#CENTRAL MUSIC AWARDS

[prnanayarquah]

No Artiste in Central Region is bigger than Central Music Awards - Jungo Fires

New Post has been published on https://plugzafrica.com/no-artiste-in-central-region-is-bigger-than-central-music-awards-jungo-fires/

No Artiste in Central Region is bigger than Central Music Awards - Jungo Fires

The CEO of Heritage Promotions, organizers of the prestigious Central Music Awards, Francis Spio Jungo, has clapped back at artistes belittling the efforts of dedicated stakeholders in the music industry.

In a scathing post on his official Facebook page, Jungo chastised artistes who downplay the impact of the award scheme, citing instances where some musicians faded into obscurity after underestimating the CMA’s influence.

“The Central Music Awards, blessed from above, will endure and shape the future of musicians from the Central Region,” Jungo emphasized. “Artistes will come and go, rise and fall, but our scheme remains steadfast.”

As Ghana’s first and most esteemed regional awards scheme, the Central Music Awards has celebrated, recognized, and honored hardworking musicians in the Central Region for 12 consecutive years.

Notably, the scheme made history in 2023 by flying its “Artiste of the Year” to Dubai, a testament to its commitment to rewarding excellence.

Despite these achievements, some artistes, who have benefited significantly from the scheme, continue to downplay its significance.

Jungo’s Full Statement:

It’s disappointing to see some Central Region Artistes downplaying the efforts of dedicated stakeholders. Many Artistes in the Region cannot point to any award plaque(s) beyond that/those from regional schemes—of which the Central Music Awards (CMA) was the very first, not only in Central but across Ghana.

Over the years, I’ve seen Artistes who dismissed the CMA fade away quickly; while the scheme continue to grow from glory to glory.

Artistes will come and go, rise and fall, but this scheme, “blessed from above” will endure, bearing witness to all these changes and remaining a constant presence.

NB: No Artiste in Central Region is bigger than the CMA, Period!

God bless Central Region

God bless CMA

God bless Heritage Promotions

God bless Ghana

TW Radio 88.9

EN.AR Limited

About Central Music Awards:

The Central Music Awards is Ghana’s pioneering regional awards scheme, dedicated to celebrating musical excellence in the Central Region.

The scheme is set to celebrate its 13th anniversary on Friday, November 29, 2024 at the Center For National Culture, Cape Coast.

[kaknewsdotcom]

2023 CM Awards: Kwesi Taadi Takes Home the Title - Photos

Promising Ghanaian singer, songwriter, and recording artiste Kwesi Taadi known outside the music world as Henry Baidoo emerged as a winner in the SONGWRITER OF THE YEAR category at the recently concluded 12th Edition Of The First, Biggest, and Best Regional Award Scheme In Ghana “CENTRAL MUSIC AWARDS”.  Central Music Awards’s sole motive is to recognize, honor and award deserving musicians from…

[aacehypez]

Official Launch & Nominees Unveiling For Central Music Awards 2023 Slated For Saturday, September 30 at Fays Lounge, Cape Coast.

Official Launch & Nominees Unveiling For Central Music Awards 2023 Slated For Saturday, September 30 at Fays Lounge, Cape Coast.

Official Launch & Nominees Unveiling For Central Music Awards 2023 Slated For Saturday, September 30 at Fays Lounge, Cape Coast. Heritage Event Promotions, the organisers of the annual Central Music Awards have announced the official launch and nominees unveiling for the 12th edition of the Central Music Awards. This year’s launch and official unveiling of nominees is scheduled for Saturday, 30th…

[thejoyofviolentmovement]

New Video: Acclaimed Inuk Artist Elisapie Shares a Gorgeous Adaptation OF Cyndi Lauper's "Time After Time"

New Video: Acclaimed Inuk Artist Elisapie Shares a Gorgeous Adaptation OF Cyndi Lauper's "Time After Time" @Elisapie @bonsound @bonsoundpromo @girlieaction @delkin03 @CyndiALauper

Acclaimed Montréal-based singer/songwriter, musician, actor and activist Elisapie Issac (best known as the mononymic Elisapie) was born and raised in Salluit, a small village in Nunavik, Québec’s northernmost region. In this extremely remote community, accessible only by plane, Issac was raised by an extended, yet slightly dysfunctional adoptive family. Growing up in Salliut, she lived through…

[doyoulikethissong-poll]

Soggy Bottom Boys - I Am a Man of Constant Sorrow 2000

"I Am a Man of Constant Sorrow" is a traditional American folk song first recorded by Dick Burnett, a partially blind fiddler from Kentucky. The song was originally titles "Farewell Song" when printed in a Richard Burnett songbook in 1913. Burnett recorded the song in 1927 but this version was unreleased and the master recording destroyed. The first commercially released record was by Emry Arthur in 1928, and which gave the song its current title.

It's been covered plenty of times during the years with lyrical tweaks, but the biggest impact worldwide happened with the release of the 2000 film O Brother, Where Art Thou?, where it plays a central role in the plot, earning the three runaway protagonists public recognition as the Soggy Bottom Boys. The song had lead vocals by Dan Tyminski, who also was the vocalist on Avicii's 2013 hit "Hey Brother". "I Am a Man of Constant Sorrow" received a CMA Award for "Single of the Year" in 2001 and a Grammy for "Best Country Collaboration with Vocals" in 2002, and also named Song of the Year by the International Bluegrass Music Association in 2001. It earned a total of 70,4% total yes votes here.

If you love great movies with amazing music, please do check this one out! :D <3

[surra-de-bunda]

Debbie Allen photographed by Anthony Barboza (1983). Allen was first introduced as Lydia Grant in the film Fame (1980). Although her role in the film was relatively small, Lydia became a central figure in the television adaptation, which ran from 1982 to 1987. During the opening montage of each episode, Grant told her students: "You've got big dreams? You want fame? Well, fame costs. And right here is where you start paying ... in sweat." Allen was nominated for the Emmy Award for Best Actress four times during the show's run. She is the only actress to have appeared in all three screen incarnations of Fame, playing Lydia Grant in both the 1980 film and 1982 television series and playing the school principal in the 2009 remake. Allen was also lead choreographer for the film and television series, winning two Primetime Emmy Award for Outstanding Choreography and one Golden Globe Award for Best Actress – Television Series Musical or Comedy. She became the first Black woman to win a Golden Globe for Best Actress in a Television Series—Musical or Comedy.

[freddiemercurylegendabovelegends]

Today, on August 24th, 1975 – Queen Story!

Queen starts recording ‘Bohemian Rhapsody’ at Rockfield studio’s in Galles.

🔸THE DAY QUEEN BEGAN RECORDING THEIR MASTERPIECE, ‘BOHEMIAN RHAPSODY’

- Ultimate Classic Rock, August 24, 2015

by Eduardo Rivadavia

If you were to write a history of the recording studio and, specifically, its usefulness as a laboratory for musicians' most ambitious creations, then an entire chapter might well be devoted to "Bohemian Rhapsody." The members of Queen began recording the song on Aug. 24, 1975, redefining the known limits of popular music in the process.

Suffice to say that, whatever Chuck Berry had in mind when he asked Beethoven to roll over, "Bohemian Rhapsody"'s jaw-dropping pastiche of rock and opera sure wasn't it. But then, Queen's flamboyant and unpredictable brand of art rock had been simultaneously stumping and amazing all those who'd heard it well before "Bohemian Rhapsody" came along. It continually morphed over the first three albums of the group's career, until 1974's Sheer Heart Attack started connecting all the dots.

During the first months of 1975, Queen toured the U.S. as headliners for the first time (alternately supported by Styx and Kansas), making their first trip to Japan (where they received a Beatlemania-type reception), and, in singer Freddie Mercury's case, receiving the prestigious Ivor Novello Award for his work on "Killer Queen."

All of these accomplishments no doubt boosted the band's confidence (and courage) as they started working on new material, both in unison and individually, for the album they would soon name A Night at the Opera. This was to be produced by their engineer Roy Thomas Baker, and it's safe to say neither band nor producer could have guessed what Mercury had up his sleeve as he started cobbling together both new ideas and spare song parts he'd been lugging around for years in the privacy of his Kensington apartment.

According to Baker, in an interview with Sound on Sound, his first inkling of what was in store only came when he visited Queen's singer at his home, and Mercury first played him "Bohemian Rhapsody"'s initial ballad section, concluding it by casually quipping, "And this is where the opera section comes in!" Mercury, Taylor and the other members of Queen -- guitarist Brian May, bassist John Deacon and drummer Roger Taylor -- then entered the studio following three weeks of rehearsal to help bring Freddie's madcap magnum opus to life.

Together, the foursome and their studio hands spent as much time arranging, re-arranging, adding, subtracting, and adding some more to "Bohemian Rhapsody"'s bulk as most bands of the time spent on entire albums. In the end, Mercury's central ballad wound up preceded by one of Queen's patented, multi-tracked a capella choirs and was followed by a tasteful solo from May, a minute-long opera section, then a heavy metal instrumental passage and finally a reprise of the core melody, fading gently back into wherever it came from.

All these years later, it's the song's operatic climax that remains its most stunning, almost superhuman, accomplishment, as it required them to clock as 10-to-12 hour days over a three-week period. They reportedly needed nearly 200 vocal overdubs in order to flesh out an entire choir. And then, when they were finally done, their label EMI was, to put it mildly, quite unimpressed.

Although, to be fair, the suits' reasons were typically business-oriented, as "Bohemian Rhapsody's" edged close to the six-minute mark, well beyond the limit favored by commercial radio. Instead, the label suggested they release Deacon's excellent "You're My Best Friend" as first single from A Night at the Opera, but Queen wouldn't hear of it, and it only took a moment for the immediate support of DJs across Britain to prove EMI wrong.

Released in the U.K. on Oct. 31, 1975, "Bohemian Rhapsody" would be No. 1 by Christmas and then hold the spot for nine weeks. Its commercial fortunes were undoubtedly helped by the pioneering music video shot by Queen to stand in for them on Top of the Pops while they were already back on tour by the time they were invited to appear. Meanwhile, their single was also on its way to No. 1 in Canada, New Zealand, the Netherlands and Belgium, earning Top 10 honors in multiple other countries and peaking at No. 9 in America, where it eventually became a million-seller.

"Bohemian Rhapsody" stands as one of the best-selling songs in rock history, prone to repeat visits to global charts anytime it is revived for a movie, commercial or other event, and frankly unique as nothing since has come close to matching its sheer heights of excess, bravura, and, oh yeah, inspiration.

(Source ↘️ https://ultimateclassicrock.com/queen-bohemian-rhapsody/)

📸 Pic: 1975 - Recording 'A Night At The Opera' album with co- producer Roy Thomas Baker

[prnanayarquah]

Central Music Awards 2024: Full List of Nominees

New Post has been published on https://plugzafrica.com/central-music-awards-2024-full-list-of-nominees/

Central Music Awards 2024: Full List of Nominees

Heritage Promotions proudly unveils the official 13th Central Music Awards nominees list. Congratulations to all 358 nominees shortlisted respectively for the 37 categories.

New Categories Introduced:

Best Dance Group of The Year

Best Event of The Year

Voting duration for the Central Music Awards 2024 is from Wednesday, October 9, 2024, to Tuesday, November 26, 2024, at 11:59 PM.

The general public can vote for their favourite artiste by dialling *920*208# and INSERT NOMINEE CODE or visit https://jetcast.app.com

The 13th Central Music Awards’ main event night is Friday, November 29, 2024, at the Center for National Culture, Cape Coast. Below is the full list of nominees for the 2024 Central Music Awards.

 FULL LIST OF NOMINEES FOR CENTRAL MUSIC AWARDS 2024

 CAMPUS ARTISTE OF THE YEAR

ShySoul Belle – Holy Child College of Education

Begin Boy – Nyankumasi Ahenkro SHS

Yaw Filla – Oguaa Senior High Technical School

Bambi Blazing – Edinaman Senior High School

S. Square – Aggrey Memorial SHS

EMERGING ARTISTE OF THE YEAR

Asomade

Akyedie Yao

Kueci Jahsky

Stacy Maclean

Lady B. Queenstar

Kwaku Waddle

Kobina Prime

Jah Raty

The Same

Styley

JDH Empire

CK Black

Brother Osei

Etovibez

Kay Study

NEW ARTISTE OF THE YEAR

Tee Tonie

Ashby Guy

Gabby Kan

Juliet Duodu

Iam Rock

Bonyo Hyness

Bush Girl

Flamingo

Kofi Weather

Kwaku Tugabwoy

MannyRain

Y askyface

 GOSPEL SONG OF THE YEAR

Stacey Maclean – Lifter of my head

Bishop Isaac Baah – Enka Ho

Obaapa Peace – Daye

Juliet Duodu- Winning Side

Lady B. Queenstar – Celebration

Cindy Mezziah – Grateful

Brother Ishmael – Adom Nyame

Empress Christy – Aseda

Brother Osei – Adom Bi

FEMALE ARTISTE OF THE YEAR

Bush Girl

Lady B. Queenstar

Ama Nova

Minab

Stacy Maclean

Akasii

GOSPEL ARTISTE OF THE YEAR

Stacey Maclean

Bishop Isaac Baah

Obaapa Peace

Juliet Duodu

Lady B. Queenstar

Cindy Mezziah

Brother Ishmael

Empress Christy

Brother Osei

REGGAE SONG OF THE YEAR

Andy Prophett – By Grace

Jah Raty – Otanfo

Adomba Effah – it’s been long

Jeneral Rojah – Jam for love

Tallybo – Lovely Vibes

DANCEHALL SONG OF THE YEAR

Mula Palmer – Dollar sign

Idi Kawawa – Gidigidi

Emogy DJR – Most High

Jahdone Ratty – Skin pain

Okintoe – U nah geh sense

Real Survive Money – Guide me

Freme Kwame – Style no

Empaya Alonso – Run Di Place

AK Bwoy – Kasland Time

 BEST RAPPER OF THE YEAR

Kojo Vypa – Kinging

Goddy Wan ft. Big Tim – Mars

Skyty Nero ft. Kwesi Amewuga x Abu Trica – Heat Remix

Born Legend ft. Ypee – Non-Stop Remix

Mai Daawa – Freestyle Fury

Bonyo Hyness – Nzama Wura

Omar Burner ft. Lyrical Joe – My time

Minab – Ataya

Erny – Your brother’s keeper

Lyrical Famous – More money

Kweku Cidic – Survivor

Day3 Bee – 167 Gang

Idi Kawawa – 19th June

Freme Kwame – Abuburo Kosua

Okintoe – Rap Demon

Kwame Ebuburokosua – Pimpinaa Ft.Goddy Wan & Rich Kid

MALE VOCALIST OF THE YEAR

Twicy – Live it up

Y aw Blvck – Hennessy

Y aw Darling – TGIF

Pentiumm – Jangolova

Iam Rock – Follow

Brother Ishmael – Adom Nyame

Mr. B-Fly – Baby Boo

Akyedie Yao – Over me

Khuami Sly – Ginger

Supa Shank – Abrabo

Mula Palmer – Time Up

EK Nacosty – Da N’ase

FEMALE VOCALIST OF THE YEAR

Bush Girl – Donkomi

Lady B. Queenstar – Celebration

Ama Nova – Look at me now

Minab – V oodoo

Stacy Maclean – Lifter of my head

Akasii – Bebe

Juliet Duodu – Winning Side

Cindy Mezziah – Grateful

Empress Christy – Aseda

Obaapa Peace – Daye

 PRODUCER OF THE YEAR

Supa Shank

Gachios Beatz

Wyz Beatz

LiugeeBeatz

Beat Classic

Etobeatz

Mogyeez

SOUND ENGINEER OF THE YEAR

Supa Shank

Gachios Beatz

Brown Beatz

LiugeeBeatz

Beat Classic

Baron Beats

Ofasco Ne Beat

Mrbrownbeatz

Mogyeez

GH MOST POPULAR SONG OF THE YEAR

Lasmid – Puul

Amerado – Kweku Ananse

Gyakie – Rent Free

King Paluta – Aseda

King Promise – Favorite Story ft Sarkodie & OliveTheBoy

KiDi – Lomo Lomo ft Black Sherif

DopeNation – Zormizor (AsaBone)

Safo Newman – Akokoa

Kofi Kinaata – Effiakuma broken heart

MUSIC VIDEO OF THE YEAR

Yaw Daring – TGIF

Twicy – LOTTO

Loyce Sings – Confessions

Juliet Duodu – Winning Side

Yaw Blvck – Holy Sinner

Kojo Vypa – Kinging

Goddy Wan Mars Ft. Big Tim

Jay Baba – Dorime Ft. Quamina MP

Yhaw Fargo – Daily Bread

Iam Rock – Follow

Tee Tonie – Money

Born Legend – Waakye

Idi Kawawa- God Dey

Bush Girl – Donkomi

 BEST PROMOTER OF THE YEAR – PRESENTER 

Mc Sparrow – Oxygen FM

Dj Poppah – Rock FM

Nii Johnson -Obrempong FM

Kojo Kin – Pax FM

Mista Chanti – Obantanpa Radio

Nac Abrantie – Bohyeba FM

Akua AJ – Kastle FM

BEST PROMOTER OF THE YEAR – DJ

DJ Kobby – Hope FM

DJ Apeeco – The Truth Pub

DJ Akesesem – Obrumankoma FM

DJ Kaygee – Kastle FM

DJ Brain – The Truth Pub

DJ Cesh – Mingles Night Club & Bar, Kasoa

DJ Kobby Roro – Nap Radio

DJ Pacolo – Bohyeba FM

ONLINE PROMOTER OF THE YEAR

Media Connect Gh

Kofi Tutu

Cape Coast Promota

Macshat News

Believe Promotions

NAJ Media

Flyt Media

King Herod Media

BEST PUB/NIGHT CLUB OF THE YEAR

Aussie Pub and Lounge – SinCity Agona Swedru

The Truth Pub – Agona Swedru

Heritage Hut – Agona Swedru

Downtown Pub – Breman Asikuma

2nd Kastle – Mankessim

Tipsy’s Pub & Restaurant – Mankessim

Finest Pub – Assin Fosu

Cloud 95 – Assin Fosu

NK City – Cape Coast

Whispers Tales – Cape Coast

Blue Top Villa – Kasoa

LIVE BAND OF THE YEAR

DreamSounds Live

Band Emintsimadze Band

Dynamics Band

2nd Kastle Band

Oguaaman Band

 BEST MANAGEMENT OF THE YEAR

Shabad Records

The Blvck Tribe

Kingzy entertainment GH

Checkzone Family

Sky Entertainment

BEST BRASS BAND OF THE YEAR 

Cape Vibes

Adom Mysterious Band

Blu Band

CoastPlay Movement Band

Flat Five Band

MASQUERADE GROUP OF THE YEAR

JUSTICE MASQUERADERS – Cape Coast

OHY3W AKOMEM MASQUERADERS – Cape Coast

HOLY CROSS MASQUERADERS – Cape Coast

PANYA MASQUERADERS – Cape Coast

EMIRA TES MASQUERADERS – Cape Coast

SANATO MASQUERADERS – Cape Coast

ADZEPA MASQUERADERS – Cape Coast

BEST FANBASE OF THE YEAR 

Day3 Bee – 167 Geng

Jah Raty – Possible Movement

Khofy Guyson – Guysonity Soldiers

Skyty Nero – Waguan Movement

Bonyo Hyness – Bonyo Movement

DJ Cesh – Cesh City

Tallybo – Cat Nation

Erny – WJ Family

BEST EVENT OF THE YEAR 

Made In Ekumfi Concert

Goddy Wan – 24Hours With The Trees 2023

Kojo V ypa – MOE Concert 2024

Blow Media – Abankese Festival 2023

Cape FM – Orange Friday 2023

Kastle FM – Asankamu Festival 2023

Believe Promotions – Loud in Mfantseman Concert

DJ Cesh – We from far festival

Aussie Pub and Lounge – Swedru Akwambo Celebration with Kuami Eugene

The Truth Pub – Halloween Night

Heritage Hut – Kofi Kinaata live concert

Messi Music Promotion – The Lambo Concert

Mista Chanti Promotions -Yellow on Black Party

 BEST DANCE GROUP OF THE YEAR 

UNDHEM Dancers

Swedru Lords

ECAC Dance Troop – Ekumfi

Team Groove Dancers

Elmina Dance Academy

The Subscribers

B Boys Kings

Team Warriors

Monsters Dance Group

Massive Dance Family

Greatness Dancers

`HIGHLIFE SONG OF THE YEAR

Yaw Blvck – True or False

Khuami Sly – Ginger

Y aw Darling – TGIF

Supa Shank – Abrabo

The same – Mframa

Gabby Kan – Goodbye

EK Nacosty – Da n’ase

Jay Baba – Dream Big

Bonyo Hyness – Moneria

Minab – V oodoo

Enaph Mhoni – Showdown

Skippy Brown – Kp3l3 Kp3l3

DJ Repentance – Feelings

HIPLIFE SONG OF THE YEAR

C Burn – Detti water (Ankos)

Kwesi Taadi – Thy grace

Flamingo – Wataado

Kwaku Tugabwoy – efie nipa

Minab – Ataya

Skyty Nero – Heat Remix Ft Amewuga & Abu Trica

Kubi Brown – stand firm

Adoma Kracker – me ko me ni

Ogatoo – Hustle

AK Bwoy – Ginger Love ft. Gachios

Kwame Ebubrunkosua – Vida

Okintoe – Rap Demon

Joemexx – V er

CK Black – Big Six

 INTERNATIONAL ACT OF THE YEAR

Osagyefo AYPC (Qatar)

DayVybz (Germany)

Tee Tonie (Belgium)

Brother Ishmael (USA)

JDH Empire (Nigeria)

Jay Baba (USA)

TallyBo (USA)

HIP-HOP SONG OF THE YEAR

Kojo Vypa – Kinging

Kweku Cidic – Survivor

Yaw40fyd – Sika Ho Adwen

Omar Burner – My Time ft Lyrical Joe

Amankrado Gh – Dear God

Yhaw Fargo – Daily Bread

Goddy Wan – Mars Ft. Big Tim

Is Hommie – Broken heart

Bonyo Hyness – Nzama Wura

Don Proph – Move

Kwame Ebuburokosua – Pimpinaa ft. Goddy Wan & Rich kid Erny – Huhuhu

Born Legend – Non-Stop Remix ft. Ypee

Mc Kay ft kasland stars – Kasoa Must Shine

Kofi Weather – Crazy

Conqra – Broke & Famous

MannyRain – Drip Check

AFROPOP SONG OF THE YEAR 

Yaw Blvck – Holy sinner

Bush Girl – Donkomi

Ama Nova – look at me now

Yaw Darling – stay with me

JoeMexx – Y aa baby

Revlaytion – In the name of Jesus

Khofy Guyson – My vibe

Twicy – Live it up

Jay Baba ft Quamina MP – Dorime

Pentiumm – Jangolova

Yhaw Fargo – Pull Up

Iam Rock – Follow

 BEST COLLABORATION OF THE YEAR

Kojo Vypa – Location ft. Snowbell

Kwesi Taadi – Thy Grace Ft. Fameye

Yaw Blvck – Chargie ft. LuigeeBoi

Goddy Wan – Mars ft. Big Tim

Born Legend – Non Stop Remix ft. Ypee

Jahdone Ratty – Chance ft. Ras Kuuku.

Ashby Guy – Friday night ft. Kojo Vypa & LiugeeBoi

Skyty Nero – Heat Remix Ft Kwesi Amewuga & Abu Trica

Flamingo – Wataado ft. Oja420

Emogy DJR – Cold World ft. Kahpun

Tee Tonie – Last Last ft. Boggy Wenzday

Kwaku Tugabwoy – Hope ft. Kofi Sika & Joe Mayar

Jay Baba – Dorime ft. Quamina MP

Amankrado GH – Dear God ft Umaru Kiddin & Joe Mayar

Idi Kawawa – God Dey ft. Kopow

SONGWRITER OF THE YEAR

Kwesi Taadi – Thy Grace

Twicy – Live it Up

Yaw Darling – TGIF

Skyty Nero – Addict Prayer

Marahny – Story

Jay Baba – Dream Big

Yaw Blvck – Mine Your Business

EK Nacosty – Da N’ase

Kubi Brown – Stand firm

Amankrado GH – Enjoyment

Supa Shank – Abrabo

Khofy Guyson – Cemetery

Gabby Kan – Goodbye

Andy Prophett – Nanso

Abrantie Boabis – Champagne

Pentiumm – Jangolova

BEST MUSIC GROUP OF THE YEAR

Nyamekyeame Praiz Ministry

Sobologeng

Smelling Good Geng

Akoo Show Choir

[yesterdayiwrote]

Trick or treat gewis edition pls?🧡

This is part of a (currently) abandoned WIP, and so I will reward you with a longish (albeit unbeta'd and unedited) excerpt under the cut...

This was my Tour Manager George/Music Superstar Lewis AU...

Waking up with a headache was never a great start to the day.

Waking up with a headache naked was always an even worse way to start the day.

George clutched his forehead tightly, pressing his face deeper into the soft pillow and willing the dull throb behind his eyes to dissipate sooner rather than later.

He groaned softly, the room filling with the distant sounds of honking horns, revving engines and rush hour traffic, his mind racing faster as he contemplated waking up and facing reality.

His phone vibrated on the nightstand and George groped around blindly, cursing under his breath as a discarded bottle of Dom Perignon rolled onto the carpet, luckily already drained of its contents. He peered at the screen, hundreds of notifications paling into insignificance as he read the latest text from his boss, reminding him of their meeting scheduled later that day.

George rolled onto his back, finally taking in the sight of the room around him, snapshots of the previous night flooding back to him, leaving him with an impending sense of dread as his memories assembled into a somewhat more lucid sequence of events.

He sat up slowly, rubbing roughly at his eyes with his fingertips, letting out a soft groan as he confirmed his worst fears.

The Presidential Suite of the Central Park Ritz Carlton looked like a crime had been committed within it, ransacked in the midst of some kind of smash and grab robbery gone wrong. Clothes lay strewn across the floor, in a Hansel and Gretel-esque breadcrumb trail from the door to the bed. One set noticeably more expensive looking than the other.

A half drunk bottle of Grey Goose stood on the coffee table beside two shot glasses, one tipped over, spilling liquid across the glass tabletop. Three more bottles of champagne sat unopened and amongst them all stood four shining Grammy Awards. A sign of victory and success and the culmination of years of hard work. It had been worth celebrating.

If only it had been his name on them.

XNDA was at the top of his game right now, finally reaping the rewards of hours of blood, sweat and quite literally tears. Weeks away from home and loved ones on the promotional trail, long nights in recording studios and on video shoots, smiling through the lows to ensure every interview was his best. When he'd stood on stage at Madison Square Gardens the previous night, glowing under the lights as he accepted the Album of The Year award for his debut album +44 (along with Best New Artist, Best Progressive R&B Album and Best R&B Performance ), finally accepted and validated by his peers, George couldn't have felt prouder.

He'd never set out to be a personal assistant, but his organisational skills and his eye for detail had made it a perfect fit for him. It never felt like a chore, instead he felt privileged to be part of the inner circle. In awe of the other man's abilities, but an integral cog in the machine making sure everyone else got to appreciate them too.

To him he wasn't XNDA, global music superstar and icon in the making. To him he was just Lewis. They were friends but more than that they were a team. A deep, complex understanding of each other that had been borne of hours on the road in enforced company. Learning to work together but also learning how to support each other. They had boundaries, although George was somewhat concerned that what had transpired after Lewis invited him into his hotel room to celebrate and delivered a sweet, heartfelt and maybe somewhat tipsy thank you speech to him, had maybe crossed those. He hoped not irreversibly.

George slid slowly from between the soft sheets, rolling his neck and relishing in the soft click. He felt a scratching sensation across his stomach, glancing down in confusion. A tut of disgust escaped his lips as he peeled a torn condom foil from his abdomen, his skin still sticky with dried champagne and, he was sure, "other residue".

He padded softly across the floor, scooping up his discarded boxers from where they were hooked across the back of the armchair, unable to hide his smirk as a vignette of the previous night reappeared in his mind. Deep in the throes of...passion? Lust? Ill-advised drunken stupor? He wasn't quite sure which yet, but the gorgeous sight of Central Park and New York at night had served as a beautiful backdrop that even his hangover couldn't quell the memory of.

George collected his other remaining clothes, balling them up into his arms as he tiptoed across to the bathroom, stepping over at least two used condoms on his way. He paused in the doorway, glancing back at the bed and sighed, taking in one last look at Lewis still sleeping peacefully in the sheets and knowing that when he came back out, last night had to be consigned to history and it was back to reality.

It had to be. For his sanity at least.

He locked the bathroom door behind himself and groaned, dropping his clothes down on the tiled floor, resisting the urge to drop down and join them. The shower cubicle on the other side of the room was ridiculously large, in keeping with the rest of the room, and he fiddled with the water taps, trying to get the temperature just right.

He caught sight of himself in the large mirror, his hips mottled with the soft bruise of fingertips. His collarbone littered with the purple mark of hickeys. He was pretty sure he had a turtle neck in his suitcase, provided he could get to it without anyone seeing.

The shower had done nothing to ease his mind, seemingly incapable of slowing the racing thoughts through his brain or of banishing them entirely. The dull throb in his forehead persisted and he wasn't sure anymore if it was a hangover or just the sheer amount of over thinking his brain was doing.

As he pulled the previous night's clothes back on, the soft wrap on knuckles against the door broke him from his procrastination.

"George?" Lewis' voice was soft, laced with an evident concern. "Are you in there?"

George swallowed down a smirk. Any other day he'd have shot back with a sarcastic jibe, but right now it didn't seem the time. He fumbled with the lock and pulled the door back, plastering on a smile.

"Hey," He croaked, the sight of Lewis in his boxers suddenly far more distracting than he'd realised previously. He grabbed his phone from his pocket and began tapping on the screen, bringing up the day's itinerary. "You'll be happy to hear I planned ahead for you winning." He announced, his smile widening as he walked back into the room. "We have a late start. Nothing planned until 1. Toto's in town as well and wants to meet up so I booked Carbone. You have the interview for radio at 3 and then we fly back to London at 7 but need to be at the airport by 5."

"George."

Lewis' tone had changed, more stern than before. George turned back to face him.

"We need to talk about last night." The older man sighed, stepping across the room but leaving a noticeable gap between them.

"Do we?" George mumbled, dropping his arms to his sides, his feet suddenly becoming incredibly interesting. Lewis tutted, sinking down onto the end of the bed.

"Yes." He insisted firmly, seemingly undeterred about having this conversation dressed only in a tight pair of black Calvin Kleins. "Neither of us were exactly sober last night and I don't want to think I overstepped or..." He tailed off, twiddling his fingers together. "I need to know that I didn't..."

George suddenly realised what he was getting at.

"Oh... bloody hell... Lewis, no." He muttered, stepping closer and closing the gap, the words rushing out of his mouth in his haste to diffuse any misunderstanding. "I'm totally fine with everything that happened last night. You have nothing to worry about." He mumbled, his lips pulling into an awkward smile. "I had fun."

It felt dangerous to admit the full extent of how much he'd enjoyed it. It felt like career suicide to admit he'd maybe even... wanted it? He still couldn't process quite where those thoughts had come from

Lewis glanced up at him with a nod, his lips slowly pulling into a matching devious smile. "Yeah, I did too." He swallowed heavily. "I don't think we should do it again though." He added frankly.

"Oh god no. Definitely not." George agreed with a nervous chuckle, happy to agree to whatever scenario would make things the least awkward. Just two friends doing something dumb together. No complications.

"Okay, well... that's good." Lewis nodded, rising to his feet and grabbing a towel from the sideboard and making towards the bathroom. He stopped suddenly, turning back. "Oh, before I forget." He bit his bottom lip. "I'm really sorry to do this, but I'm going to need you to sign that." He sighed, gesturing towards the desk, a piece of paper laid out with a pen placed neatly on top.

George stepped towards it, his heart sinking as he saw what it was, recognising it instantly. An NDA. He'd stood by enough times as he'd watched other people sign them. He'd smiled awkwardly at all manner of people, trying to hide his own discomfort as they'd signed it all away for just one night with Lewis. He'd just never figured he might be one of those people himself.

"Yeah, sure." He mumbled, waving a dismissive hand in the air. He wanted to seem as cool about the whole thing as possible. "I'll sort it out."

Maybe it was going to be awkward after all.

[aacehypez]

Central Music Awards 2022 Winners

Central Music Awards 2022 Winners The official list of winners at the 11th edition of Central Music Awards 2022. The annually organized award scheme is aimed at recognizing and awarding hardworking and deserving musicians in the region. This year’s edition took place at the Glitz Hotel on Saturday, 26th November 2022 with patrons from all over the region. Here is the full list of winners… BEST…

[brian-in-finance]

Instagram

•••••

•••••

WHAT THE STARS ARE SAYING

Check out why so many famed actors use Backstage

Trusted since 1960

Founded in 1960, Backstage has a storied history of serving the entertainment industry. For over 60 years Backstage has served as a casting resource and news source for actors, performers, directors, producers, agents, and casting directors.

Over that time, Backstage Magazine has also appeared on numerous TV shows, such as “Mad Men,” “Entourage,” “Glee,” “Oprah,” NBC's “Today” show, Comedy Central's “@Midnight”, NY1's “On Stage,” and “Saturday Night Live,” as well as multiple mentions on shows like “Inside the Actor’s Studio,” “Girls,” and appearances in films such as “13 Going on 30,” the Farrelly brothers' “Stuck on You” and Spike Lee's “Girl 6,” and even a mention in Woody Allen's short-story collection “Mere Anarchy” and Augusten Burroughs' novel “Sellevision” – and Backstage has received accolades from multiple Academy Award-, Emmy-, and Tony-winning actors and directors. (Plus, the hit musical “The Last Five Years” even includes Backstage in its lyrics: “Here's a headshot guy and a new Backstage / Where you're right for something on every page.”)

CAITRÍONA BALFE

ACTRESS

"I still get Backstage emails 'cause I still subscribe to Backstage. [Backstage is) kind of the Bible in the beginning, which is amazing. Samuel French and Backstage go hand in hand, you know? You go there for your plays when you're in classes, and then you get your Backstage."

Backstage 1

•••••

Brian’s Note: The following story originally appeared in April 2015. Most recent update is December 2020.

The Gorgeous Determination of Caitríona Balfe

Caitríona Balfe is on the move. That's been true most of her adult life— especially the 10 years she was modeling for Victoria's Secret, Dolce & Gabbana, and others—but as she sits on the rooftop patio of a West Hollywood hotel in mid-March, she mentions that she's pulling up stakes from Los Angeles.

"It just feels silly to have an empty place for 10 months until I figure out what I'm doing with my life," the Irish-born actor says. "I've rented the same place for the last four years and now I have to give it up." Her apartment is being razed to put in condos, but her departure from L.A. is extra poignant considering this is the city where Balfe journeyed when she decided to put aside that successful modeling career and focus on the vocation she'd always wanted: acting.

Photo: Luc-Richard Elie

"I've moved so much since I was 18," she says. "I mean, l've lived so many places. New York, I lived in for almost eight years [while modeling], and that's been the longest of anywhere since I left Ireland. But L.A. is where I came and said, 'OK, this is what I wanna do with my life.' "

She refuses to think of her move as a permanent one, though. "I'll be back," she declares, "but it feels really sad. My little apartment, it's got so many memories."

Balfe's sadness is no doubt mitigated by the fact that part of her need to move is due to the precipitous rise in her fortunes. She'll soon be flying to Scotland to shoot the second season of "Outlander," which returns to Starz April 4 to conclude Season 1.

When last we saw Balfe's Claire, the resourceful British nurse who comes home after World War |I only to be inexplicably teleported into the 18th-century Highlands, she was half-naked with a knife to her breast. Don't worry: Claire will get out of that scrape, but more perils await-to say nothing of the emerging multi-era romantic triangle developing between her, the Scottish warrior Jamie Fraser (Sam Heughan), and her 20th-century husband, Frank Randall (Tobias Menzies), who wonders where she's gone.

Based on the much-beloved Diana Gabaldon novels and developed for television by "Battlestar Galactica" rebooter Ronald D. Moore, "Outlander" is an ostensibly lush period-piece-within-a-period-piece drama that's consistently richer and thornier than its romance-novel trappings suggest. And much of the credit goes to Balfe, who had managed small parts in films such as “Super 8” and “Now You See Me” before landing the central role in this adaptation.

In person, Balfe is far less imposing than the steely Claire, who has to weather the dangers of being a woman in sexist, violent Scotland in the 1740s. Cast late in the preproduction of “Outlander”—Moore has mentioned in interviews how hard it was to find the right Claire—she didn’t have time to consider what the role would do to her life. “I’m so bad on social media," she confesses on this warm afternoon, nestled underneath a cabana. "I had set up an account on Twitter maybe a year or so before I got this job and had, I thought, a lot of followers — 250 or something, and most of them are my friends. Within about a month or two, it was thousands of people — and my phone, I didn't know how to turn off the alerts, so it was just going all the time. That was the beginning of the awareness."

Growing up in the small Irish community of Monaghan, Balfe had considered acting from an early age. ("I was devastated that I wasn't a child actor," she says, smiling. But after traveling to Dublin to study theater, she changed course once she received an offer to model. It wasn't a secret passion of hers, but who turns down a trip to Paris? "My parents felt that I should finish college," Balfe recalls, "but l'm slightly headstrong, so l took their advice and I completely ignored it."

Over the next decade, she lived in France, Italy, Germany, and Japan, her modeling inexperience hardly a detriment. "You'd be amazed how little information or training goes into it," she says. "When I first arrived in Paris, I was told to take a bus to the office. I left my suitcase — I barely spoke any French — and someone took me across the street, helped me buy a Carte Orange. They printed out five addresses that I had to go to that day, and then they sent me off." She still remembers at 18 riding the subway alongside 16-year-old aspiring Russian models, who knew no French or English, homesick and sobbing their eyes out. "That was just the way it was," says Balfe. "You become pretty tough. When I went to Japan, it was similar: They would drive you to their castings, but the minute you got a job, it would be like, 'Here's an address, here's a map. Good luck.' They don't have signposts in English in Japan, so the map and the address are not always very helpful."

Hear Balfe recount her early misadventures in modeling and you can't help but think of Claire, who's equally thrown to the wolves once she arrives in the 18th century amid people wary of the English in general and assertive women in particular. "Honestly, l've been in so many situations in my life where you just are completely displaced," Balfe says. “You have to adapt very quickly and figure it out. I definitely think that informs Claire a lot. It helped me understand her."

Did moving to Paris at such a young age teach Balfe that she can cope in any circumstance? "I think I didn't really realize that until many years later," she replies. "I have a great knack of not thinking about things and just going for it. You learn the hard way sometimes that you're able to get through, but sometimes it's quite tough when you're in a situation where you don't know anyone and you're trying to find your way around cities. But if an opportunity presents itself and it seems like a good idea, l'm just like, 'OK, let's do it, then I'll figure it out.'”

The decision to reconnect with her acting ambitions was conducted just as boldly. Ready to quit modeling, she moved to Los Angeles because a writer she was dating lived there. He was the only person she knew, but she had read a Vanity Fair interview with Amy Adams in which she said she trained with Warner Loughlin. "I could walk to that place from my ex-boyfriend's house," she says, "so l was like, 'Well, I'm gonna go there because I can't really drive. I started from scratch. I didn't have any managers, I didn't know any agents, I hadn't acted in almost a decade." But she just kept taking classes, moving from Loughlin to the studios of Sanford Meisner and Judith Weston. "I think when I first got here, I had a nice little air of delusion: 'It's gonna work out,'" she says with a laugh. “You just don't know how."

And then came "Outlander." By email, Moore admits that he didn't know Balfe's work until her audition tape came unsolicited to his office from her agent. Once she was chosen for Claire, he made it clear how demanding the job would be. “I told her in our first meeting that this was going to be an even bigger responsibility and workload than the normal TV lead," he writes. "Because the story was being told from Claire's point of view, Cait was going to be in every scene, every day for months, which is an extraordinary amount of work, far beyond what most actors are ever asked to do."

Moore's warning didn't faze Balfe. Writes Moore, "After she met with the president of Starz... and it was clear that she was going to land the role, I walked her to the elevator and just before the doors closed on her, I said 'Your life is about to change forever,' and she gave me a grin that was both thrilled and slightly nervous. I never saw her hesitate after that."

She's never hesitated before. As Balfe prepares to say goodbye to L.A. (for now, she thinks back to her early days in the city, trying to convince casting directors that she was more than just a model. "I went on many, many, many, many auditions that were Hot Girl No. 2 — you wanna shoot yourself," she says, laughing. "But, you know, I'm very lucky that l was even getting those auditions in the beginning. And it toughens you up. At least for me, to have that fuel to prove people wrong—it definitely spurs me on and makes me wanna work harder." Then she smiles conspiratorially. "And shove it to them."

Backstage 2

Remember… I told her in our first meeting that this was going to be an even bigger responsibility and workload than the normal TV lead. — Ronald D Moore

[theholmwoodfoundation]

THE HOLMWOOD FOUNDATION PILOT EPISODE CAST/CREW - PART ONE

REBECCA ROOT - MADDIE TOWNSEND/MINA HARKER

Rebecca trained at Mountview Academy of Theatre Arts. Theatre credits include A Midsummer Night’s Dream at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time for the National Theatre (UK and Ireland tour); Rathmines Road for Fishamble at the Abbey Theatre, Dublin; Trans Scripts at the Edinburgh Festival Fringe and American Repertory Theater in Cambridge, Massachusetts; The Bear / The Proposal at the Young Vic; and Hamlet at the Gielgud Theatre and Athens International Festival. TV, Film and Video Game credits include Monsieur Spade, This Is Christmas, Irvine Welsh’s Crime, Hogwarts Legacy, Horizon Forbidden West, Heartstopper, Annika, The Rising, Sex Education, The Gallery, The Queen’s Gambit, Finding Alice, Creation Stories, Last Christmas, The Sisters Brothers, Colette, The Danish Girl, Flack, The Romanoffs, Moominvalley, Hank Zipzer, Boy Meets Girl, Doctors, Casualty, The Detectives, and Keeping Up Appearances.  Radio credits include Clare In The Community, Life Lines, The Hotel, and 1977 for BBC Radio 4. Guest appearances include Woman’s Hour, Front Row, Loose Ends, Saturday Live, and A Good Read.  She plays Tania Bell in the award-winning Doctor Who: Stranded audio dramas. Rebecca has also recorded numerous documentary narrations, audiobooks, and voice-overs. Rebecca is also a voice and speech coach, holding the MA in Voice Studies from Royal Central School of Speech and Drama.

SEAN CARLSEN - JEREMY LARKIN/ JONATHAN HARKER

Born in South Wales, Seán trained at the Royal Welsh College of Music & Drama. He has worked extensively in audio drama, television, theatre and film.  Seán is perhaps best known to Doctor Who fans as Narvin in the Doctor Who audio series Gallifrey and has appeared on TV in Doctor Who - The Christmas Invasion and Torchwood. Recent TV credits include Mudtown (BBCiplayer/S4C), Dal y Mellt (Netflix), His Dark Materials (BBC1), All Creatures Great and Small (Channel 5), A Mother's Love (Channel 4) and Series 5 of Stella (Sky1).  Films include supporting leads in Boudica - Rise of the Warrior Queen, cult horror The Cleansing,  the lead in Forgotten Journeys and John Sheedy’s forthcoming film ‘Never Never Never’

SAM CLEMENS - ARTHUR JONES

Samuel Clemens trained at the Drama Centre London and is an award-winning director with over twenty years’ experience. Samuel has recently written and directed his debut feature film ‘The Waterhouse’ with Take The Shot Films & Featuristic Films and represented by Raven Banner Entertainment, which is due for release this coming year.  In addition, he has directed fourteen short films, winning awards all over the world including shorts ‘Surgery (multi-award winning), A Bad Day To Propose (Straight 8 winner 2021), Say No & Dress Rehearsal’. Samuel also directs critically acclaimed number one UK stage tours and fringe shows (Rose Theatre Kingston, Swansea Grand, Eastbourne, Yvonne Arnaud, Waterloo East Theatre) and commercials include clients JD Sports, Shell and Space NK. Samuel is also a regular producer and director for Big Finish Productions & Anderson Entertainment. He has cast, directed, produced and post supervised numerous productions of ‘Doctor Who – (BBC), The Avengers (Studio Canal), Thunderbirds, Stingray (Anderson Entertainment), Callan, Missy, Gallifrey’& Shilling & Sixpence Investigate’ and many more. Samuel has directed world class talent such as, Sir Roger Moore, Ben Miles, Tom Baker, Sylvester McCoy, Alex Kingston, Frank Skinner, Rita Ora, Rosie Huntingdon-Whiteley, Rufus Hound, David Warner, Celia Imrie, Samuel West, Youssef Kerkour, Sophie Aldred, Ian McNiece, Colin Baker, Olivia Poulet, Stephen Wight, Jade Anouka, Mimi Ndwendi, Michelle Gomez, Peter Davidson, Paul O’Grady and many more. Samuel is one of the founding members and directors at Take The Shot Films Ltd and is Head of Artistic Creation and Direction. Lastly, Samuel is a regular tutor at The London Film Academy, The Giles Foreman Centre for Acting & The Rose Youth Theatre and is a member of The Directors Guild UK. As for upcoming projects, Sam is currently in pre-production on his next feature film “On The Edge of Darkness”, which is based on his dad’s stage play “Strictly Murder”.

ATTILA PUSKAS - DRACULA

Attila Puskás is a native Hungarian Voice Actor born in Transylvania – Romania, so Romanian is in his bag of tricks too, but most of his work is done in English, in a Transatlantic Eastern European Accent, but is quite capable of Hungarian, Romanian and International Eastern European accents, plus Standard American. His voice range is Adult to Middle Aged (30-40+) due to his deep voice. Vocal styles can range from authoritive, brooding to calming and reassuring and much more. He’s most experienced in character work, like Animations and Games, but his skills encompass Commercials to Narration as well. He’s received training through classes and workshops, pushing him to the next level to achieve higher standards. Now on a journey to perfect these skills and put them to good use!

PART TWO: HERE

PART THREE: HERE

[doyoulikethissong-poll]

Daft Punk - Around the World 1997

"Around the World" is a song by French electronic music duo Daft Punk. It was released in April 1997 as the second single from their debut studio album, Homework. The song became a major club hit globally and reached number one on the dance charts in Canada, Spain, the UK, and the US. It also peaked at number one in Iceland and Italy. The song's lyrics solely consist of the words "around the world", repeated on loop for a total of 144 times (80 on the radio edit). In October 2011, NME placed it at number 21 on its list "150 Best Tracks of the Past 15 Years". "Around the World" was featured in one episode of first season of MTV animated series Daria. It was also used in the video games Dance Central 3, NBA 2K13 and the trailers for Ubisoft E3 2007 Rayman Raving Rabbids 2.

Michel Gondry's music video for the song features five groups of characters on a platform representing a vinyl record: four robots walking around in a circle; four tall athletes wearing tracksuits with small prosthetic heads walking up and down stairs; four women dressed like synchronized swimmers moving up and down another set of stairs; four skeletons dancing in the center of the platform; and four mummies dancing in time with the song's drum pattern. This is meant to be a visual representation of the song; each group of characters represents a different instrument. According to Gondry's notes, the robots represent the singing voice; the physicality and small-minded rapidity of the athletes symbolizes the ascending/descending bass guitar; the femininity of the disco girls represents the high-pitched keyboard; the skeletons dance to the guitar line; and the mummies represent the drum machine.

"Around the World" was Gondry's first attempt at bringing organized dancing to his music videos. "I was sick to see choreography being mistreated in videos like filler with fast cutting and fast editing, really shallow. I don't think choreography should be shot in close-ups." The sequence, initially developed by Gondry, was further expanded and streamlined by choreographer Blanca Li.

The music video won Best Dance Video at the International Dance Music Awards, and was nominated for Best Video at the MTV Europe Music Video Awards, and nominated for International Viewer's Choice - MTV Europe at the MTV Video Music Awards. The song was nominated for Best Dance Recording at the Grammy Awards.

"Around the World" received a total of 81,7% yes votes!

[mariacallous]

Classical music lovers can debate for hours over which Mozart melody has made the biggest impact. Maybe the first movement of the “Jupiter” symphony, perhaps the Queen of the Night aria from The Magic Flute, or what about the “Eine kleine Nachtmusik” serenade? Those who know the great 18th-century Austrian composer only through the movies have an easier time of it—the sound they’ll remember best may not be music after all but the whinnying, immature, and disobedient laugh heard throughout Milos Forman’s masterpiece Amadeus.

Amadeus, commonly accepted to mean “beloved by God,” was not technically part of Mozart’s name. (He was baptized as Joannes Chrysostomus Wolfgangus Theophilus Mozart, with Theophilus having a similar translation.) After his death, however, the moniker stuck as a way to venerate him. It’s perfect for the title of this movie, in which rival composer Antonio Salieri allows his jealousy over Mozart’s genius to build into a personal war against God. But expanding on some fudged truth is also in keeping with the spirit of the entire project, as the movie’s central conflict is almost entirely made up. (Even better, then, that the original trailer featured the tagline “Everything you’ve heard is true.”)

Based on a Tony-winning play by Peter Shaffer (inspired by a short 1830 play written by Alexander Pushkin, itself inspired by gossip that Salieri was somehow to blame for Mozart’s early death), Amadeus is celebrating its 40th anniversary this year. As such, a new 4K restoration is screening in specialty theaters across North America in advance of a new Blu-ray release. This, plus an eventual availability on streaming, is the first time the version that people originally saw back in 1984 will be available in years. (More on that in a bit.) An upcoming British television miniseries based on Shaffer’s play is in production currently, but we’re skeptical it will have the same magic.

The film’s story is told in flashback, with an old, institutionalized Salieri (played by F. Murray Abraham) “confessing” how he murdered Mozart (Tom Hulce). We are then witness to how Salieri, court composer to Emperor Joseph II (Jeffrey Jones), has his world turned upside down when Mozart bursts onto the scene. His musical instincts are on a level no mortal can comprehend and clearly, Salieri feels, handed down directly from above. But while Mozart’s work is divine, his demeanor is coarse and bratty, which turns Salieri’s understandable envy into an existential rage.

As the winner of eight Academy Awards, including best picture, best director, and best actor for Abraham’s Salieri, Amadeus’s legacy is secure, but any excuse to get more people to see this perfect film is a good one. I can personally report that not one, not two, but three millennial friends of mine came to this movie kind of dragging their feet, watching it only out of an obligation to check every Oscar winner off their list. Each one of them was blown away with just how funny and poignant and entertaining it was.

“I thought this would be boring, not bitchy!” one pal beamed after a recent screening I hosted with Paul Zaentz at New York’s Paris Theater. That energetic spark is evident in the script but catches fire in the movie thanks to its director. Forman’s resumé is one of the best from the 20th century, but Amadeus is something special, not just because it is about a maverick artist who has to do things his way (a recurring theme in both Forman’s life and work) but because the expatriate who fled communist-era Czechoslovakia to follow his calling was able to shoot the movie in Prague and Kromeriz. As Mozart cackled in the face of propriety, so Forman was able to poke his thumb in the eyes of those who had previously censored him.

Forman was born in the town of Caslav in 1932. Both of his parents died in Nazi concentration camps. He attended a school for war orphans where he befriended future filmmaker Ivan Passer and playwright-turned-politician Vaclav Havel. He began working on documentary crews and eventually made short films of his own that blended fact and fiction, getting better material from non-actors than trained professionals. His first feature, Black Peter (1964), focused on a timid teenager, and its follow-up, Loves of a Blonde (1965), was a similarly naturalistic look at awkward romance. Its deadpan, somewhat bleak style ran counter to the splashy films coming out of Italy and France at the time. Both films are early entries to what became known as the Czech New Wave, leading to Forman’s first bona fide masterpiece, The Firemen’s Ball (1967).

While The Firemen’s Ball—Forman’s first film in color—was understood to be a grand metaphor for the inefficiency of the political system at the time, one doesn’t have to know a damn thing about Eastern Bloc history to respect it as an iconoclastic farce not dissimilar from something like South Park. It was immediately banned in Czechoslovakia, but it and Loves of a Blonde were both nominated for best foreign language film at the Oscars.

Forman was in France raising funds for his next project during the Soviet invasion of Prague in August 1968. He was fired from his Czech production company and ended up emigrating to the United States. His first Hollywood film was the 1971 counterculture farce Taking Off (in which square, bourgeois parents try to get groovy with their kids, to embarrassing effect), which led to one of the most influential movies of the 1970s, One Flew Over the Cuckoo’s Nest.

After the anti-authoritarian Cuckoo’s Nest—which won five Oscars, including best picture, best director, best actor for Jack Nicholson, and best actress for Louise Fletcher—came his adaptations of the musical Hair (1979) and E.L. Doctorow’s novel Ragtime (1981). With that all under his belt and his hands on the rights to Schaffer’s hot play Amadeus, Forman went back to Prague in triumph.

Amadeus is set mostly in Vienna; still, Prague, which was generally left intact after World War II, certainly looks good on camera. And Prague was also an important city for Mozart. He made two lengthy visits there and found a very welcoming audience. Indeed, he wrote Don Giovanni with the intention of premiering the opera in Prague, which he did at the Estates Theatre in 1787. And it was at the Estates Theatre where Forman filmed many of the movie’s best scenes—ones of Mozart conducting opera, filmed with the alacrity and exuberance normally reserved for an action-adventure sequence. (The use of pyrotechnics in the Don Giovanni scenes caused a lot of worry on set, what with the old theater’s interior being mostly wood.)

Shooting a Hollywood movie behind the Iron Curtain naturally had some hardships. (Fruit and fresh vegetables, rarities at the time, needed to be trucked in from West Germany.) Given Forman’s background, the eyes of the state were on them. During that recent New York screening, Zaentz, who worked as a production coordinator on the project and is also the nephew of film producer Saul Zaentz, said secret police were essentially hands-off, except for one time. During off-hours, some members of the crew would hang out and watch VHS tapes of Hollywood movies and were unaware that some of those titles had been banned. The company was soon requested to keep to only approved films.

Perhaps more poignant was when they were shooting on the Fourth of July during one of the opera scenes. The Czech crew surprised Forman and the actors during one take. Expecting to hear the music of Mozart play back from a PA system, some well-wishers instead cued up “The Star-Spangled Banner” while others unfurled an enormous American flag. Everyone stood up and sang along, except, according to Forman, the 30 or so secret police who had been dispersed among the extras.

One can easily read the moment as a victory for Forman. Alas, Mozart’s fate was a little different. Though no one knows for sure why he died at the young age of 35—other than the fact that every case of the sniffles had graver implications back in 1791—the movie shows how Mozart’s queasiness with authority shaped him as a hand-to-mouth freelancer and how his lack of a permanent position and persistent money woes were bad for his health. After Amadeus, Forman continued to make movies about troubled-yet-visionary mavericks: Andy Kaufman in Man on the Moon (1999), Francisco Goya in Goya’s Ghosts (2006), and, um, Larry Flynt in The People vs. Larry Flynt (1996).

As for the Salieri yarn? There’s no historical evidence to suggest that the two composers weren’t just colleagues. (It’s true that Mozart did have a paranoid streak and maybe did think that “the Italians” at court had it in for him.) Salieri certainly did not live in chastity out of some pledge to God in exchange for musical inspiration. Indeed, he had eight children. He was also plenty famous at the time of his death and, later in life, was a tutor to Mozart’s youngest son. Nevertheless, no one should let reality get in the way of watching this incredible movie.

This 40th anniversary rerelease is especially exciting for old-school Amadeus-heads as it restores the 160-minute theatrical cut. All one can find out there now is the “director’s cut,” which is 20 minutes longer. As Zaentz explained to me, that version came out in 2002 during the first DVD wave, when home-video distributors were loading up packages with deleted scenes. Rather than have isolated bonus chapters, Forman decided to just release the longer version instead, though never really considered it the definitive cut. However, over time it became the only version in circulation.

While the longer version has a few splendid moments (some backstage zings with Christine Ebersole as Caterina Cavalieri), it also contains one scene that I am happy to see once again excised. In it, Salieri goes a wee bit too far and humiliates Mozart’s wife, Constanze (Elizabeth Berridge). It’s important for Salieri to be a scheming twerp but also someone who still holds your sympathy. The controversial scene only found in the director’s cut pushes him too far into the role of villain.

So sometimes edits are important! It is said that Mozart never revised, that he took dictation from God. As with so much else about the man, the truth is a little different.

[diceriadelluntore]

Storia Di Musica #340 - INXS, Kick, 1987

La band di oggi, a metà anni '80, era tra le più famose del mondo. Ma credo che anche all'epoca pochissima sapessero che il nucleo centrale di questo gruppo australiano fosse formato da tre fratelli. tutto inizia a Perth, nel 1979: i fratelli Farris, Tim, Andrew e Jon che avevano già un gruppo dal nome, inequivocabile, di The Farris Brothers, aggiungono al nucleo fondativo Kirk Pengilly, Garry Beers e un cantante, amico di liceo di Tim, Michael Hutchens. Si spostano a Sydney, dove cambiano nome in INXS ( da leggere come "In Excess") dove ottengono un contratto con una piccola etichetta indipendente, la Deluxe, con cui pubblicano il primo singolo, Simple Simon. Erano gli anni della pulizia dal rumore del punk, dell'arrivo della elettronica "dolce" e della new wave. È in questo solco che la band si muove, ma si apre in maniera piuttosto originale al funk e a piccoli innesti dance. All'inizio concentrano le energie nella nativa Australia, dove ottengono un buon successo con il loro primo disco, del 1980, intitolato INXS, che si ripete nel 1981 con Underneath The Colours, con la prima hit, una cover di un classico della musica australiana coverizzato, The Loved One, successo del 1966 dei The Loved Ones. Nel 1982 tentano il grande salto. Vanno in Inghilterra, dove li scrittura la WEA e la Atlantic li distribuisce negli Stati Uniti. Shabooh Shoobah del 1982 ha il primo singolo di successo mondiale, Don't Change, e il seguente tour internazionale al seguito di The Kinks e Adam And the Ants li fa conoscere in mezzo mondo. Nel 1984 ancora maggiore successo ottiene The Swing, trascinato dal singolo Original Sin, prodotto da Nile Rodgers. Il successo è sempre crescente: nel 1985 partecipano da Sydney al Live Aid, nel 1986 suonano con i Queen alla Royal Albert Hall, Hutchens addirittura esordisce come attore protagonista in Dogs In Space, film che lo vede interpretare Sam, il frontman avvezzo alla sostanze di una band post punk nel 1978 a Melbourne.

Dopo un tour lunghissimo, e con il management che ne programma uno nuovo in Europa, la band torna in studio. Guidati dal produttore Chris Thomas, uno dei grandi produttori inglesi (a lavoro con The Beatles, Pink Floyd, Procol Harum, Roxy Music, Badfinger, Elton John, Paul McCartney, Pete Townshend, Pulp, The Pretenders) le prime prove avvengono addirittura nella spettacolare Sydney Opera House. Il suono è più maturo, gli innesti da altri generi eclettici, i riff invidiabili e la voce di Hutchens è ormai una garanzia. Thomas però vorrebbe più canzoni, anche in previsione dell'atteso e imminente tour europeo, quindi manda Hutchens e Andrew Farris a Honk Kong, dove i due acquistarono un appartamento. Un giorno, mentre è in attesa di un taxi, a Andrew viene in mente una melodia, proprio mentre il taxi è arrivato. Chiede al tassista di aspettarlo cinque minuti, ma lui sale nel suo appartamento, scrive e registra i demo di una canzone, la riporta sulla cassetta e 45 minuti dopo, nonostante la furiosa cazziata del tassista, la porta a Hutchens che lo aspettava in un bar, e in dieci minuti ne scrive il testo, per quello che sarà il singolo di apertura, e hit mondiale, del nuovo disco.

Kick esce il 19 ottobre del 1987, un mese prima, il 21 Settembre, fu preceduto da quella canzone: Need You Tonight, dal ritmo funky, la voce sensuale di Hutchens e un bellissimo video musicale (che vinse nel 1988 5 MTV Video Music Awards) trascinano il brano in cima alle classifiche (primo negli Stati Uniti e secondo in Gran Bretagna) e proietta il disco e la band in una nuova dimensione. Tutte le canzone sono scritte dal duo Hutchens - Andrew Farris, che mediano tra il suono molto funk dei primi dischi a quello mainstream rock dei primi dischi a distribuzione internazionale. Più che altro, hanno il tocco magico di scrivere canzoni che diventano famose per come rimangono in testa: New Sensation, Devil Inside, Mystify, la toccante Never Tear Us Apart, la ripresa di The Loved One ne fanno un disco di grande qualità e di grande successo, con una serie di ganci musicali memorabile. Il disco venderà milioni di copie e li fa diventare rockstar.

Arriveranno anche al Festival di Sanremo del 1988, però perdono il tocco magico: nonostante tour seguitissimi, in studio perdono la magia e X (1990) e Welcome To Wherever You Are (1992) sono accolti con freddezza e non regalano grandi canzoni. Parallelamente, Hutchens diventa molto più famoso dell'intera band, complice anche la relazione con Paula Yates, giornalista musicale famosa per le sue interviste particolari fatte in programmi come The Tube o The Big Breakfast, dove intervistava gli artisti in un letto e dal 1986 al 1996 moglie di Bob Geldof. Hutchens pensa ad una carriera solista, ma il 22 novembre del 1997 viene trovato morto impiccato in una camera di Hotel in Australia. In un primo momento si scatenano le voci incontrollate di un tragico gioco erotico, in seguito un'inchiesta medico legale, contestata da Yates, accerta che la morte del cantante è suicidio, cosa che non interrompe minimamente il gossip sulla vicenda.

La band, scossa dall'accaduto, sostituirà per un tour celebrativo Hutchens con Terence Trent D'Arby (che fu amante di Paula Yates quando era ancora sposata con Bob Geldof), inaugurando il nuovo stadio Olimpico di Sydney, e nel 2000 alla chiusura dei Giochi Olimpici nella città australiana del 2000. La band continuerà in maniera discontinua anche a suonare dal vivo fino al 2012, ma senza mai arrivare alla qualità di questo disco. Ci sono da raccontare ancora due aneddoti: Hutchens era probabilmente molto simpatico, perchè era amico di tantissimi musicisti. Simon Le Bon dei Duran Duran, scrisse per lui prima della sua morte, Michael, You've Got A Lot To Answer For dall'album Medazzaland del 1997, canzone che Le Bon non è mai riuscita a cantare dal vivo per l'emozione. E Bono dedicò all'amicizia con Hutchens un brano molto famoso, Stuck In A Moment You Can't Get Out Of, da All That You Can't Leave Behind del 2000, che immagina un impossibile dialogo tra i due con Bono che cerca di convincere Hutchens a non farlo:

I never thought you were a fool

But darling, look at you

You gotta stand up straight, carry your own weight

These tears are going nowhere, baby