style="font-weight: bold;">Biko </i>and <span style="font-weight: bold;">Tracy Chapman's </span><i style="font-weight: bold;">Talkin' Bout a Revolution</i>. Some musicians will join a brief tour starting March 20 at South by Southwest in Austin.</p>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-33715493598666502422009-02-21T11:30:00.002+01:002009-02-21T11:35:35.346+01:00TheFilter Gets More Money From Peter Gabriel<span style="font-size:85%;"><div id="byline"><span style="font-size:78%;">paidContent.org, </span><span style="font-size:78%;">Rafat Ali Wednesday, February 18, 2009</span><br /></div> </span><p style="text-align: justify; font-weight: bold;"><span style="font-size:100%;">paidContent.org - Media Recommendation Firm TheFilter Gets More Money From Peter Gabriel</span></p><p style="text-align: justify;">Music and digital media recommendation service and tech firm <a style="font-weight: bold;" linkindex="147" href="http://www.thefilter.com/" target="">TheFilter</a>, based in Bath, UK, has received more funding from musician <span style="font-weight: bold;">Peter Gabriel</span>, though the amount was not disclosed. The round was led by current investors <span style="font-weight: bold;">Gabriel </span>and <span style="font-weight: bold;">Eden Ventures,</span> and also attracted new high-profile private investors, including <span style="font-weight: bold;">Roderick Banner</span>, chairman of <a style="font-weight: bold;" linkindex="148" href="http://financial.washingtonpost.com/custom/wpost/html-qcn.asp?dispnav=business&mwpage=qcn&symb=WPPGY&nav=el" target="">WPP</a>-owned media agency <a linkindex="149" href="http://financial.washingtonpost.com/custom/wpost/html-qcn.asp?dispnav=business&mwpage=qcn&symb=BANR&nav=el" target="">Banner Corp</a>, <span style="font-weight: bold;">Michael Brochu</span>, former CEO of <span style="font-weight: bold;">LoudEye</span>, as well as <span style="font-weight: bold;">John Taysom</span>, founder of <span style="font-weight: bold;">We7.com</span>, another <span style="font-weight: bold;">Gabriel</span>-backed company. <span style="font-weight: bold;">Gabriel</span> also backed <span style="font-weight: bold;">OD2</span>, one of the first digital music companies. <span style="font-weight: bold;">Gabriel</span> and <span style="font-weight: bold;">Eden Ventures </span>started with a $1.8 million investment alongside cofounders <span style="font-weight: bold;">Rhett Ryder</span> and <span style="font-weight: bold;">Martin Hopkins</span>, then led a $5 million round in 2007. </p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-weight: bold;">TheFilter </span>started in the UK in 2007 and expanded to the U.S. last year, evolving from a music-playlist sharing site to other kinds of media, including movies and web video. Competition is from specialized sites such as <span style="font-weight: bold;">Last.fm</span> in music and <span style="font-weight: bold;">Flixster</span> in movies, as well as general social media sites. </p>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0tag:blogger.com,1999:blog-12912380.post-78026501012641281672009-02-21T10:12:00.003+01:002009-02-21T10:21:03.770+01:00Surviving a Hitch in an Army of Boys<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://graphics8.nytimes.com/images/2009/02/17/arts/french.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 190px; height: 273px;" src="http://graphics8.nytimes.com/images/2009/02/17/arts/french.jpg" alt="" border="0" /></a><span style="font-size:78%;"><span style="font-style: italic;">By HOWARD W. FRENCH, the New York Times, Published: February 16, 2009 </span></span><br /><div style="text-align: justify;"><br />Barely pages into <span style="font-weight: bold;">Emmanuel Jal</span>’s fast-paced memoir about growing up amid modern African warfare, the reader is brought up short by the following sentence: <span style="font-style: italic;">“There was peace in Sudan for the first three years of my life, but I cannot remember it.”</span> It is the first of many stark, declarative statements about a human condition of cruelty and wretchedness that afflicts the lives of countless young people in distant African lands, people whose stories we are unaccustomed to hearing.<br /><br /><span style="font-weight: bold;">Mr. Jal</span>’s tale, of a lengthy and devastating civil war between northern and southern Sudan (not the conflict in Darfur, more familiar to readers today), begins in the mid-1980s when he is somewhere around the age of 7 — though he is not altogether sure because he inhabits a world where time is marked by seasons, including one for hunger, rather than calendars. At the very outset we are introduced to the boy’s family as they move southward through their country in a convoy of trucks from an area controlled by “African Arabs” to their own ethnic heartland, inhabited by “pure Africans,” in the book’s somewhat overly reductive language of ethnicity.<br /><br />Four Arab men with angry eyes speak among themselves about a rebellion brewing in the country. It will fail, and the pure Africans who seek to revolt “will remain slaves beneath us just as they are meant to be,” one vows. Moments later, a fight breaks out when the Arabs steal the meager rations of Emmanuel’s family; after they begin to beat his uncle, the boy throws himself onto one of the men’s ankles and bites it.<br /><br />The scene ends with a fadeout to unconsciousness. Thus started, time rushes past in this recollected tale of appalling violence, <span style="font-style: italic;">“like sand,”</span> in the words of the narrator, <span style="font-style: italic;">“running through my fingers as I look back.”</span> The attack in the truck marks Emmanuel’s loss of innocence, and with it is born a burning hatred for Arabs that will drive his behavior, often with tragic consequences, through most of the story.<br /><br /><span style="font-weight: bold;">Emmanuel</span> is taken by his mother from one village to the next in the south, each time under the pretext that the new destination will be safer. There is little respite, though, as Sudan’s relentless army, bent on ethnic cleansing, unfailingly closes in and attacks anew. At one early stop the boy learns that his father has absented himself from the family to undergo officer training in the rebel southerners’ Sudan People’s Liberation Army (S.P.L.A.).<br /><br />In quick succession the young boy witnesses the rape of an aunt and then is separated permanently from his mother amid another army onslaught. At the next way station he is taken in with scores of other children who are told they are being moved to Ethiopia to go to school. But once there, he is told he must join the southerners’ rebellion as a fighter. It is his father’s will, the boy is told. For good measure, an elder intones, <span style="font-style: italic;">“The gun does not know who is old or young.”</span> <span style="font-weight: bold;">Emmanuel</span>, for the record, is 9.<br /><br />Despite these grim contours, the story sometimes has the cloying feel of a fairy tale. This, perhaps, is a risk of the <span style="font-style: italic;">“as told to”</span> genre. <span style="font-weight: bold;">Mr. Jal,</span> who received little schooling until well into his teens, after he was rescued by an aid worker, immigrated to England and eventually became a successful musician. His co-writer is <span style="font-weight: bold;">Megan Lloyd Davies</span>.<br /><br />The writing is usually sturdy, and in a middle section that relates a long death march through the south it even rises to an urgency that recalls <span style="font-weight: bold;">Jerzy Kozinski</span>’s novel <span style="font-style: italic;">“The Painted Bird.” </span>Elsewhere, though, it sometimes feels dreamily like Technicolor when color would do, and admits insufficient room for reflection on many themes, notably fear and hatred.<br /><br />Some of the book’s most interesting observations seem almost inadvertent, depriving the reader of context that is important to understanding this conflict, and African conflicts in general. From Biafra to Rwanda, and now Darfur itself, the West has a long tradition of reducing them to good-versus-evil stories bereft not just of nuance but also of politics, history and complexity.<br /><br />There is no gainsaying <span style="font-weight: bold;">Mr. Jal</span>’s experience of terror, but amid his frequent loathing for Arabs the book provides only a glimpse of the geopolitics of the war, with Ethiopia hosting hundreds of thousands of Sudanese refugees near their common border and allowing rebels to train on its territory.<br /><br />In one recollection, the young <span style="font-weight: bold;">Emmanuel</span>, at the time he thinks he is being sent to school, astutely wonders why the Western aid workers are <span style="font-style: italic;">“nowhere to be found except in food lines or the hospital.” </span>A few pages later he says that <span style="font-style: italic;">“while the khawajas” </span>— a local expression for whites —<span style="font-style: italic;"> “thought they ran the camp, it was the S.P.L.A. who were really in charge.”</span><br />These words amount to a provocative challenge to the myth of the beneficent and powerful Western humanitarian worker whose impact is thought exclusively good. Too often in African conflicts these workers’ presence has amounted to unacknowledged collusion.<br /><br /><span style="font-weight: bold;">Mr. Jal</span>’s narrative makes another important point, but again almost incidentally. As horrible as civil conflicts are, often their collateral damage is worse. After lusting for vengeance against the Arabs, the boys’ first <span style="font-style: italic;">“battle”</span> is a murderous raid against an Ethiopian village. The next combat is against the Ethiopian state, whose army evicts the rebels.<br /><br /><span style="font-style: italic;">“War Child”</span> ends with its least compelling material, a made-for-Hollywood account of how <span style="font-weight: bold;">Mr. Jal</span> succeeds as a antiwar musician, playing concerts around the world and toasted by the likes of <span style="font-weight: bold;">Peter Gabriel</span>. <span style="font-style: italic;">“I’m still a soldier,” </span>he writes, <span style="font-style: italic;">“fighting with my pen and paper, for peace till the day I cease.”</span></div>Anonymoushttp://www.blogger.com/profile/02053283577831595169noreply@blogger.com0