#john leroy duo

[3garcons]

John Leroy Duo at Albany Institute for History and Art June 2023

[jpbjazz]

LÉGENDES DU JAZZ

BILLY HIGGINS, ‘’SMILING BILLY’’

“Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

- Cedar Walton

Né le 11 octobre 1936 à Los Angeles, en Californie, Billy Higgins était issu d’une famille de musiciens. Élevé dans le ghetto afro-américain de Watts, Higgins avait commencé à jouer de la batterie à l’âge de cinq ans sous l’influence d’un de ses amis batteurs. À l’âge de douze ans, Higgins avait travaillé avec des groupes de rhythm & blues, notamment avec des musiciens comme Amos Milburn et Bo Diddley. Au début de sa carrière, Higgins avait également collaboré avec les chanteurs et chanteuses Brook Benton, Jimmy Witherspoon et Sister Rosetta Tharpe.

Surtout influencé par Kenny Clarke, Higgins avait aussi été marqué par Art Tatum et Charlie Parker. En octobre 2001, le chef d’orchestre John Riley du Vanguard Jazz Orchestra avait résumé ainsi les influences d’Higgins: “Billy dug the melodiousness of Max Roach and Philly Joe Jones, Art Blakey’s groove, Elvin Jones’s comping, Ed Blackwell’s groove orchestration, and Roy Haynes’ individualist approach.” Higgins avait hérité de son surnom de ‘’Smiling Billy’’ en raison du plaisir communicatif qu’il avait de jouer de la batterie.

DÉBUTS DE CARRIÈRE

Higgins, qui s’était rapidement intéressé au jazz, avait commencé sa carrière en se produisant avec différents musiciens locaux comme Dexter Gordon, Carl Perkins, Leroy Vinnegar, Slim Gaillard, Teddy Edwards, Joe Castro et Walter Benton. À l’âge de quatorze ans, Higgins avait rencontré le trompettiste Don Cherry. En 1953, le duo était parti en tournée sur la Côte ouest avec les saxophonistes George Newman et James Clay dans le cadre du groupe  The Jazz Messiahs.

En 1957, Higgins s’était joint au quartet de Red Mitchell qui comprenait également la pianiste Lorraine Geller et le saxophoniste ténor James Clay. Higgins avait d’ailleurs fait ses débuts sur disque avec le groupe de Mitchell dans le cadre d’une collaboration avec les disques Contemporary de Lester Koenig. Higgins avait quitté le groupe de Mitchell peu après pour se joindre à la nouvelle formation d’Ornette Coleman, aux côtés de Don Cherry à la trompette, de Walter Norris au piano, et de Don Payne et de Charlie Haden à la contrebasse. Higgins, qui avait commencé à pratiquer avec Coleman en 1955, avait fait partie du groupe du saxophoniste sur une base permanente de 1958 à 1959, participant notamment à l’enregistrement des albums ‘’Something Else’’ (février-mars 1958), ‘’The Shape of Jazz to Come’’ et ‘’Change of the’’ Century’’, tous deux enregistrés en 1959. Higgins avait également participé aux concerts controversés du groupe au club Five Spot de New York en novembre 1959. Commentant la prestation du groupe, le critique Jon Thurber du Los Angeles Times avait qualifié le concert d’un des événements les plus légendaires de l’époque. Thurber avait ajouté: ‘’The event crowded the room with every available jazz musician and aficionado.”

Higgins s’étant vu interdire l’accès des clubs de New York à la suite d’une altercation avec la police,  Higgins s’était joint au quintet de Thelonious Monk. Il était par la suite allé jouer avec le groupe John Coltrane en 1960.

Le 21 décembre 1960, Higgins avait de nouveau retrouvé Coleman dans le cadre de l’enregistrement de l’album controversé ‘’Free Jazz: A Collective Improvisation’’ mettant en vedette le double quartet de Coleman, composé de Coleman au saxophone alto, de Don Cherry à la trompette et au cornet, de Freddie Hubbard à la trompette, d’Eric Dolphy à la flûte, à la clarinette basse et au saxophone soprano, de Scott LaFaro et Charlie Haden à la contrebasse et de Higgins et Ed Blackwell à la batterie.

Devenu un des batteurs les plus en demande du monde du jazz, Higgins avait participé à plusieurs sessions pour les disques Blue Note dans les années 1960, principalement dans des contextes de hard bop. En 1962-63, Higgins s’était joint au groupe de Sonny Rollins avec qui il avait participé à une tournée en France. À la même époque, Higgins s’était également produit avec Donald Byrd, Dexter Gordon, Hank Mobley, Art Farmer, Jimmy Heath, Steve Lacy, Jackie McLean, Herbie Hancock et Lee Morgan.

Le jeu de Higgins à la batterie avait été particulièrement mis en évidence sur des enregistrements comme “Point of Departure’’ d’Andrew Hill, “Takin' Off’’ d’Herbie Hancock (qui comprenait le classique ‘’Watermelon Man’’), “Freedom Jazz Dance” d’Eddie Harris, ‘’Go !’’ de Dexter Gordon et “The Sidewinder’’ de Lee Morgan.

À partir de 1966, Higgins s’était produit régulièrement avec le pianiste Cedar Walton, avec il a enregistré plusieurs albums pour des compagnies de disques européennes jusqu'au milieu des années 1980.

DERNIÈRES ANNÉES

Après s’être fait désintoxiquer en 1971, Higgins avait formé le groupe Brass Company avec le  saxophoniste ténor Claude Bartee et le trompettiste Bill Hardman. Après s’être installé à Los Angeles en 1978, Higgins avait formé avec Walton et le le saxophoniste George Coleman le groupe Eastern Rebellion. À la fin des années 1970, Higgins avait également enregistré comme leader, faisant paraître des albums comme ‘’Soweto’’ (1979), ’’The Soldier’’ (1979) et ‘’Once More’’ (1980).

Dans les années 1980, Higgins avait également collaboré avec Pat Metheny et Slide Hampton. Tout en participant à des tournées internationales avec les Timeless All Stars et à des réunions avec Ornette Coleman et Don Cherry, Higgins avait eu un petit rôle dans le film de Bertrand Tavernier ‘’Round Midnight’’ aux côtés de Dexter Gordon en 1986. Il avait aussi fait partie du trio de Hank Jones. Toujours en 1986, Higgins avait fait partie du Quartet West de Charlie Haden, aux côtés d’Ernie Wax au saxophone et d’Alan Broadbent au piano. Après avoir connu certains problèmes de santé, Higgins avait été éventuellement remplacé par Larance Marable.

Très impliqué socialement, Higgins avait co-fondé en 1989 avec le poète Kamau Daáood le World Stage, un centre communautaire et culturel qui avait pour but de favoriser le développement de la musique, de la littérature et de l’art afro-américain. Le groupe, qui soutenait également la carrière de jeunes musiciens de jazz, organisait régulièrement des ateliers, des enregisrements et des concerts dans le quartier de Leimert Park à Los Angeles. Tous les lundis soirs, Higgins donnait des cours de batterie aux membres de la communauté. Higgins, qui s’intéressait particulièrement aux enfants, avait déclaré au cours d’une entrevue accordée au magazine LA Weekly en 1999:

"They should bus children in here so they can see all this, so they could be a part of it. Because the stuff that they feed kids now, they'll have a bunch of idiots in the next millennium as far as art and culture is concerned. I play at schools all the time, and I ask, 'Do you know who Art Tatum was?' 'Well, I guess not.' Some of them don't know who John Coltrane was, or Charlie Parker. It's our fault. Those who know never told them. They know who Elvis Presley was, and Tupac, or Scooby-Dooby Scoop Dogg--whatever. Anybody can emulate them, because it's easy, it has nothing to do with individualism. There's so much beautiful music in the world, and kids are getting robbed.’’

Également professeur, Higgins avait enseigné à la faculté de jazz de l’Université de Californie à Los Angeles (UCLA). Il avait aussi été très impliqué dans plusieurs activités en faveur de la conservation et de la promotion du jazz.

Toujours très en demande dans les sessions d’enregistrement, Higgins s’était produit sur une base régulière avec le saxophoniste Charles Lloyd de 1999 à 2001. Il dirigeait aussi ses propres groupes.

Atteint d’une maladie des reins, Higgins avait dû mettre sa carrière sur pause dans les années 1990, mais il avait repris sa carrière après avoir subi avec succès une greffe du foie en mars 1996, se produisant notamment avec Ornette Coleman, Charles Lloyd et Harold Land.

Billy Higgins est mort le 4 mai 2001 au Daniel Freeman Hospital d’Inglewoood, en Californie, des suites d’un cancer du foie. Il était âgé de soixante-quatre ans. Ont survécu à Higgins ses fils Ronald, William Jr., David et Benjamin, ses filles Ricky et Heidi, son frère Ronald, son gendre Joseph (Jody) Walker, son neveu Billy Thetford et sa fiancée Glo Harris. À l’époque, Higgins avait divorcé de sa première épouse Mauricina Altier Higgins.

Peu avant sa mort, Higgins avait joué le rôle d’un batteur de jazz dans le film ‘’Southlander’’ de Steve Hanft et Ross Harris.

Au moment de son décès, Higgins venait d’être hospitalisé pour une pneumonie et attendait une seconde greffe du foie. Dans son dernier numéro publié avant la mort de Higgins, la revue française Jazz Magazine avait lancé une campagne de souscription en faveur de Higgins, le batteur n’ayant pas des revenus suffisants pour couvrir ses frais médicaux. Deux ans avant sa mort, le saxophoniste Charles Lloyd avait témoigné de la santé fragile de Higgins en déclarant: ’’Billy Higgins a une santé précaire, et cette fragilité physique confère à son jeu une délicatesse unique. Jouer avec lui, c'est un peu comme jouer à la maison. Il y a une telle conjonction entre nous. Un seul regard suffit et le disque est enregistré.’’ Comparant Higgins à un maître zen, Lloyd avait ajouté: “everybody who plays with him gets that ecstatic high.” Rendant hommage à Higgins après sa mort, son collaborateur de longue date, le pianiste Cedar Walton, avait ajouté: “Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

Higgins avait livré sa dernière performance le 22 janvier 2001 dans le cadre d’un concert présenté au club Bones and Blues de Los Angeles. Le concert, qui mettait également en vedette les saxophonistes Charles Lloyd et Harold Land, avait pour but de soutenir la lutte d’Higgins contre le cancer du foie.

Reconnu pour son swing léger mais actif, son jeu subtil et raffiné et sa façon mélodique de jouer de la batterie, Billy Higgins avait collaboré avec les plus grands noms du jazz au cours de sa carrière, de Ornette Coleman à Don Cherry, en passant par Sonny Rollins, Cedar Walton, Herbie Hancock, Abudullah Ibrahim, Bheki Mseleku, Roy Hargrove, Pat Metheny, Charles Lloyd, Donald Byrd, Freddie Hubbard, Eric Dolphy, John Scofield, Thelonious Monk, Scott LaFaro, Cecil Taylor, Charlie Haden, Hank Jones, Dexter Gordon, Hank Mobley, Grant Green, Joe Henderson, Art Farmer, Sam Jones, Dave Williams, Bob Berg, Monty Waters, Clifford Jordan, Ira Sullivan, Sun Ra, Milt Jackson, Jimmy Heath, Joshua Redman, John Coltrane, Eddie Harris, Steve Lacy, David Murray, Art Pepper, Mal Waldron, Jackie McLean et Lee Morgan. Higgins avait également collaboré avec le compositeur La Monte Young.

Higgins a participé à plus de 700 enregistrements au cours de sa carrière, ce qui en faisait un des batteurs les plus enregistrés de l’histoire du jazz. Qualifiant le jeu de Higgins, le critique Ted Panken du magazine Down Beat avait commenté: "To witness him--smiling broadly, eyes aglimmer, dancing with the drum set, navigating the flow with perfect touch, finding the apropos tone for every beat--was a majestic, seductive experience." De son côté, le chef d’orchestre Larry Riley avait précisé: “Billy was a facilitator, not a dominator. He would enhance the direction the music ‘wanted’ to go in rather than impose his own will on the composition. You can hear that Billy was a master at creating a good feeling in the rhythm section. Dynamically, he used the entire spectrum— but with great restraint. His comping and overall flow were very precise but very legato.”

Higgins, qui avait surtout appris son métier en utilisant une approche d’essais-erreurs, avait résumé ainsi sa méthode d’apprentissage:

“That’s where you learn. You learn to be in context with the music and interpret. You make your mistakes and you learn. Most of the drummers that are working are people who know how to make the other instruments get their sound. Kenny Clarke was a master at that. It sounds like he was doing very little, and he was, but what he implied made all the instruments get their sound. Philly Joe, Elvin—as strong as they played, they still bring out the essence of what the other musicians are playing. Roy Haynes, Max, Art Blakey—none of them played the same. You try to add your part, but the idea is to be part of the music and make it one. That’s the whole concept for me.” 

Décrivant la contribution d’Higgins à l’histoire du jazz, le contrebassiste Ron Carter avait ajouté: “Billy Higgins was the drummer of the 20th century who put the music back into the drums. He was fabulous. He always played the form, and he was aware not only of the soloists, but also of his rhythm section mates.” Saluant le professionnalisme et la grande préparation d’Higgins, Carter avait précisé: “He was always on time, with his equipment ready, and he contributed to the general outlook of the group no matter where [we were] or how many people were involved. He made the music feel good.” De son côté, le pianiste Cedar Walton avait commenté: “His style is well-documented, but to see Billy in person at his drums was the ultimate jazz experience.”

Billy Higgins avait été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 1997. En 1988, Higgins avait également remporté un prix Grammy conjointement avec Ron Carter, Herbie Hancock et Wayne Shorter pour la composition “Call Sheet Blues” tirée de la bande sonore du film ‘’Round Midnight.’’ Par la suite, Higgins avait fait partie du Round Midnight Band avec le saxophoniste Dexter Gordon.

Le saxophoniste Charles Lloyd avait rendu un des meilleurs hommages qu’on pouvait rendre à Higgins lorsqu’il avait déclaré: "Jazz is the music of wonder and, and he's the personification of it.’’ Higgins s’était toujours considéré comme un peu privilégié d’avoir pu faire une carrière musicale. Comme il l’avait mentionné peu de temps avant sa mort: "I feel blessed to play music, and it's also an honor to play music. You've got a lot of people's feeling in your hands."

[cosmocorvid]

History Short (tbh this one is kinda long ngl) # 3: Josh White and McCarthyism

Howdy folks, in this installment of "History Shorts" I'll be discussing one of my favorite guitarists of the folk revival era. The supremely underrated Josh White.

Biography:

Born in Greenville, South Carolina on February 11, 1914, Josh started singing in his church choir at the age of five. While a standard upbringing for the time, it would not last long. Josh's father would throw a white bill collector out of his house in 1921 for spitting on their floor and would be beaten nearly to death. He would then be imprisoned in a mental institution where he would die. Josh would leave his home and travel with a local street singer named "Blind Man Arnold" two months after this. Josh would lead Arnold around the south while collecting coins from his performances and Arnold would send two dollars ( 31 dollars now) to Josh's mother. Eventually Josh would learn to dance, sing and play the tambourine and have his services rented to other blind singers such as Blind Blake and Blind Joe Taggart. These singers would keep Josh shoeless and generally disheveled to attract sympathy from onlookers. The look of poverty wasnt far off from Josh's reality in which he slept in cotton fields and horse stables on an empty stomach. From these musicians he learned to play guitar in their respective styles and his skill was finally recognized when he became a session guitarist for "Paramount Records" in 1927. Still, all his recording money was sent to Taggart and Arnold until producer Mayo Williams threatened to have Taggart arrested for indentured servitude. Mayo Williams started his own record label and Josh was finally being paid what he was worth. He recorded prolifically in Chicago before returning to South Carolina to help his mother take care of his siblings.

Rise to Prominence:

In 1928, A&Rs from ARC Records in New York convinced Josh mother to sign a contract for the underaged Josh under the condition that he would only record religious music. Josh White "the singing christian" would record religious music but "Pinewood Tom" or "Tippy Barton would record blues songs. Things were going very for Josh. He was recording with blues legends such as Leroy Carr, Scrapper Blackwell, and Lucille Bogan. But in 1936, he would contract gangrene in his left hand after punching through a glass door during a bar fight. Doctors recommended amputation but Josh refused instead opting to squeeze a rubber ball to try to regain feeling in his hand. Forced to retire due to injury, Josh would work as a dock worker until regaining feeling in his hand and starting to perform again at private parties in Harlem. At one of these parties, he was spotted by broadway director Leonard De Paur. De Puar had been searching a guitarist to play the role of Blind Lemon in his latest production, "John Henry." Coincidentally De Paur had been searching for "Pinewood Tom" or Josh White to play the role. The resulting fame of this performance would give Josh a working relationship with Paul Robeson, Woody Guthrie, Lead belly and many others. The most controversial of these collaborators would be Libby Holman. Not only was Libby white, she allegedly killed her husband in 1932. The duo would tour previously segregated venues and were even recommended to give an overseas concert for the troops by Eleanor Roosevelt but were deemed too controversial due to the fact that the armed forces were still segregated. In 1940, Josh and the Golden Gate Quartet would perform at the Library of Congress's Coolidge Auditorium to celebrate the 75th anniversary of the thirteenth amendment. One month later, they would perform at FDR's inauguration. This was a turning point in Josh's career. He was no longer a young up and comer. He was a national icon as an artist that appealed to both black and white audiences. In the 1940s he record his biggest hit "One Meatball." It became the first million selling record by an African American man.

Fall from Grace:

Not only did Josh record pop hits such as "Jelly Jelly" and "St. James infirmary," he recorded political songs that spoke on the rampant segregation in the military and around America. Songs such as "Bad Housing Blues" and "Jim Crow Train" were forced upon southern white radio stations and met with outrage. This outrage got the attention of FDR who asked white to give a command performance. After the performance, Josh would have a discussion about the segregation and music. By 1950, Josh had reached the peak of his career. Touring Europe, acting on Broadway and starring in two films. However in June, while on tour in Paris his manager notified him that a right wing propaganda network had labeled him a communist sympathizer. He immidiately turned to Eleanor Roosevelt to help but it was a fruitless endeavor as Eleanor was already under suspicion due to her friendships with non whites. That night he told his manager he would be returning home to clear his name. After being accosted by the FBI, he would have to appear in front of the "HUAC" or be arrested like others who refused to testify. It was a no win situation for Josh. Josh's political activism was motivated not by communism but by his tough upbringing and early life but his progressive fan base assumed that he had snitched on communists ( he hadn't) and anti communist Americans assumed he was a communist (he wasn't). It also did not help that he vocally disagreed with Paul Robeson's statement that Black Americans would not be willing to fight against Soviet Russia and he disagreed with the implication that Paul Robeson spoke for all black people. All of these factors would cause work to dry up for Josh in America. His recording contract was dropped and he was not allowed to appear on TV until 1963. Unwelcome among left leaning folk circles as well, he relocated to London.

My Guitar Is As Old As Father Time:

In London, he hosted a BBC radio show called "My Guitar Is As Old As Father Time" and continued to tour around Europe to much success. In 1955, he got the opportunity to record in America again when Jac Holzman helped him record "Josh White: 25th Anniversary Album" which helped establish "Elektra Records". Slowly, Josh was finding a new audience in America. He also helped create the first instructional blues guitar book. His television blacklist ended in 1963 when JFK invited him to appear on "Dinner With The President." He also performed at the March on Washington on the steps of the Lincoln Memorial. His health began to fail him in the 60s as he was diagnosed with progressive emphysema and a calcium deficiency. His heart had also weakened and the only option was surgery to replace the valves but the surgery failed and he would pass away on September 5th 1969. His legacy lives on in his influence on many artist such as Eartha Kitt and Bob Dylan. Additionally he was the first African American to have a signature guitar.

The most important thing: The quote that I think Josh White should be remembered for is the following :“As long as my voice and spirit hold out, I shall keep on singing of the hope, joys and grievances of  ordinary folk.”

[cyarsk52-20]

congratulations Grammy nominees

Grammys 2025: Here Are the Nominees

BY: Walker

Published 16 seconds ago

It’s music’s biggest night! Or it will be on February 2, 2025, when the 67th Annual Grammy Awards take place inside Crypto.com Arena in Los Angeles. The 2025 Grammy nominations were announced on today (November 8).

Check out the full list of 2025 Grammy nominees below. 

Pop Solo Performance

“BODYGUARD” Beyoncé “Espresso” Sabrina Carpenter “Apple” Charli xcx “BIRDS OF A FEATHER” Billie Eilish “Good Luck, Babe!” Chappell Roan

Pop Duo/Group Performance

“us.” Gracie Abrams Featuring Taylor Swift “LEVII’S JEANS” Beyoncé Featuring Post Malone “Guess” Charli xcx & Billie Eilish “the boy is mine” Ariana Grande, Brandy & Monica “Die With A Smile” Lady Gaga & Bruno Mars

Dance Pop Recording

“Make You Mine”Madison Beer Madison Beer & Leroy Clampitt, producers; Mitch McCarthy, mixer “Von dutch” Charli xcx Finn Keane, producer; Tom Norris, mixer “L’AMOUR DE MA VIE [OVER NOW EXTENDED EDIT]” Billie Eilish Billie Eilish & FINNEAS, producers; Jon Castelli & Aron Forbes, mixers “yes, and?’ Ariana Grande Ariana Grande, ILYA & Max Martin, producers; Serban Ghenea, mixer “Got Me Started” Troye Sivan Ian Kirkpatrick, producer; Alex Ghenea, mixer

Songwriter of the Year, Non-Classical

Jessi Alexander

Amy Allen

Edgar Barrera

Jessie Jo Dillon

RAYE

Producer of the Year, Non-Classical

Alissia

Dernst “D’Mile” Emile II

Ian Fitchuk

Mustard

Daniel Nigro

Rock Album

Happiness Bastards The Black Crowes Romance Fontaines D.C. Saviors Green Day TANGK IDLES

Dark Matter Pearl Jam Hackney Diamonds The Rolling Stones No Name Jack White

Alternative Music Performance

“Neon Pill” Cage The Elephant “Song Of The Lake” Nick Cave & The Bad Seeds “Starburster” Fontaines D.C. “BYE BYE” Kim Gordon “Flea” St. Vincent

Best New Artist

Benson Boone Sabrina Carpenter Doechii Khruangbin RAYE Chappell Roan Shaboozey Teddy Swims

R&B Performance

“Guidance” Jhené Aiko “Residuals” Chris Brown “Here We Go (Uh Oh)” Coco Jones “Made For Me (Live On BET)” Muni Long “Saturn” SZA

R&B Album

11:11 (Deluxe) Chris Brown VANTABLACK Lalah Hathaway Revenge Muni Long Algorithm Lucky Daye Coming Home Usher

Melodic Rap Performance

KEHLANI Jordan Adetunji Featuring Kehlani SPAGHETTII Beyoncé Featuring Linda Martell & Shaboozey We Still Don’t Trust You Future & Metro Boomin Featuring The Weeknd Big Mama Latto 3:AM Rapsody Featuring Erykah Badu

Musical Theater Album

Hell’s Kitchen Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast) Merrily We Roll Along Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast) The Notebook John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast) The Outsiders Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast) Suffs Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast) The Wiz Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)

Country Solo Performance

16 CARRIAGES Beyoncé I Am Not Okay Jelly Roll The Architect Kacey Musgraves A Bar Song (Tipsy) Shaboozey It Takes A Woman Chris Stapleton

Country Album

COWBOY CARTER Beyoncé F-1 Trillion Post Malone Deeper Well Kacey Musgraves Higher Chris Stapleton Whirlwind Lainey Wilson

Song of the Year

A Bar Song (Tipsy) Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

BIRDS OF A FEATHER Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)

Die With A Smile Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)

Fortnight Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)

Good Luck, Babe! Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)

Not Like Us Kendrick Lamar, songwriter (Kendrick Lamar)

Please Please Please Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

TEXAS HOLD ‘EM Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Gospel Performance/Song

Church Doors Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters

Yesterday Melvin Crispell III

Hold On (Live) Ricky Dillard

Holy Hands DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters

One Hallelujah Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters

Latin Pop Album

Funk Generation Anitta

El Viaje Luis Fonsi

GARCÍA Kany García

Las Mujeres Ya No Lloran Shakira

ORQUÍDEAS Kali Uchis

Música Mexicana Album (Including Tejano)

Diamantes Chiquis

Boca Chueca, Vol. 1 Carín León

ÉXODO Peso Pluma

De Lejitos Jessi Uribe

African Music Performance

Tomorrow Yemi Alade

MMS Asake & Wizkid

Sensational Chris Brown Featuring Davido & Lojay

Higher Burna Boy

Love Me JeJe Tems

Score Soundtrack for Visual Media

American Fiction Laura Karpman, composer

Challengers Trent Reznor & Atticus Ross, composers

The Color Purple Kris Bowers, composer

Dune: Part Two Hans Zimmer, composer

Sh?gun Nick Chuba, Atticus Ross & Leopold Ross, composers

Song Written for Visual Media

Ain’t No Love In Oklahoma [From “Twisters: The Album”] Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)

Better Place [From “TROLLS Band Together”] Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)

Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

It Never Went Away [From “American Symphony”] Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Love Will Survive [From “The Tattooist of Auschwitz”] Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)

Record of the Year

“Now and Then” The Beatles

Giles Martin & Paul McCartney, producers; Geoff Emerick, Steve Genewick, Jon Jacobs, Greg McAllister, Steve Orchard, Keith Smith, Mark ‘Spike’ Stent & Bruce Sugar, engineers/mixers; Miles Showell, mastering engineer

“TEXAS HOLD ‘EM” Beyoncé

Beyoncé, Nate Ferraro, Killah B & Raphael Saadiq, producers; Hotae Alexander Jang, Alex Nibley & Stuart White, engineers/mixers; Colin Leonard, mastering engineer

“Espresso” Sabrina Carpenter

Julian Bunetta, producer; Julian Bunetta & Jeff Gunnell, engineers/mixers; Nathan Dantzler, mastering engineer

“360” Charli XCX

Cirkut & A. G. Cook, producers; Cirkut & Manny Marroquin, engineers/mixers; Idania Valencia, mastering engineer

“BIRDS OF A FEATHER” Billie Eilish

Billie Eilish & FINNEAS, producers; Thom Beemer, Jon Castelli, Billie Eilish, FINNEAS, Aron Forbes, Brad Lauchert & Chaz Sexton, engineers/mixers; Dale Becker, mastering engineer

“Not Like Us” Kendrick Lamar

Mustard, Sean Momberger & Sounwave, producers; Ray Charles Brown Jr. & Johnathan Turner, engineers/mixers; Nicolas de Porcel, mastering engineer

“Good Luck, Babe!” Chappell Roan

Dan Nigro, producer; Mitch McCarthy & Dan Nigro, engineers/mixers; Randy Merrill, mastering engineer

“Fortnight” Taylor Swift f/ Post Malone

Jack Antonoff, Louis Bell & Taylor Swift, producers; Louis Bell, Bryce Bordone, Serban Ghenea, Sean Hutchinson, Oli Jacobs, Michael Riddleberger & Laura Sisk, engineers/mixers; Randy Merrill, mastering engineer

Album of the Year

New Blue Sun André 3000

André 3000 & Carlos Niño, producers; André 3000, Carlos Niño & Ken Oriole, engineers/mixers; André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, songwriters; Andy Kravitz, mastering engineer

COWBOY CARTER Beyoncé

Beyoncé, Terius “The-Dream” Gesteelde-Diamant & Dave Hamelin, producers; Matheus Braz, Brandon Harding, Hotae Alexander Jang, Dani Pampuri & Stuart White, engineers/mixers; Ryan Beatty, Beyoncé, Camaron Ochs, Terius “The-Dream” Gesteelde-Diamant, Dave Hamelin, S. Carter & Raphael Saadiq, songwriters; Colin Leonard, mastering engineer

Short n’ Sweet Sabrina Carpenter

Jack Antonoff, Julian Bunetta, Ian Kirkpatrick & John Ryan, producers; Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Manny Marroquin, John Ryan & Laura Sisk, engineers/mixers; Amy Allen, Jack Antonoff, Julian Bunetta, Sabrina Carpenter, Ian Kirkpatrick, Julia Michaels & John Ryan, songwriters; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers

BRAT Charli xcx

Charli xcx, Cirkut & A. G. Cook, producers; A. G. Cook, Tom Norris & Geoff Swan, engineers/mixers; Charlotte Aitchison, Henry Walter, Alexander Guy Cook, Finn Keane & Jonathan Christopher Shave, songwriters; Idania Valencia, mastering engineer

Djesse Vol. 4 Jacob Collier

Jacob Collier, producer; Ben Bloomberg, Jacob Collier & Paul Pouwer, engineers/mixers; Jacob Collier, songwriter; Chris Allgood & Emily Lazar, mastering engineers

HIT ME HARD AND SOFT Billie Eilish

Billie Eilish & FINNEAS, producers; Thom Beemer, Jon Castelli, Billie Eilish, FINNEAS, Aron Forbes, Brad Lauchert & Chaz Sexton, engineers/mixers; Billie Eilish O’Connell & FINNEAS, songwriters; Dale Becker, mastering engineer

Chappell Roan The Rise And Fall Of A Midwest Princess Chappell Roan Daniel Nigro, producer; Mitch McCarthy & Daniel Nigro, engineers/mixers; Daniel Nigro & Kayleigh Rose Amstutz, songwriters; Randy Merrill, mastering engineer

THE TORTURED POETS DEPARTMENT Taylor Swift

Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Zem Audu, Bella Blasko, Bryce Bordone, Serban Ghenea, David Hart, Mikey Freedom Hart, Sean Hutchinson, Oli Jacobs, Jonathan Low, Michael Riddleberger, Christopher Rowe, Laura Sisk & Evan Smith, engineers/mixers; Jack Antonoff, Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering enginee

Sent from my iPhone

[randomvarious]

Today’s compilation:

Electro Lounge 1999 Breakbeat / Electro-Swing / Big Beat / Trip Hop / Drum n Bass

To be honest with you, I really wasn't expecting too much from this comp. Cocktail lounge and swing tunes, but with an electronic twist!? Sounds kinda gimmicky to me. I mean, keep in mind that this came out like three months after the first Matrix film, and here's this lady on the cover wearing cocktail party attire, sporting dark sunglasses a la The Matrix, and she has her hands wrapped around a martini, extending them out like she's pointing a gun. All those clues should lead you to believe that this is going to sound something like The Matrix soundtrack (think of that industrial neo-classical trip hop classic that briefly appears in the film, "Clubbed to Death" by Rob Dougan) meets cosmopolitan James Bond 50s and 60s bachelor pad swankery. How could this possibly not sound like some clunky, cynical cash grab?

But fam, I could not have been more wrong with those expectations. This comp turned out to be really good. They managed to pull off mixing breakbeat, the futuristic dance sound du jour of the late 90s, with cocktail lounge music, big band jazz, and swing, and I really was not expecting it to work out as well as it did. There's some exceptions, like Gus Gus' remix of Ennio Morricone's "The Good, the Bad and the Ugly," which is dope, but it isn't James Bond or The Matrix or cocktail lounge or big band jazz or swing, and the first two songs don't really hit either. But just about every other song on this comp is just *chef's kiss*.

And there's some unexpected adventurism on here, too. Brian Gearwhore and Alex Xenophone, two people I've never even heard of before, do this retrogressive, experimental, signal-jammed take on "The James Bond Theme" and it has to be the wildest interpretation of a TV or movie theme since Leæther Strip’s defiling of Mark Snow's "X-Files Theme." And then there's a couple spots of drum n bass, too, the best example coming courtesy of Omni Trio's remix of John Barry's "Seance on a Wet Afternoon," the eponymous theme song to the 1964 film.

And I learned another thing, too. Remember that late 90s swing revival tune, "Jump, Jive an' Wail" by the Brian Setzer Orchestra? I didn't know that was a cover of Louis Prima. Anyway, the BSO cover came out in '98 and then won a Grammy for Best Pop Performance by a Duo or Group with Vocals. Then in' 99, Tranquility Bass' great remix of Prima's version appeared on this comp. Have to think that was done on purpose, given the popularity of the Brian Setzer rendition.

Wouldn't play this for a cocktail lounge shindig though. It doesn't sound quite tailored for that setting. This is more of something you blast on your soundsystem when you're alone with a drink in hand. It's definitely not for chilling to, but it's not really for partying to either. Still fantastic though, regardless.

Highlights:

King Curtis - "Watermelon Man (Utah Saints Remix)" Leroy Holmes - "The James Bond Theme (Brian Gearwhore, Alex Xenophone Remix)" Louis Prima - "Jump, Jive an' Wail (Tranquility Bass Remix)" Leroy Holmes - "The Good, the Bad and the Ugly (Oldskool GusGus Mix)" April Stevens - "Do It Again (Wagon Christ Remix)" John Barry - "Seance on a Wet Afternoon (Omni Trio Remix)" Yma Sumac - "Gopher (Mambo) (Q-Burns Abstract Message Remix)" Elmer Bernstein - "Staccato's Theme (Happening at Waldo's Mix) [Meat Beat Manifesto Remix]" The John Buzon Trio - "Caravan (Eat Static Remix)"

[stahlop]

Once Upon a Time 3x07 “Dark Hollow” Review

Reviews 1x01 1x02 1x03 1x04 1x05 1x06 1x07 1x08 1x09 1x10 1x11 1x12 1x13 1x14 1x15 1x16 1x17 1x18 1x19 1x20 1x21 1x22 2x01 2x02 2x03 2x04 2x05 2x06 2x07 2x08 2x09 2x10 2x11 2x12 2x13 2x14 2x15 2x16 2x17 2x18 2x19 2x20 2x21 2x22 3x01 3x02 3x03 3x04 3x05 3x06

Well, we officially have a love triangle going on, although Emma seems to want no part of it. Ariel and Belle make quite the plucky duo. And who would have guessed that Peter Pan was keeping John and Michael Darling alive for his own nefarious plan? On the plus side, Rumple now has ammo to capture Pan, thus ensuring he can come home to Belle.

Summary: Neal tells the group how he used the coconut to get off of Neverland the first time, which leads himself, Hook, and Emma into Dark Hollow to capture a shadow. Ariel and Belle search for Pandora’s Box for Ariel to bring back to Neverland, but are held up by an unlikely pair.

Opening: Clock Tower

New Characters: 

John and Michael Darling: We really don’t find out too much about them. Basically, Pan has kidnapped their sister, Wendy, presumably allowed them to grow up enough to be able to do things for him, and now they need to get and destroy Pandora’s Box in order to get Wendy back. They are obviously very loyal to Wendy, and blame themselves for her predicament. Fortunately, Belle convinces them (after setting a coal cart on them), that they are the winning side and they can beat Pan with Pandora’s Box.

Character Observations:

Henry: He is convinced that Pan is hiding his family from him. Henry wants to know where Pan goes when he disappears from camp if it’s not to see his family hidden somewhere. Henry tells Pan he’s going to find out what it is. Oh, Henry. The first rule of trying to find out if someone’s hiding something, is not to tell them that you think they’re hiding something. Pan sends Felix to get ‘supplies’ and so Henry follows him, in the least stealthy way possible. He’s practically breathing down Felix’s neck he’s so close. He even does the classic step on a twig and hide move so Felix doesn’t catch him. Henry eventually finds the tree house(?) that Pan has put Wendy into (Felix drops a bag of apples in front of the ladder). He wonders why she’s so far away from camp and she tells him that she’s sick and Pan doesn’t want anyone else to catch it. Wendy also tells him she’s sick because the magic of Neverland is fading. Then she tells him how much he looks like his father, and that she knew him when he was a boy. Wendy then tells him he needs to leave so he doesn’t get sick and he promises to come back for her. He ‘runs’ into Pan on the way back to camp and confronts him about Wendy. Pan pretends he hid Wendy from him because he didn’t want Henry to know that because magic is dying, so is a young girl. Henry buys this hook, line, and sinker, and now wants to know how he can help save magic. Pan tells him it’s not how but where and leads him to Skull Rock, where the heart of the truest believer will be their salvation. Pan feeds into Henry’s wannabe hero complex by telling him saving magic will require heroism and sacrifice, and if Henry doesn’t realize that by sacrifice that means him, then I don’t know if he’s worth saving.

Belle: She’s obviously upset about Rumple leaving and going to sacrifice himself, even if it is for his grandson. Archie, the Blue Fairy, and the dwarfs see that she is upset and discover that Rumple left her with a cloaking spell to protect the spell. It’s the first spell she’s ever cast so she’s nervous. Blue Fairy tells her she needs to believe in herself (do spells not work if you don’t believe in them?), and it looks like it won’t work for a hot second, but then it does, and a huge cloaking dome encapsulates Storybrooke. Five days and four rejected cheeseburgers later, Archie is trying to psychoanalyze Belle in Granny’s (with his first question being ‘You miss him, don’t you?’ Well, duh!) Belle is upset because Rumple has gone off to his death and she feels like she can’t do anything to help him. Archie reminds her that she helped put up the cloaking spell, but pouring a potion over rocks apparently isn’t that big of a deal in her eyes. Archie tells her that she’s protecting the town from outsiders, but she thinks that was just a distraction because he doesn’t really need her. Which is when Leroy brings Ariel over with the news that Rumple needs her. Ariel hands her the sand dollar Rumple gave her and Belle is confused about what she’s supposed to do with it. She finally figures out that it holds a message from Rumple that gives clues as to how to find Pandora’s Box. Belle’s just excited that Rumple wants her help. I have to roll my eyes over this whole thing. The Belle that we saw in the Enchanted Forest knew her worth. She used books and her smarts to find the Yaoguai and figure out that he was the enchanted Prince Phillip in The Outsider. Yet here she has self-doubt because the man she loves didn’t take him with her to find his grandson? And she only gets her mojo back because he needs her? Ugh! Belle finally figures out that placing the chipped tea cup in it’s normal place in the cupboard activates a secret panel on the floor which is where he keeps Pandora’s Box. Which is, of course, when John and Michael come in with their guns, tie up Belle and Ariel , and take the box. Belle tries to convince them that they don’t know who they’re working for, but they are quite aware that Pan is their boss and that Greg and Tamara were patsies for their plan, which confuses her even more. They leave with the box. Belle laments about how every time she tries to be a hero she fails (I’m sure Prince Phillip would disagree). Belle figures out that they can get out of the ropes if Ariel gets her fins back, and somehow this words (not sure how considering they were mainly tied up around their chests, but okay). Belle figures out the men went to the mines to destroy the box with one of the dwarfs' pick axes. Belle tries to play on their sympathies by telling them that people they care about will die if they destroy the box, but they tell her they have the same issue if they don’t destroy the box. At least Belle is smart enough to send a coal cart careening their way to stop them from destroying the box.  Belle finally convinces them that Rumple will be able to stop Pan, thus freeing their sister, and that’s when we find out, officially, that they are John and Michael Darling. Belle says goodbye to Ariel at the shore and is happy that Rumple will be able to defeat Pan and come home to her.

Neal/Emma/Hook: Oh look, the love triangle no one asked for. Anyway, Neal informs them that he escaped with Pan’s Shadow, but Emma doesn’t think they’ll be able to get it because they can’t get near Pan. Hook informs her his shadow is an entity unto itself, so they don’t actually need to get anywhere near Pan. Neal is actually thankful that Hook is going with them to find the shadow, since he knows the island just as well as Neal. Emma asks Mary Margaret when she’s going to forgive David since she’s still giving him the cold shoulder. Emma understands where David is coming from, not wanting to jeopardize the mission with his problems. Mary Margaret tells her to be careful with Neal and Hook since they both have feelings for her. Emma doesn’t want to deal with that. All she cares about is Henry. The trio head back to Neal’s cave to find the coconut. Emma goes to find where it’s hidden and Hook has a really awkward conversation with Neal about his and Emma’s kiss, assuming that Emma had told him. Neal tries to play it off as Emma being too focused on getting their son back (and also throwing in his face the fact that they have a son together), but you can see the hurt in his eyes that Emma kissed Hook and didn’t tell him, especially after he told her he’d fight for them. Emma brings the coconut to them and Neal says it’s not a star map but a way to trap Pan’s Shadow. Neal tells them they have to go to Dark Hollow. Hook looks frightened, Emma wonders why it couldn’t have a happier name. Hook tells her that it’s basically where the Shadows live and all light is snuffed out. They get to a particularly dense piece of jungle and Emma takes out Neal’s cutlass that Hook gave her in The Heart of the Truest Believer, almost slicing Hook who is behind her. Neal thinks she found it in the cave, but she tells him Hook gave it to her. Hook says he thought Emma might want something to remember him by, but Neal reminds him that he’s there now and goes off to hack the jungle brush. Emma wants to know what that was all about and he tells her he accidentally told Neal about their kiss. Emma wants to know why he would assume she’d told him, and Hook thought that maybe it meant something to her. Poor Hook. He’s really looking for some validation that it wasn’t a one time thing. She tells him that it meant a lot that he told them Neal was alive. He tells her it was a test from Pan, to see if he’d choose an old friend over the woman they both wanted. She’s impressed because he’s a pirate. For the first time, Hook looks upset over being called a pirate, or that Emma only sees him as one. He tells her that when he wins her heart, and he will win her heart, it won’t involve any trickery. It will be because she wants him. And I’m just going to cry in the corner now, because that is the most romantic thing I’ve ever heard. Emma takes a minute to catch her breath over that confession, and tells him that it’s not a contest. Hook tells her she’ll have to choose and she says she only has to choose how to save her son. Hook tells her she’ll get him back because he’s never seen her fail, and Emma is just glowing from all the faith he has in her, because, let’s face it, no one, especially Neal, has ever had this much faith in her. Neal interrupts their little moment when he’s finally found Dark Hollow. Neal explains that they’ll light the candle in the coconut and the Shadows will be drawn to it. Once in the coconut, they put the lid on and they have a trapped Shadow. Neal tries to light the candle with a Zippo, but it’s too windy. Hook gets impatient and tries to steal the lighter, and then he and Neal start fighting over it like children. Yep, that’s definitely the way to impress Emma. Even Emma calls them out over it. They lose the lighter in the scuffle and then the Shadows come and take the men and try to rip out their shadows. Emma is hunched in a corner of some logs freaking the eff out. Eventually she remembers that she has magic, and after a few false starts, manages to light the candle and catch Pan’s Shadow. She is very impressed with herself. Neal wants to know how she managed to do it and is not happy that Regina is teaching Emma magic. Emma has now gone from impressed to stunned. I find it pretty ironic that Neal left the Enchanted Forest to get away from magic, and now the girl he’s fighting for has it. Emma is pissed off at both Neal and Hook for their behavior. Hook feels the need to tell her that it wasn’t the lighter they were fighting over and she just looks at him like he’s the biggest idiot in the world. She tells them the only person she is choosing is Henry (this always reminds me of the 90210 moment where Kelly chooses herself, rather than choose between Brandon or Dylan). At least both Hook and Neal look properly chagrined. When they get to Tink’s place, Neal comes in like the conquering hero, like he did all the work when all he did was almost get himself killed. Neal and Tink have a lot of chemistry going on there. Maybe he can forget Emma and get with Tink instead. Problem solved. Anyway, Hook angrily states that they did it, and wonders if Tink will now help them (you can tell he’s angry because he’s popping all the letters when he speaks). Tink finally agrees to work with them now that they have an exit plan. Neal apologizes again to Emma and agrees that they need to put Henry first. 

Mary Margaret/David: Mary Margaret is not speaking to David and he’s not happy about it, but he knows he’s in the dog house, so he doesn’t push it. While the love triangle goes off to find Pan’s Shadow, Mary Margaret and David head to Tink’s tree house to let her know about the plan. David tried to get her to talk to him, but she’s not ready. He tries to defend his decision not to tell her, but she just keeps heading to Tink’s. David changes tactics by pointing out the nice places in the jungle that he could build a hut. Mary Margaret just gets annoyed by that. She just continues on. David actually calls her Snow to get her attention, and eventually tells her that she needs to say something, anything. That gets Mary Margaret going. She wants to know why she needs to say something when he didn’t say a word to her about his being poisoned. He wanted to find a cure and then he wouldn’t have to say anything and worry anyone. Mary Margaret points out that he was cured and he still didn’t say anything. David finally tells her he was scared. Mary Margaret thinks he was scared that she wouldn’t stay with him, but David was actually scared that she would. He didn’t want to force her to stay with him. Mary Margaret says love means staying together, but David says it also means sacrifice. Mary Margaret says she’ll happily stay and dodge poison arrows and Lost Boys with him, as long as they’re together.  She tells him he didn’t believe in them, and he needs to believe. David apologizes. And this is a really sweet scene between these two. It’s no wonder they’re married in real life. They pull off being a married couple so well. It seems these two lovebirds have finally made up.

Regina/Rumple: Rumple has drawn some kind of map to get Ariel to Storybrooke. She says she would have to cross several realms, but she can do it. He enchants a sand dollar for her to give to Belle with instructions. Ariel asks Regina where she’ll find Eric, but Regina tells her she needs to bring the box first, and then she’ll tell her that information. She tells Ariel incentives are important. Ugh! She’s a grown mermaid, not a kid Henry’s age. That was very condescending. Ariel wonders how she’ll know Regina will uphold her end of the bargain, and Regina says she’ll just have to trust her. Considering what Regina did to her last time, I’m surprised Ariel took the deal. Regina and Rumple discuss whether Rumple truly believes Belle will come through for them. Regina realizes Rumple truly loves Belle. She seems shocked that he could love someone. Rumple takes her tone to mean she’s jealous. Regina scoffs at being jealous of Belle, but Rumple accuses her of being jealous that he has someone and she doesn’t. Luckily, Ariel arrives before Regina can either ruminate on her feelings or send a fireball at him. Rumple seems shocked that they actually managed to get the box to him. Regina magicks Ariel’s bracelet so she can have legs whenever she wants. Ariel tells them about Wendy and the Darlings and that Belle wants them to try and rescue Wendy. Regina doesn’t want to stray from the mission to save Henry, but Ariel reminds her that without her and Belle, they wouldn’t have the box to save Henry. Rumple says they’ll do their best and Regina isn’t happy about another side mission interfering with her trying to save her son. Rumple tells Ariel to tell Belle he loves her and will see her again. Regina looks like she isn’t too sure about that last part.

Pan/Wendy: Pan basically manipulates Henry into believing magic is dying and he’s the only one who can save it by making Wendy lie about being sick because of magic dying. Wendy doesn’t like lying to Henry (especially since he’s Bae’s son). Pan finally has Henry right where he wants him.

Questions:

Did Rumple give Belle a spell or a potion? Or was it instructions as to what to do with the potion? Because a spell usually involves some chanting or saying of instructions, and all Belle did was pour the potion into the vein of fairy dust.

Is Rumple drawing a portal map to Storybrooke? How would he know how the mermaid portals work?

Does Ariel normally live in Neverland waters? How does Pan know when she leaves? Is it because she was sitting on the rock?

Ok, seriously, how does Pan communicate with people not in Neverland?

When did Rumple ‘record’ the sand dollar message for Belle? Or is it just a magic message?

When did Rumple have time to set up the hiding of Pandora’s Box and the teacup to activate it? Did he think that Belle would be the only person to have access to it, or was it just a sweet reminder for himself?

Why is it so light in Dark Hollow? When the lanterns went out it didn’t change the lighting level at all.

Why is the Shadow attracted to light? In Second Star to the Right Bae used a match to scare the Shadow into dropping him in the water. 

What are the holes for in the coconut? To let the shadow breathe?

How the hell does Belle walk in the mines in 6 inch stiletto heels? I get that they didn’t have a lot of time, but she couldn’t have found a pair of flats or some boots?

Why is Belle always so confused when villains have personal stakes in the game? She had no idea about Milah’s true death in The Outsider with Hook, and now she’s completely stunned that Pan is forcing the Darlings to help him because he has their sister.

How has Pan kept the Darling boys alive all this time? Were they in Neverland until the time was right for them to ‘grow up’?

Why did Pan take Wendy? What purpose does she serve him? He obviously doesn’t care for her like in the books and movies.

Does Wendy really think Henry looks like Bae, or did she just tell him that to help believe?

Observations:

It has been five days since Emma and crew went to Neverland.

I don’t know why, but Belle’s blue nailpolish bugs me. It doesn’t seem in character for her to have blue nailpoilsh.

There’s a teddy bear keychain hanging from the dash of the Darling’s car.

What luck that the Darlings just happened to be trying to get into Storybrooke at the exact time that Belle was casting the cloaking spell.

The Darling’s license plate is from Minnesota.

Ariel’s bracelet is only enchanted for 24 hours.

Pan senses when Ariel leaves Neverland.

There’s a No Shirt, No Shoes, No Service policy at Granny’s.

Emma and crew rescued Neal from the Echo Caves the day before according to David.

Pandora’s Box contains the World’s Greatest Evil.

Emma only yells Hook’s name when the Shadows take him and Neal.

I’m going to assume that it took longer to rip Hook and Neal’s shadows from their bodies because they’re from the Enchanted Forest, whereas when they just ripped Greg’s from his body in a few seconds, it was because he was from The Land Without Magic.

John uses Happy’s axe when he attempts to destroy Pandora’s Box.

Wendy looks pretty good considering she’s been in a box for over a century.

It looks like Pan finally has his plan moving into place, now that he has Henry believing, Emma is not playing into the love triangle at the moment, and both David and Mary Margaret will be staying in Neverland once this is all over. Rumple now has Pandora’s Box, so let’s hope he is able to use it and actually defeat Pan.

Please leave comments and reblog! Let me know if you’d like to be tagged in future reviews.

@searchingwardrobes​​​​​ @thisonesatellite​​​​ @justbecauseyoubelievesomething​​​​​ @laschatzi​​​​​ @profdanglaisstuff​​​​​ @mariakov81​​​​​ @lfh1226-linda​

[annychristine831]

John Boyega Wants To Play Steve McQueen’s Version of James Bond

John Boyega shared his interest in the upcoming James Bond film as long as director Steve McQueen is involved with the project. McQueen and Boyega are from London, and both have tasted immense Hollywood success over the last decade.

John Adedayo Bamidele Adegboyega, professionally known as John Boyega, is a British producer and actor. He is known for his role as Finn in the Star Wars sequel trilogy: The Last Jedi, The Rise of Skywalker, and The Force Awakens. He later featured in many films including, the science fiction film Pacific Rim: Uprising, the drama film Imperial Dreams, the historical drama film Detroit, and four episodes of the television series 24: Live Another Day. Boyega was awarded by the Trophée Chopard at the Cannes Film Festival in 2016 and the BAFTA Rising Star Award in 2016.

Whereas Steve McQueen is a British director and a video artist. He is known for his historical adaptation of a slave memoir, 12 Years a Slave. The director also won an Academy Award for the Best Picture, the Golden Globe Award for Best Motion Picture-Drama, and the BAFTA Award for Best Film. McQueen is the first black director who has received the Oscar for Best Picture.

The Oscar-winning director also received the Turner Prize for his artwork in 2006. McQueen was featured in the top 100 most influential people in the world for Time magazine.

The director and actor duo has collaborated to work on a period anthology Small Axe. The miniseries are based on discrimination and racism lived through London’s West Indian community from the ’60s to ’80s. The series premiered on 15 November 2020 in the United Kingdom on BBC and on 20 November 2020 on Amazon Prime Video. The series title refers to a proverb that reads, “If you are the big tree, then we are the small ax.”

The series featured John Boyega as Leroy Logan alongside Black Panther actress Letitia Wright as Altheia Jones-LeCointe, Shaun Parkes as Frank Crichlow, Malachi Kirby as Darcus Howe, Alex Jennings as Judge Edward Clarke, and Rochenda Sandall as Barbara Beese.

Critics praised Boyega’s performance and McQueen’s direction. The connection between the two is so strong that now Boyega is interested in another iconic British history piece. In a recent interview with MTV News, Boyega shared that he would love to be part of the upcoming James Bond if his favorite director, Steve McQueen, was on the team. He added that Steve could bring a unique spin on the secret agent movie while maintaining the film’s essence that has grabbed the audience’s attention for over 50 years. Actress Letitia Wright suggested Boyega’s name, knowing that he would love to take on 007. Boyega said in an interview, “Ooh! Hey, listen, if McQueen is directing the movie, then let’s do it!” He added that they both could bring something different to the film keeping the franchise’s sophistication. James Bond has to be James Bond, but they could do something better with that.

MTV News also pitched Daniel Kaluuya to Letitia Wright for the choice as Bond, as both the actor Kaluuya and Boyega are young enough to endure the required physical stunt for Bond’s character. According to Letitia, Boyega would be perfect for the role as he has a big personality, and that would be perfect for playing the character of an iconic British spy.

Boyega has received substantial critical praises for his previous work, which makes his willingness to jump into the popular franchise of James Bond. However, it could be risky to appoint a director like Steve McQueen, who infuses his work with personal beliefs and background. Still, it would be fun to watch Boyega in the iconic role of James Bond.

Source: John Boyega Wants To Play Steve McQueen’s Version of James Bond

[blackkudos]

Chuck Brown

Charles Louis Brown (August 22, 1936 – May 16, 2012) was an American guitarist, bandleader and singer who has garnered the honorific nickname "The Godfather of Go-Go". Go-go is a subgenre of funk music developed in and around the Washington metropolitan area in the mid-1970s. While its musical classification, influences, and origins are debated, Brown is regarded as the fundamental force behind the creation of go-go music.

Early life: 1936–1963

Brown was born on August 22, 1936 in Gaston, North Carolina. Brown's mother, Lyla Brown, was a housekeeper, and his father, Albert Louis Moody, was a United States Marine. Brown's father, however, was not present in his life, and Brown lived in poverty. When Chuck Brown was six years old, he moved to Washington, D.C. in 1942, and at 15 he started to live on the streets. He did not graduate high school; Brown quit school and decided to perform odd jobs to make money, including shining shoes.

In the 1950s, Brown was convicted of murder and served eight years in Lorton Correctional Complex. At first, the case was tried as aggravated assault; however, it was moved up to murder once the victim died. Brown stated that his actions were in self-defense. In prison, he traded cigarettes for a guitar, which was how his love for the instrument began. When Brown completed his sentence, he moved back to Washington, D.C. and worked as a truck driver, a bricklayer, and a sparring partner at multiple boxing gyms. He also started to perform at parties throughout the area; however, he could not play at venues that served liquor, because his probation officer would not allow it.

Music career

Brown's musical career began in the 1960s playing guitar with Jerry Butler and The Earls of Rhythm, joining Los Latinos in 1965. At the time of his death he was still performing music and was well known in the Washington, D.C., area. Brown's early hits include "We Need Some Money" and "Bustin' Loose". "Bustin' Loose" has been adopted by the Washington Nationals baseball team as its home run celebration song, and was interpolated by Nelly for his 2002 number one hit "Hot in Herre." Brown also recorded go-go covers of early jazz and blues songs, such as "Go-Go Swing" Duke Ellington's "It Don't Mean a Thing If Ain't Got That Swing", "Moody's Mood for Love", Johnny Mercer's "Midnight Sun", Louis Jordan's "Run Joe", and T-Bone Walker's "Stormy Monday".

He influenced other go-go bands such as the Soul Rebels Brass Band, Big G and The Backyard Band, Junk Yard Band, Rare Essence, Experience Unlimited (EU), Little Benny and the Masters, and Trouble Funk.

The song "Ashley's Roachclip" from the 1974 album Salt of the Earth by Brown's band The Soul Searchers contains a drum break, sampled countless times in various other tracks.

In the mid-1990s, he performed the theme music of Fox's sitcom The Sinbad Show which later aired on The Family Channel and Disney Channel. He appeared in television advertisements for the Washington Post and other Washington, D.C., area companies. The D.C. Lottery's "Rolling Cash 5" ad campaign featured Chuck Brown singing his 2007 song "The Party Roll" in front of various D.C. city landmarks such as Ben's Chili Bowl.

Brown played a blonde Gibson ES-335.

Death and legacy

Brown died on Wednesday, May 16, 2012, at Baltimore's Johns Hopkins Hospital of multiple organ failure, including heart failure, at the age of 75. Several weeks prior to his death, he had postponed and cancelled shows due to hospitalisation for pneumonia. His interment was at Trinity Memorial Gardens in Waldorf, Maryland.

Brown is called the "Godfather of Go-Go" and was considered a local legend in Washington, D.C. Darryl Brooks, a local promoter who worked with Chuck Brown during his career, stated, "He was a symbol of D.C. manhood, back in the day, because of the authority that he spoke with. He just spoke from a perspective that black men could understand." Andre Johnson, the leader of the go-go band Rare Essence, said that Chuck Brown "influenced generations of people—not just one—a few generations of musicians around here." Washington, D.C. Mayor Vincent C. Gray said Brown was "Go-go's creator and, arguably, its most legendary artist."

The Soul Rebels Brass Band, Rare Essence and Slick Rick performed a tribute concert and collaborated on June 21, 2012 in Washington DC at the historic Howard Theatre which re-opened in April 2012.

Former member of Chuck Brown & the Soul Searchers, saxophonist Leroy Fleming (born Marion Leroy Fleming, Jr.) died on March 12, 2013.

Ricky "Sugarfoot" Wellman (born Ricardo Dalvert Wellman on April 13, 1955 ln Bethesda, Maryland) was a longtime drummer for Chuck Brown & the Soul Searchers. He died of pancreatic cancer on November 23, 2013 at the age of 58.

Awards and honors

Brown was a recipient of a 2005 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States' highest honor in the folk and traditional arts.

In 2009, the 1900 block of 7th Street NW, in Northwest Washington, D.C., between Florida Avenue and T Street was renamed Chuck Brown Way in his honor.

He received his first Grammy Award nomination in 2011 for Best R&B Performance By A Duo Or Group With Vocals for "Love" (with Jill Scott and Marcus Miller), from the album We Got This.

On September 4, 2011, Brown was honored by the National Symphony Orchestra, as the NSO paid tribute to Legends of Washington Music Labor Day concert - honoring Brown's music, as well as Duke Ellington and John Philip Sousa - with a free concert on the West Lawn of the Capitol. Brown and his band capped off the evening with a performance.

Discography

Studio albums

We the People (1972)

Salt of the Earth (1974)

Bustin' Loose (1979)

Funk Express (1980)

We Need Some Money (1984)

Hah Man (1994)

The Other Side (featuring Eva Cassidy) (1995)

Go-Go & Gumbo, Satchmo N Soul (1997)

Timeless (1998)

The Spirit of Christmas (1999)

We're About the Business (2007)

We Got This (2010)

Beautiful Life (2014)

Live albums

Go Go Swing Live (1986)

Any Other Way to Go? (1987)

Live '87 – D.C. Bumpin' Y'all (1987)

90's Goin' Hard (1991)

This Is a Journey...Into Time (1993)

Your Game...Live at the 9:30 Club (2001)

Put Your Hands Up! (2002)

Compilation albums

Go-Go Crankin' (1985)

Good to Go (1986)

Go Go Live at the Capital Centre (1987)

The Go Go Posse (1988)

Let's Go Go Christmas (1995)

Greatest Hits (1998)

Best of Chuck Brown (2005)

[t4tjonmartin]

here's a nightvale pride parade because i'm desperate

josie was the one to organise the very first in nightvale back when she was in her early 30s

these days it starts and ends at the theatre, with stage performances and refreshments

sponsored by the angels

carlos is a drag queen and his persona has a "British" accent

tamika is a drag king

dana sings bops and steve plays the instruments, and they call their duo 'the aces'

tamika's teen militia bring and drive vans and jeeps and army tanks (always decorated in various graffiti and posters) on which all the year's drag performers ride, along with anyone else needing mobility support

megan wallaby is in her full trans pride glory and has made custom holograms encircling the theatre

earl harlan dresses as a pan (bc double pun)

and provides rainbow and pride flag themed drinks and pastries, the money from which goes to funding transition costs for TGNC & Nonbinary kids

janice attaches wings to her wheelchair and wears a shirt saying "bi and ready to fly" made for her by her abby (who is also the chief hydration manager), and she's carried by the angels with khoshekh floating beside her

michelle and maureen dress in all black and ride in on a bike

kevin, charles and donovan attend as representatives of desert bluffs, with kevin holding a cardboard with "love is love is the smiling god" written on it

donovan and roger harlan get along pretty well and help fix each other's gay and bi pride costumes

charles and carlos get along pretty well and help fix each other's trans pride costumes

cecil and kevin grudgingly help each other with their rainbow cape and makeup as they both live broadcast the parade

dana & lauren help each other with the lesbian merch that lauren is selling and dana is definitely not endorsing

the man in the tan jacket releases butterflies from his deerskin suitcase

john peters (you know, the farmer?) and larry leroy (out on the edge of town) announce their relationship every single year and every time people pretend to be surprised and congratulate them

pamela winchell and leann hart furiously compare notes the entire time with intervals of kisses and the occasional emergency press conferences in which pamela announces things like the time, where the parade is currently at and where it's headed, how much she loves leann, how much leann loves her, you get the gist

the glow cloud and their kid help make an actual rainbow, and rain down confetti instead of animals for once

as the evening comes about, the lights above the arbys glow in various pride flag colours

the faceless old woman (who secretly gatecrashes your pride parade) secretly takes photos of everyone and drops them off in people's respective mailboxes the next week and steals something as compensation

[dirtylowdown2]

Sun Ra And His Intergalactic Research Arkestra ‎- It's After The End Of The World (1970) FULL ALBUM

MPS Records ‎– CRM 748, BASF ‎– CRM 748 (Germany, 1970) 

00:00 A1. Strange Dreams - Strange Worlds - Black Myth / It's After The End Of The World 14:33 A2. Black Forest Myth 22:53 B1. Watusi, Egyptian March 26:34 B2. Myth Versus Reality (The Myth-Science Aproach) / Angelic Proclamation / Out In Space 44:47 B3. Duos 

 Recorded at the Donaueschingen Music Festival (oct. 17, 70) and at the Berlin Jazz Festival (nov. 7, 70) 

 Personnel: Sun Ra - Farfisa organ, Hohner clavinet, piano, Rocksichord, Spacemaster organ, Minimoog, Hohner electra, vocals Kwame Hadi - trumpet Akh Tal Ebah - mellophone, trumpet John Gilmore - tenor saxophone, percussion Marshall Allen - alto saxophone, flute, oboe, piccolo, percussion Pat Patrick - baritone saxophone, tenor saxophone, alto saxophone, clarinet, bass clarinet, flute, drum Danny Davis, Absholom ben Shlomo - alto saxophone, flute, clarinet Danny Thompson - baritone saxophone, alto saxophone, flute Leroy Taylor - oboe, bass clarinet Robert Cummings - bass clarinet Augustus Browning - English horn Alan Silva - violin, viola, cello, bass Alejandro Blake Fearon - bass Lex Humphries - drums James Jackson - percussion, oboe, flute Nimrod Hunt - hand drums Hazoume - fireeater, dance, African percussion Math Samba, Ife Tayo - dance, percussion June Tyson - vocals 

Recorded live at the Donaueschingen Music and Berlin Festivals in 1970, this gem ideally captures Sun Ra and His Intergalactic (Research) Arkestra at its most otherworldly self. Individual and collective sounds reach for ears at times beyond human comprehension. The 21-member Arkestra is anchored by its leader captaining keyboards of various frequencies of inter-planetary communication and fresh audible sensations—from his Farfisa organ, “roc-si-chord,” “spacemaster,” Mini- Moog synthesizer, Hohner clavinet and electra, to acoustic piano. Soundscapes vary from Twilight Zone-ish scores (the Moog-heavy “Out in Space”) to African ritualistic percussive escapades (“Watusi”). 

Ceremoniously opening with June Tyson’s heavily breathed words spoken as if serenaded from a tropical bird—“dream,” “blackness,” and lastly “a world” swirl into the rumbling and gathering of percussion, brass, and reeds. Flutes, oboe, and a modified bassoon (with a French horn mouthpiece!) performed by Leroy Taylor (aka Elo Omoe) create a modern classical orchestral atmosphere before the swinging beats of drums and trumpet-like scorching alto sax lines carry the momentum elsewhere. 

 A bass-driven piano introduces dozens of different meters performed on drums and percussion instruments of all shapes and sizes over the Egyptian march of “Watusi.” A near twenty-minute suite culminates in the closing “Duos,” featuring the avant alto sax vocabulary of Marshall Allen and Danny Davis followed by the burly baritone dialogue of Pat Patrick and Danny Thompson. One of the singular and unfortunate drawbacks are several abridged versions either subtly fading into segments or, as with “Duos,” more abruptly. Nonetheless, such a recording as this offers the next best thing to but a sampling of what it must have been like to experience the path that Ra offered his listeners in a live concert, perhaps the most uninhibited platform for his musical message.

[uneminuteparseconde]

Des concerts à Paris et alentour 

Septembre 18. The Wedding Present – Petit Bain 18. Lust For Youth + Bernardino Femminielli – La Boule noire 18. JC. Satàn (Safari Boat) – Jardin Tino-Rossi/Quai Saint-Bernard 18. Mùm – La Maroquinerie 19. Orval Carlos Sibelius – Chair de poule (gratuit) 19. Cosmonauts – Espace B ||ANNULÉ|| 20. Spiral Stairs + Canshaker Pi – Olympic café 20. Michel Cloup duo + Troy von Balthazar – Petit Bain 20. Evol + Evil Moisture + Extractor Fan + Andcl + All Pass – Treize 20. Duncan Pinhas + Lou "Blue" Djinn + Orphée + Thharm & Zad Kokar + Pira Pora (fest. Rose Mercie) – Café de Paris 20. TVAM + Saurien – Espace B 20. Jessica 93 + Fucked Up + New Fries + Phèdre + Ice Cream + Carin Kelly + Marai + Edna King + Joel Eel (Rencontres musicales Toronto) – La Station 20. Raoul Vignal + Seabuckthorn – concert privé dans le 7e (sur résa : contact@lacordillere.com) 20. Silent Servant + Ceremony NWPP – Petit Bain 20. Alien Rain b2b Regal + Headstrong + Parfait b2b Illnurse + Remco Beekwilder b2b Raffaele Attanasio (Dream Nation fest.) – Dock Eiffel (Aubervilliers) 21. 11e étage + Arthur de Bary + Rivière de corps + Pays P. + Rose Mercie (fest. Rose Mercie) – Café de Paris 21. BMX Bandits + Hidrogenesse + The Last Detail + EggS (Parispop fest.) – Le Hasard ludique 21. Manicomio Punk + Plomb + Ansiax – ESS'pace 21. Doomsquad + Haviah Mighty + Telephone Explosion + Opale + Scott Hardware + Matthew Progress + Sylvere + Myst Milano + dj Sundae (Rencontres musicales Toronto) – La Station 21. Drvg Cvltvre + LeeLoo + Kuvera B + Andres Komatsu + Pilar – L'International 21. Tieum + Shifted + X-Pander + Rebelion + Zadig + Luke Slater... (Dream Nation fest.) – Dock Eiffel (Aubervilliers) 21. Surgeon + Regis + AnD + Dj Pete aka Substance + Lady Starlight + Anthony Child + Inoxia aka Myako & Basses Terres + Oko Dj b2b Tryphème (Redbull Music Fest.) – Dehors brut ||ANNULÉ|| 22. Antilles + Terrine + Radiante pourpre + City Dragon – Espace B 22. Terrine + LV2 + Sex Sux + Edgar Déception + Danse avec les Schlags + Drywud (fest. Rose Mercie) – Café de Paris 22. Amas + Beatrix Weapons + Gaël Segalen + Jana Jan + Leonie Roessler + Maia Koenig + Narcoleptica – Les Nautes 23. The Foreign Resort + Seventeen at this Time + Trancept – Supersonic (gratuit) 23>25. John Cale & Cate Le Bon – Cité de la musique|Philharmonie 24. Drab Majesty + SRSQ – Petit Bain ||COMPLET|| 25. Primal Scream + Idles + Life – Yoyo|Palais de Tokyo (gratuit sur résa) 25. Franck Vigroux : "Tempest" – La Maison des Métallos 25. Rudolf Eb.Er, Dave Phillips & Alice Kemp : Schimpfluch Affiliated Actions – Instants chavirés (Montreuil) 25. Dälek + L'Envoûtante – Petit Bain 25. Jeff Mills : "Things to Come" + Anthony Linell & Ali M. Demirel : "Winter Ashes" + Kangding Ray (dj) (fest. Les Veillées électroniques) – La Gaîté lyrique 26. Monolake + Peder Mannerfelt + Murcof & Manu Lacroix (fest. Les Veillées électroniques) – La Gaîté lyrique 26. Burial Hex + Les Chasseurs de la nuit + Common Eider, King Eider + Visions – Les Voûtes 26. Wayne Hussey – Bus Palladium 26. Thomas Ankersmit + Martin Tétreault + Mohammad Reza Mortazavi (fest. Crak) – église Saint-Merri 26. Graham Dunning + Knappy Kaisernappy + Bugaled – Espace B 27. Léa Bertucci + Hubbub + Tijana Stankovic (fest. Crak) – église Saint-Merri 27. Noseholes + Child Abuse + Catisfaction + Claude – Espace B 27. Les Wampas + En attendant Ana – La Station 27. Mon Alberteen + 333boyz – Treize 27. Trisomie 21 + Delacave – Protocol (Pantin) ||ANNULÉ|| 28. Onceim joue Éliane Radigue + Pancrace + Martin Tétreault (fest. Crak) – église Saint-Merri 28. Noriko Tujiko + I Apologize + KTL + Parhelic Shell (20 ans de la compagnie Gisèle Vienne) – La Station 28. Os Noctambulos + Belmont Witch + Quelque + Les Lignes droites + Noyades – Espace B 28. Ujjaya + Zann + Remco Helbers + Moshé O'Grady – Espace Ararat 29. James Murphy + Colleen "Cosmo" Murphy + Vincent Privat + Seb le vinyl (Redbull Music Fest.) – Le 104 29. Pour X raisons – CIPC 30. Kasper T. Toeplitz : musique pour "Glissements" de Myriam Gourfink (fest. d'automne) – musée de l'Orangerie 30. Exek + Euromilliard + Drag Me – Espace B 

Octobre 01. Emma Ruth Rendel – Petit Bain 01. Sleaford Mods – La Cigale 02. Phoenician Drive + Le Réveil des tropiques – Badaboum 02. Bill Orcutt + Perrine Bourel + Yvan Etienne – Instants chavirés (Montreuil) 03. JB Dunckel + Mariachi + Freeka Tet + Alexis Langevin-Tétrault & Pierre-Luc Lecours (Biennale Nemo) – Le Trianon (gratuit sur résa) 03. Piotr Kurek + Papivores + Matthias Puech – Espace B 04. Kontravoid + Hide + Soft Riot – Espace B 04. Anthony Rother + Galaxian + Sync 24 + Foreign Sequence – Rex Club 04/05. Blush Response b2b Thomas P. Heckmann + Dave Clark + Rebekah + Regis + Tommy Four Seven b2b Ancient Methods + ABSL + AZF + Dax J + DVS 1 + Marcle Dettmann + Poison Point + Anetha b2b Randomer + Ben Klock + Andrejko + Amato & Adriani + Bassam + Boston 189 + Charles Green + Dersee + DJ Bone b2b Ben Sims + Fabrizio Rat + Felicie + Louisahhh b2b Maelstrom + Newa + SHDW & Obscure Shape + Thomas P. Heckmann + Tripeo b2b Hemka (Pulse fest.) – Le Grand Dôme (Villebon/Yvette) 05. Nuit de l'orgue avec des œuvres d'Éliane Radigue, Arvo Pärt, Olivier Messiaen, Phillip Glass, Nico Muhly, Jonathan Fitoussi... (Nuit blanche) – Salle Pierre Boulez|Philharmonie (gratuit) 06. Daughters – La Maroquinerie 06. Quator Bozzini joue : "Occam Delta XV" d'Éliane Radigue, "Five String Quartets" de Phill Niblock et "Koan" de James Tenney – La Marbrerie (Montreuil) 08. Sleep + Pharaoh Overlord – Bataclan 09. Jozef Van Wissem : cinéconcert sur "Nosferatu le vampire" de Murnau – Cinémathèque 09. New Model Army – La Maroquinerie 09. Trumans Water – Espace B 09. Kollaps + Âme de boue + Alice Botté – L'International 09/10. Ty Segall & Freedom Band – La Cigale 10. Toecutter + Le Crabe + Tommpa Lanzakinen (Serendip Lab fest.) – Le Zorba 10. Bruce McClure + Paul Smith joue "A Jim O’Rourke European premiere of a new 2019 Moog Synthesizer playback installation work" – Instants chavirés (Montreuil) 11. Bitpart + Mary Bell + Rive droite + Going away Party + Ours blond + Shit Rockets + Alison Backdoor  – Espace B 11. Kazumoto Endo + Spore Spawn + Vomir + Autocastration – Instants chavirés (Montreuil) 11. Birds in Row + Lane (Jimi fest.) – Théâtre Antoine-Vitez (Ivry/Seine) 11. Marc Acardipane aka Pop + Manu le Malin + [KRTM] + DJ Chuimix + Raw + Makornik + Fuerr – La Machine 11. New Order – Grand Rex ||COMPLET|| 12. Lucas Paris : "Emotional Synthesis" + Orson Hentschel + Sentimental Rave (Biennale Nemo) – Le 104 12. Ben Shemie, John McEntire & Sam Prekop – Petit Bain 12. Osilasi + Tumulus + Kawaii & The Boulaouane Brothers + G de GNG & Julien Bobard + Nicolas Montgermont & Pali Meursault (Serendip Lab fest.) – Cirque électrique 12. Marion Guillet + Bear Bones, Lay Low + Full Quantic Pass + Pi Doom (Serendip Lab fest.) – Jazz yJazz 14. King Gizzard & Tle Lizard Wizard – Olympia 14. Shannon Wright – Trianon 15. Arno Bruil + Les pédales s'amusent + MMY – Espace B 15. Kate Carr + Valérie Vivancos – Instants chavirés (Montreuil) 15/16. Metronomy – Olympia 16. Cycle péruvien + Laurene Ipsum + Robin Kobrynski (Serendip Lab fest.) – Cirque électrique 17. Vindicatrix + Descendeur + Lacustre + Gakona (Serendip Lab fest.) – Cirque électrique 17. City Dragon + Sunk Heaven – Le Zorba 17. Puppetmastaz – Trabendo 17. Automat : musique pour "Archeologia" d'Emmanuelle Huynh – Centre Pompidou 18. Dream Syndicate – Petit Bain 18. Total Victory + Leroy se meurt + Entracte Twist – Espace B 18. A_r_c_c + À travers + Simple Appareil + Blenno Die Wurstbrücke – église Saint-Merri 18. Arktau Eos + Zoät-Aon + Aeoga – Les Voûtes 18. Marie Guilleray + Justin Bennett + Jaap Vink + Gabriel Paiuk + Raviv Ganchrow + Kees Tazelaar + Gottfried Michael Koenig + Johan Van Kreij + Richard Barrett + Ji Youn Kang + Bjarni Gunnarsson (Akousma) – MPAA 19. Molecule – La Cigale 18. Rendez-Vous + Marble Arch – Le Plan (Ris-Orangis) 19. Sisters of Mercy – Bataclan 19. Josin – Lafayette Anticipations 19. Françoise Barrière + Renaud Bajeux + Pali Meursault + Julia Hanadi Al Abed + Yan Maresz (Akousma) – MPAA 19. G4Z + Peru + Jean Turner + Monster X + Steven Marcato + Aly-x (Serendip Lab fest.) – Le Sultan 19. Adam X + David Caretta b2b The Hacker + 14Anger + Phase Fatale + Terence Fixmer + Raffaele Atanasio + Darzack + De-Dust2 + Dersee – tba 19. Juan Atkins + Vril + Ceephax Acid crew + Antigone + Onur özer + Fasme (Le Champ des machines) – Le Ferme du Buisson (Noisiel) 19. Lingua Ignota – Espace B ||COMPLET|| 19. Pixies + Blood Red Shoes – Olympia ||COMPLET|| 21. Pawns + Youth Avoiders + Barren? – Espace B 22. Thurston Moore – Trabendo 22. David J – Petit Bain 23. Ecstatic Vision + Les Tigres du futur + Os Noctambulos – ESS'pace 23. Sly & The Family Drone + Stef Ketteringham – Espace B 23. Four Tet – Le 104 ||COMPLET|| 24. The Necks – La Marbrerie (Montreuil) 25. A Certain Ratio – Petit Bain 25. Poutre + OK fdp + Bruant zizi – ESS'pace 25. Jozef Van Wissem – crypte Notre-Dame de la Croix 25. Fiesta en el Vacio + Axell Larsen + Franz France + Sinead O'Connick jr + Paroi (Serendip Lab fest.) – Jazz y Jazz 25. Catastrophe + Sean O'Hagan + Form – La Maroquinerie 25. Varsovie + Paulie Jan + Blndr b2b Panzer + Mind Matter + End of Mortal Life – Glazart 26. The Monochrome Set – Petit Bain 26. Nina Harker + Bianca Warlord – Le Zorba 26. Mørbeck + Philipp Strobel + IV Horsemen – La Machine 26. Alignment + Hadone + UVB + Parfait + Repro – tba 26. Loto Retina + Jakub Lemiszewski + Somaticae + Le Compas dans l'oeil + Ahta Bat + Letal Ataraxia (Serendip Lab fest.) – Le Sultan 29. Agent Side Grinder – La Boule noire 30. The White Screen + Techno Thriller + Novichok – Supersonic (gratuit) 30. Oiseaux-Tempête + Jessica Moss – La Maroquinerie 30. Jenny Hval – Centre Pompidou 30. Battles – Trabendo 31. Skepta + Mura Masa + Hamza + Zola + Ateyaba + Celeste + Duendita + Ezra Collective + Flohio + Kojey Radical + Master Peace + Slowthai + The Comet is Coming + Yussef Dayes + Charlotte Dos Santos + Kojaque (Pitchfork fest.) – La Grand Halle de La Villette 31. Arrington de Dionyso – Instants chavirés (Montreuil) 31. Broken English Club + Cabaret nocturne + IV Horsemen + Gil. Barte – Petit Bain 

Novembre 01. Chromatics + Belle & Sebastian + Primal Scream + John Talabot + Weyes Blood + Barrie + Briston Maroney + Chai + Desire + Helado Negro + Jackie Mendoza + Nilüfer Yanya + Orville Peck + Sheer Mag + Squir + Loving + Nelson Beer + Sons of Raphael (Pitchfork fest.) – La Grand Halle de La Villette 01. Under Black Helmet b2b Hadone + Inhalt der Nacht b2b Echoes of October + Danilo Incorvala + Makornik + Félicie – Les Docks de Paris (La Plaine-Saint-Denis) 02. The 1975 + Charli XCX + 2manysdj (dj) + Aurora + Agar Agar + SebastiAn + Aeris Roves vs Jamila Woods + Jessica Pratt + Kedr Livanskiy + Korantemaa + BEA1991 + Caroline Polachek + Ela Minus + KhadyaK + Mk.gee + Oklou + Tobi Lou (Pitchfork fest.) – La Grand Halle de La Villette 06. The Murder Capital – Nouveau Casino 07. Xiu Xiu + Camilla Sparksss + Hyperculte – Petit Bain 08. Bedroom Community – Cité de la musique|Philharmonie 08. Boy Harscher – Trabendo 08. Part Chimp + Gnod + Hey Colossus – Petit Bain 08. Sourdurent + Raymonde – Pan Piper 10. Amiina : cinéconcert sur "Fantomas" de Louis Feuillade – Le Studio|Philharmonie 10. Ôlafur Atnald + Hugar – Salle Pierre Boulez|Philharmonie 10. Fontaine D.C. – Bataclan 13. Mick Harvey & JP Silo, Steve Shelley, Glenn Lewis – Les Trois Baudets 14. Dinah Bird & Jean-Philippe Renoult (Inaudible Matters) – La Gaîté lyrique 14. Girl Band – La Maroquinerie 15. Kap Bambino – La Gaîté lyrique 15. Von Pariahs – Point FMR 15. Chemical Brothers – Seine musicale (Boulogne-Billancourt) 17. Nitzer Ebb + Liebknecht – La Machine 17. Tropical Fuck Storm – Badaboum 19. Earth + Helen Money – Petit Bain 22. Rubin Steiner + Dombrance + Ambeyance + Meteo Mirage – La Maroquinerie 22. Nursery + Casse Gueule + Tout de suite – Cirque électrique 23. Billy Chyldish + Le Villejuif Undergroud + Petausaure (fest. BBmix) – Carré Bellefuille (Boulogne-Billancourt) 24. TR/ST – Le Trianon 24. Midori Takada + Carla dal Forno + Felicia Atkinson (fest. BBmix) – Carré Bellefuille (Boulogne-Billancourt) 24. The Young Gods + Les Tétines noires – La Machine 26. Wardruna – Olympia 27. The Stranglers – Olympia 28. Derek Holzer + Cate Hope & Lisa McKinney + Antoine Schmitt & Hortense Gauthier (fest. Bruits blancs) – Le Cube (gratuit sur résa) 28. The Psychotic Monks – Trabendo 28. Artl + Powerdove – Petit Bain 29. Scanner – Nouveau Théâtre de Montreuil 30. Mondkopf – Médiathèque musicale de Paris (gratuit) 

Décembre 01. Motorama – La Maroquinerie 03. White Hills – Supersonic (gratuit) 03. Belgrado – Espace B 06. Phillip Glass Ensemble : cinéconcert sur "Koyaanisqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie 07. Phillip Glass Ensemble : cinéconcert sur "Powaqqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie 08. Phillip Glass Ensemble : cinéconcert sur "Naqoyqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie 11. Boris – Le Gibus 12. Mono + Jo Quail – Petit Bain 12. Kompromat (Vitalic & Rebeka Warrior) – La Cigale 13. Contrefaçon – La Gaîté lyrique 13. Regards extrêmes + Lisieux + Ascending divers – Les Voûtes 18. Amenra – Bataclan 2020 Janvier 04. Rokia Traoré + Ballaké Cissoko & Vincent Segal – Salle Pierre Boulez|Philharmonie 18. Lee Ranaldo & Raül Refree – Le 104 18. Franck Vigroux : "Flesh" (Biennale Nemo) – Maison des arts et de la culture (Créteil) 29. Rendez-Vous – La Cigale 30. Editors – Salle Pleyel 31. Tindersticks – Salle Pleyel Février 02. Sunn o))) – La Gaîté lyrique 09. Explosions in the Sky – La Cigale 13. Ride – Le Trianon 16. Orchestral Manoeuvre in the Dark – La Cigale 21. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain : "Détroit" + Molécule – Le 104 24. Sleater Kinney – Le Trianon Mars 06. Frustration – Le Trianon 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie 20. Ensemble Dedalus joue "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie 21. Front 242 + She Past Away – Élysée Montmartre 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie 28. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale Mai 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie 24. Damon Albarn – Salle Pierre Boulez|Philharmonie en gras : les derniers ajouts / in bold: the last news

[usgunn]

September 1, 2019

CLICK HERE for the September 1, 2019 playlist

1.    Furniture - “Transatlantic Cable” (1983)

I stumbled across this band for the first time this week.  Led by Jim Irvin, who went on to be a British music journalist and also has a co-write credit on a Lana Del Rey song?  Only one EP is on Spotify, but I was so smitten with it I had to lead off with something from it this week.  I’m getting a David Sylvian-vibe.

2.    The Late Bronze Age - “King Greed” (1980)

Spotify credits this song to Col. Bruce Hampton and the Late Bronze Age, but when this record, Outside Looking Out, first came out, they were just the Late Bronze Age.  No offense to my hippie pals out there, but due to his frequent visits to the Georgia Theater back when it was a jam-band haunt I always assumed I would never want to have anything to do with Col. Bruce.  But nobody told me he was in a jazzy new wave band in the early 80′s that sounded like what I always wished Pere Ubu sounded like.

3.    Tesco Bombers - “Break The Ice at Parties” (1982)

London band with but one release, the 7″ from which this song comes, on Y Records, which also put out killer music from Maximum Joy and Shriekback.  I only know this from a compilation,  Cease & Desist: DIY!, put together by JD Twitch of Optimo, the legendary Glaswegian DJ team.

4.    Social Climbers - “Palm Springs” (1981)

NYC-band (by way of Bloomington, IN) who made one self-titled record and disappeared as far as I know, later reissued through the combined power of Drag City and Yoga Records.  Now you know as much as I do.  A lot of the album is more vocal-driven, but this track felt right to kick off a run of instrumental tracks coming up.

5.    Fernando Falcão - “Ladeira dos Inocentes” (1981)

Back to Optimo - they also run a label, Optimo Music, which has picked up a sub-label, Selva Discos, that is putting out some fantastic and forgotten Brazilian music--and that label has just reissued two private-press Fernando Falcão albums.  I first heard Fernando Falcão on the great Outro Tempo compilation a couple of years ago of avant-garde Brazilian music from the 80′s (the Os Mulheres Negras track from a few weeks back came from that compilation).  I don’t know what you call this music.  I like it when you don’t know what to call it.

6.    Ennio Morricone - “Seguita” (1971)

I’m not gonna pretend to know much about Morricone beyond what everyone knows (Italian film composer, did several Sergio Leone movies).  But I always love hearing his music, and I’ve always really liked the Crime and Dissonance compilation (from which this song is taken) of some of his lesser-known work put together by Alan Bishop of Sun City Girls and released on Mike Patton of Faith No More’s Ipecac Records.  This menacing jazz tune is from the movie Gli Occhi Freddi Della Paura, if knowing that sort of thing is important to you.

7.    Sons of Kemet - “My Queen is Harriet Tubman” (2018)

One of several projects of Shabaka Hutchings, a British saxophonist and restless collaborator.  Seems to exist somewhere between jazz and afrobeat, with two drummers pounding out frenetic rhythms.  The album this comes from, Your Queen is a Reptile, was The Wire magazine’s #1 album of 2018.

8.    75 Dollar Bill - “Tetuzi Akiyama” (2019)

75 Dollar Bill started as a guitar and drums duo but have expanded to something much different, playing music that seems steeped in the traditions of some mythical country.  This song is like the blues on acid.

9.    5ive Style - “Pledge Drive” (1999)

5ive Style was a Chicago supergroup (if a supergroup can consist of people no-one has ever heard of): John Herndon (Tortoise, Poster Children) on drums, Leroy Bach (Chicago man-about-town, later in Wilco) on bass, Jeremy Jacobson (one-man-band The Lonesome Organist) on keys, and the inestimable Billy Dolan (later of Heroic Doses) on guitar.  Dolan is one of THE great unsung guitar players of the last, I don’t know, 40 years, and you get a taste of that here.

10.   Orange Juice - “Two Hearts Together (10″ Version)” (1982)

Whether you like this song will determine whether we can be friends.  Not really, but I will die on the Orange Juice hill.  Orange Juice was a Glasgow indie-pop band that most people only care about for their early singles and first-draft of their first album, when they were a scrappy, lo-fi band on Glasgow indie-lable Postcard Records.  But I prefer Orange Juice after they signed to Polydor and became an over-produced also-ran.  This Caribbean-inflected non-album single came between their first and second albums on Polydor, when the band had shed its original guitarist and drummer and added Malcolm Ross on guitar (from Edinburgh’s Josef K) and Zeke Manyika on drums, a Zimbabwe-born multi-talented musician who later recorded with The The and The Style Council, and who in my opinion was a catalyst for the best phase of Orange Juice’s career (but who otherwise seems to be a footnote in most people’s Orange Juice histories--to the extent other people have Orange Juice histories). 

11.    Archer Prewitt - “Gifts of Love” (2002)

Archer Prewitt is best known as the lead guitar player for The Sea and Cake, but made several solo albums of his own in the late 90′s/early 2000′s.  No one would ever accuse The Sea and Cake’s bossa-nova inflected, jazzy post-rock of being “hard,” but Archer’s albums really veered into 70′s soft rock territory, in the best way possible.  There’s a lot to like about this song, but the string-laden outro may be the best part, so good that I’m always disappointed when it fades out so soon.

12.    The Clientele - “Bookshop Casanova” (2007)

The Clientele are a long-time Merge Records band that’s never really caught fire like some others, likely due to their spurts of inactivity and seeming reluctance to tour the U.S. in any meaningful way.  Their catalog is deep at this point, full of poignant moments of beauty and deceptively complex arrangements that invite repeat listens.  This song, though, is probably the closest they ever got at translating what they do into something that might catch a casual listener’s ear at first blush.  

13.    Howard Ivans - “Red Face Boy” (2013)

Howard Ivans is the alter-ego of Ivan Howard, co-leader of another Merge Records band, The Rosebuds.  While The Rosebuds always rooted their genre-experiments in the world of indie-rock, the Howard Ivans persona allows Howard to go full R&B, with wonderful results.  This was one of the first singles put out by Matthew E. White’s Spacebomb Records, and they went all out, with horns arranged by White and strings arranged by Trey Pollard, all cut to tape in Richmond, VA.

14.   BADBADNOTGOOD & Ghostface Killah (ft. MF Doom) - “Ray Gun” (2015)

BADBADNOTGOOD is, as far as I can tell, a bunch of nerds from Canada who play really inventine funk, soul and jazz music, and they made a whole record, Sour Soul, backing Ghostface Killa from Wu-Tang Clan.  I haven’t dived in too deep yet, but really like this song featuring the legendary MF Doom.  Doom and Ghostface have been teasing a collaborative album for years under the name DOOMSTARKS, but so far, nothing.

15.    Baby Huey - “Hard Times” (1971)

Larger than life at 400 lbs. and dead at 26 due to heroin, Baby Huey was not around long enough to make much of a mark.  But he did manage to record one full-length, produced by Curtis Mayfield, from which this song comes (the song was also penned by Mayfield).  There’s an amazing, nearly 10-minute performance of “A Change is Going to Come” on there too, but there wasn’t room this week (I reserve the right to put 10-minute long songs on this playlist, though).

16.    Craig Finn - “Something to Hope For” (2019)

I was never much of a Hold Steady fan -- I appreciated them more than I liked them.  But I feel like frontman Craig Finn is really coming into his own on the solo side of things, and the album he put out this year, I Need a New War, has some great moments, including this earnest, soul-inflected tune.

[hits1000]

Greatest Hits of 1951 | Top Music Hits 1951 | Songs of 1951 [1950s Hits]

Greatest Hits of 1951 | Top Music Hits 1951 | Songs of 1951 [1950s Hits] 00:00 Introduction 00:12 English 06:14 French 07:05 German 07:57 Italian 08:49 Portuguese 09:44 Spanish Greatest Hits of 1951 including: B.B. King - Three O'Clock Blues, Big Joe Turner - Shake, Rattle and Roll, Billy Eckstine - I Apologize, Debbie Reynolds & Carleton Carpenter - Aba Daba Honeymoon, Dinah Shore - Sweet Violets, Doris Day - Lullaby Of Broadway, Eddy Howard - Sin (It’s No Sin), Elmore James - Dust My Broom, Frankie Laine - Rose, Rose I Love You, Guy Mitchell - My Heart Cries for You and many more! Subscribe to our channel to see more of our content! Related Searches: Greatest Hits of 1951, Best Jukebox 1951 Playlist, Late 1951 Non Stop , Top 1951 Non Stop, Mix 1951 Compilation, Best 1951 List, Late 1951 UK, Best 1951 Playlist, Best 1951 Non Stop, Best 1951 Video, Greatest 1951 Non Stop, Mix 1951 Playlist, Best Jukebox 1951 List, List of 1951 Mix, Top 1951 USA, Best Songs of 1951, Top Music 1951, Hits of 1951, Hits 1950s, Songs 1950s Related Channels: K-Music, Ultra Lists, Younger days, Music Hits, DJ Crayfish, Redlist, Music Express, Some Random Guy, Francis Pelletier, MarioMex International Mixes, Top Culture, Related Videos: https://www.youtube.com/watch?v=pDMrVrtSB4o https://www.youtube.com/watch?v=rye3_vWt8zM 1. B.B. King - Three O'Clock Blues 2. Big Joe Turner - Shake, Rattle and Roll 3. Billy Eckstine - I Apologize 4. Debbie Reynolds & Carleton Carpenter - Aba Daba Honeymoon 5. Dinah Shore - Sweet Violets 6. Doris Day - Lullaby Of Broadway 7. Eddie Fisher - Turn Back The Hands Of Time 8. Eddy Howard - Sin (It’s No Sin) 9. Elmore James - Dust My Broom 10. Frankie Laine - Jezebel 11. Frankie Laine - Rose, Rose I Love You 12. Guy Mitchell - My Heart Cries for You 13. Guy Mitchell - My Truly, Truly Fair 14. Guy Mitchell - The Roving Kind 15. Hank Williams - Hey Good Lookin' 16. Hoagy Carmichael - My Resistance Is Low 17. Jackie Brenston & His Delta Cats - Rocket 88 18. Jimmy Young - Too Young 19. Jo Stafford - Shrimp Boats 20. John Lee Hooker - I'm In The Mood 21. Johnny Ray & The Four Lads - Cry 22. Leroy Anderson - The Syncopated Clock 23. Les Paul & Mary Ford - How High The Moon 24. Les Paul & Mary Ford - Mockin' Bird Hill 25. Les Paul & Mary Ford - The World Is Waiting For The Sunrise 26. Louis Armstrong - I Get Ideas 27. Mario Lanza - Be My Love 28. Mario Lanza - The Loveliest Night of the Year 29. Nat King Cole - Too Young 30. Nat King Cole - Unforgettable 31. Patti Page - Mister and Mississippi 32. Perry Como - If 33. Perry Como & The Fontane Sisters - You're Just In Love 34. Rosemary Clooney - Come On-A My House 35. Teresa Brewer - Longing For You 36. The Ames Brothers & Les Brown - Undecided 37. The Dominoes - Sixty Minute Man 38. The Weavers - On Top of Old Smoky 39. The Weavers & Gordon Jenkins - So Long (It's Been Good To Know Yuh) 40. Tony Bennett - Because Of You 41. Tony Bennett - Blue Velvet 42. Tony Bennett - Cold, Cold Heart 43. Tony Martin - I Get Ideas 44. Vaughn Monroe - Old Soldiers Never Die 45. Vaughn Monroe - Sound Off 46. Vaughn Monroe - They Call The Wind Mariah 47. Wynonie Harris - Lovin' Machine 48. Anny Flore - Deux sous de violettes 49. Edith Piaf - Padam Padam 50. Edith Piaf - Plus bleu que tes yeux 51. Juliette Gréco - Sous le ciel de Paris 52. Mick Micheyl - Un gamin de Paris 53. Yves Montand - Les Feuilles Mortes 54. Cornelia Froboess - Pack die Badehose ein 55. Friedel Hensch & die Cyprys - Tango Max 56. Lonny Kellner, Maria Mucke, Lucie Schulz, Klaus Gross - Der Südwind, der weht 57. Marika Rökk - Lass doch mal den kleinen Otto ran 58. Peter Alexander - Das machen nur die Beine von Dolores 59. Rudi Schuricke - Lass uns Träumen am Lago Maggiore 60. Achille Togliani & Duo Fasano - Al mercato di Pizzighettone 61. Claudio Villa - Luna rossa 62. Luciano Tajoli - Arrotino 63. Nilla Pizzi - Grazie Dei Fiori 64. Roberto Murolo - Malafemmena 65. Silvana Pampanini - Bellezze in bicicletta 66. Amália Rodrigues - Ai Mouraria 67. Ataulfo Alves - Deixa essa Mulher pra lá 68. Carmélia Alves - Cabeça Inchada 69. Eliana & Adelaide Chiozzo - Beijinho Doce 70. Linda Batista - Vingança 71. Quatro Ases e um Coringa - Marcha do caracol 72. Antonio Machín - Tengo una Debilidad 73. Concha Piquer - A la lima y al limón 74. José de Aguilar - Maria Cristina Me Quiere Gobernar 75. Juanita Reina - Capote de grana y oro 76. Pérez Prado - Mambo Nº 8 77. Tomás de Antequera - Romance de la Reina Mercedes Relate Hashtags: #listof1951mix #hits1951 #bestsongs1951 #hits1950s #songs1950s #classic1951playlist #greatest1951nonstop #best1951list #best1951video #top1951mix #greatest1951video #mix1951playlist #top1951nonstop #mix1951compilation https://www.youtube.com/watch?v=xHJFCZn-JDs

[3garcons]

The Lost Radio Rounders got added to the Troy Music Hall Couryard Series Gallery

[derekklenadaily]

Playbill Mixtape: Anastasia’s Derek Klena and John Bolton Share Their Pre-Show Playlist

BY RUTHIE FIERBERGFEB 15, 2018

Klena and Bolton play onstage pals Dmitry and Vlad, but they are also real-life buddies who share a pre-show ritual. 

  As the con artist duo Vlad and Dmitry in Broadway’s Anastasia, John Bolton and Derek Klena need to operate in sync. As luck would have it, the actors discovered their shared taste in music and now can be found blasting tunes from their dressing rooms (“We have actually considered knocking down the wall between them,” Bolton jokes) into the hallway before every performance of the Lynn Ahrens and Stephen Flaherty musical. In fact, Bolton calls their ritual “one of the best parts of our job.”

“It started early in the run when Derek started playing Elton John’s Greatest Hits (Volume 1 for those who know the discography),” Bolton shares. “This was the first album I actually bought with money I had saved from selling lemonade on the 13th hole of the golf course right behind our house in LeRoy, New York. To this day it is a ‘desert island disc’ for me. That whole era was awesome: Boston, Foreigner, Kansas, Queen, ELO, Styx, and on and on. The fact that Derek not only loves this music as much as I do but also knows all the lyrics better than I ever will instantly let me know we were going to be great friends.”

Bolton and Klena agree that the classic rock tunes provide the perfect pre-show soundtrack. “There’s nothing like classic rock from your youth to pump up your heart rate, relax your mind and put a smile on your face at the same time,” says Bolton. “My love for some of these classic tunes is hereditary,” says Klena. “My dad used to blast Oingo Boingo, Journey, ELO, Queen, and Styx in his car when I was growing up and they became some of my favorites as well. They never fail to get your blood pumpin’ and spirits up before taking the stage. John and I are actually thinking of taking our Backstage Classic Rock Mixtape Concert on the road! Just kidding! Kind of…” 

CHECK OUT THEIR PLAYLIST HERE ON SPOTIFY:

 https://open.spotify.com/user/playbill/playlist/5691FWnqdU4IXjJ75NEhZg

[sportsleague365]

Manchester City are set to welcome back injury-ravaged duo Aymeric Laporte and Leroy Sane when the Premier League returns next week. As per Manchester Evening News, the French defender, who missed several months with a knee injury earlier in the season, limped out of the Champions League win over Real Madrid in late February with a hamstring problem but is available to face Arsenal next Wednesday. Meanwhile, the German winger could be set for his first senior game in more than 10 months after overcoming an anterior cruciate ligament (ACL) rupture incurred last August – coincidentally, he made a tentative comeback in an under-23 fixture against the Gunners in the same week that Laporte got injured at the Bernabeu. A sparsity of centre-backs in Pep Guardiola’s senior squad has seen Fernandinho moved into that role from his usual midfield position throughout the season, while neither Nicolas Otamendi nor John Stones has been overly convincing. Laporte’s return would enable the manager to pick the player with the most interceptions per game (1.9) among the squad, as well as having an accomplished distributor of possession at the heart of Manchester City’s defence, with the 26-year-old boasting a 92.1% passing success rate. [via WhoScored] Meanwhile, Sane’s return will allow Guardiola to call upon a player who hit 30 goals in the previous two seasons prior to his ACL injury, along with providing 37 assists. It could also inject fresh competition for fellow left winger Raheem Sterling, who began the 2019/20 campaign in scintillating fashion but has not scored this side of New Year’s Day (as per TransferMarkt). With both Sane and Laporte in the team for the majority of last season, Manchester City were the Premier League’s highest scorers with 95 goals and had its second best defence in leaking just 23 goals (as per TransferMarkt). This time around, with that duo missing almost all of the season, the champions have scored 68 times and conceded 31 in 28 league games so far. Preservation of those averages would see them end the season with 92 goals scored and 42 conceded. The return of Sane should sharpen their attack, while Laporte being back certainly ought to bolster their defence ahead of the visit of Arsenal next week. Man City fans, how big a boost will it be to have Sane and Laporte back in the squad for the Arsenal game? Comment below with your views! Click here to comment on this articleorGive us feedback on your Football Transfer Tavern experience #ManCity #PepGuardiola #AymericLaporte