Cindytalk got me through... much of my youth, and most of my twenties. This is an unreleased demo track recorded in 1982. It was, as Gordon Sharp says in the YouTube comments, one of the first ever Cindytalk recordings...Add a Comment
Cindytalk got me through... much of my youth, and most of my twenties. This is an unreleased demo track recorded in 1982. It was, as Gordon Sharp says in the YouTube comments, one of the first ever Cindytalk recordings...Add a Comment
We’re big fans of Radio Disney’s Next Big Thing winners 15-year-old Chloe and (almost) 14-year-old Halle Bailey! The sister duo have been impressing listeners around the world with their incredible singing abilities, performing on Austin & Ally, and even getting props from Beyoncé (!!!) for their cover of her music. In this interview, the two girls talk about what it was like winning N.B.T., their favorite books, and why it’s important to have great self-esteem. Check it out (and be sure to read our interview with another N.B.T. favorite Becky G)!
Q: How did you feel winning The Next Big Thing?
Chloe: It was so much fun. It was such an amazing experience. The whole entire year was filled with N.B.T. Tours. Actually winning the whole thing and having our fans supporting us and voting for us really meant a lot. It was so cool!
Q: What is your favorite book of all time, and what are you reading now?
Chloe: I just read Divergent (for ages 12 & up) and I loved that book. They are turning it into a movie, but read the book before you see the movie because it is really amazing!
Halle: And I think my favorite book was Twilight (for ages 12 & up) because I fell in love with it. I’m obsessed . . . I’m a Twi-hard fan.
Q: Who’s older?
Halle: Chloe’s older.
Chloe: We are a year apart.
Q: What do you think is the most important issue for kids your age?
Chloe: Self-esteem. I feel like a lot of kids have low self-esteem and they don’t believe in themselves. We are all special and different and wonderful in our own unique way, and we need to enjoy that. Enjoy [your] own individuality! It wouldn’t be fun if everyone was the same, right? So, embrace your uniqueness. Go with it and feel fabulous and just work it.
Halle: Yes, I feel exactly the same way!
Interview by Sue Schneider
Photo courtesy of Disney Channel
Sunday, 9 February 2014 marked the 50th anniversary of the American television broadcast of the Beatles on the Ed Sullivan Show. For many writers on pop music, the appearance on the Sullivan show not only marked the debut of the Beatles in the United States, but also launched their career as international pop music superstars. The mass exposure to millions of television viewers rocketed the Fab Four to national prominence in the United States, and created a chain reaction for stardom in the entire world.
While the charisma and quality of the Beatles’ music drew great popularity in 1964, the group’s success was assisted by the entrepreneurial skills of American television, notably by the expertise of Ed Sullivan. However, several other television broadcasts predated the Sullivan show appearance, and laid the groundwork for the Beatles’ stardom in the United States. In particular, two news stories about the Beatles were aired in November 1963, four full months before the Sullivan appearance. This, plus another taped appearance by the group by another entrepreneur, NBC’s Jack Paar, paved the way for the Beatles’ stardom in the United States.
The Ed Sullivan Show
Ed Sullivan began his career as a journalist throughout the 1920s and worked his way into the position as theater columnist for the New York Daily News when Walter Winchell left the paper in the early 1930s. Sullivan was also a host for Vaudeville theaters, serving as master of ceremonies for a number of shows during World War II. He broke into television as host of telecasts of New York’s Harvest Moon Ball on CBS, and was asked to host a weekly variety show called Toast of the Town in 1948. The show would be renamed The Ed Sullivan Show in 1955.
With his journalistic experience, Sullivan was able to use his contacts to attract a wide range of celebrities on the show. He attracted comedians such as Dean Martin and Jerry Lewis, Broadway stars like Julie Andrews, jazz greats like Dizzy Gillespie and Ella Fitzgerald, and even opera singers like Maria Callas and Robert Merrill. However, Sullivan may be best known for bringing rock‘n’roll to the small screen. He had Elvis Presley on the show on 6 January 1957, and many rockers such as Buddy Holly, Fats Domino, Bo Diddley, and many others thereafter.
Sullivan’s embrace (or at least tolerance) for rock music paved the way for the Beatles. Sullivan reportedly heard (or heard of) the Beatles during a trip to London and decided to put them on his show. He offered the band $10,000 to appear, a figure that, adjusted for inflation, would be a somewhat modest $75,000 in today’s dollars.
As the show opened on that historic night in 1964, Sullivan reported that Elvis Presley and his manager, Colonel Tom Parker, had sent a telegram to the Beatles wishing them luck. In his introduction, Sullivan also used the increased viewership to plug some of his other acts on previous shows, notably Topo Gigio (the Italian/Spanish mouse puppet created by Maria Perego), Van Heflin, Ella Fitzgerald, and Sammy Davis, Jr. But the tension to hear the Beatles was palpable, and he segued into a commercial quickly, promising the Beatles after the break.
The appearance by the Beatles almost didn’t happen. George Harrison reportedly had a sore throat the week before, but by broadcast, was better. So, the Beatles went live with their full line-up, performing five songs that night: “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want To Hold Your Hand.”
While the Ed Sullivan appearance marked the first live US TV appearance of the Beatles, the groundwork had already been laid to introduce the band to the United States a few months earlier. NBC News did a four-minute story on the Beatles that was broadcast on The Huntley-Brinkley Report on 16 November 1963, three full months before the Sullivan show. The feature was narrated by reporter Edwin Newman, who would later anchor the NBC News.
Not to be “scooped” by NBC, CBS News also produced a five-minute piece on the Fab Four, which aired on 21 November, the eve of the fateful day on which President John F. Kennedy was assassinated.
Alexander Kendrick, CBS’s London Bureau Chief taped the story, which showed footage of the Beatles performing in England, and the story ended with Kendrick ruminating on the social significance of the group, representing England’s youth, or at least England’s youth as they “wanted to be.”
The Jack Paar Program
Also predating the Sullivan Show, the first prime time film footage of the Beatles actually aired on 3 January 1964. The person responsible was another entrepreneur—NBC’s Jack Paar. Like Ed Sullivan, Paar was not a TV celebrity “natural” and came to television as a master of ceremonies. After World War II, Paar made some appearances in a few low-budget films, and made his way to television as a game show host. He was chosen as the regular replacement for Steve Allen as the host of NBC’s Tonight Show in 1957. Paar did not have Allen’s musical talent, nor his talent for sketch comedy or practical jokes, but was able to surround himself with unusual talent to market his show. While not as “wooden” on stage as Sullivan, Paar tended to be low-key and conversational, rather than charismatic and presentational. Like Sullivan, Paar also had a flair for discovering unique talent and is often credited for discovering, or at least popularizing, such off-beat characters as comedians Jonathan Winters, Bill Cosby, and Bob Newhart. Paar left the Tonight Show (ushering in the Johnny Carson era) in 1962, but went on to host a weekly variety show called The Jack Paar Program, that aired on Friday nights on NBC. It was on this program that he introduced the Beatles to the United States.
Like Sullivan, Paar had heard of the Beatles while in London and decided to show some film footage of the band as a joke. “I thought it was funny,” he quipped later on a television retrospective. He admitted that he had no idea that the band would change the course of music history. On the 1963 broadcast, after showing the footage, he quipped: “Nice to know that England has risen to our [American] cultural level.”
The episode with the footage was taped on 16 November 1963, the same date as the NBC news story (undoubtedly the story was fed to Paar from the network news bureau), but was not aired until 3 January 1964, undoubtedly delayed by the Kennedy assassination. Paar’s film clip still predates the Sullivan appearance by more than a month.
Would the Beatles have made it as superstars without the entrepreneurial efforts of Ed Sullivan and Jack Paar to give them TV coverage? The answer is undoubtedly yes. But the mass exposure they receive through American TV broadcasts by Sullivan and Paar (as well as NBC and CBS news) laid the groundwork for the Beatles success by presenting the group to millions of television viewers in the United States, and the world.
Ron Rodman is Professor of Music at Carleton College, where he teaches courses in the music and cinema and media studies departments. He has published numerous articles on tonal music theory, film music, and music in new media. He is author of Tuning In: American Narrative Television Music.
The post Beyond Ed Sullivan: The Beatles on American television appeared first on OUPblog.
When I began work on my book, I knew I would be fortunate enough to experience a few moments of “Pinch me. This can’t really be happening.” There were, as it turned out, so many that I’d be black and blue if there was actual pinching going on. But of all of those moments, I think the highlight would have to be spending a day at Disneyland with Carol Channing and her late husband, Harry, who were then 90 and 91 respectively.
I had interviewed Carol the day before in front of an adoring audience at the annual Gay Days at Disneyland. But it had been decades since Carol had been in the park and the last time she was, her tour guide was, um, Walt Disney. She had a picture to prove it. Carol, Walt, and Maurice Chevalier on Main Street, USA! I couldn’t exactly beat that, but I did what I could. I mapped out the day with a full compliment of attractions starting gently enough with “Great Moments with Mr. Lincoln,“ an indoor show at which a robotic Abe recites the Gettysburg address. Carol was moved to tears. “It’s Walt!” she exclaimed. “This whole attraction is his spirit. Exactly who he was.” We emerged just in time to hear the Disneyland Marching Band emphatically playing “When the Saints Go Marching In.” We clapped along before we hopped on “The Disneyland Railroad,” a steam train that circles the park. Carol grabbed my hand as we approached and began singing at full voice, “Put on your Sunday clothes when you feel down and out…” the song from Hello, Dolly! that culminates with the full company boarding a similar train. We sang together as we chugged along. I died.
We rode the Peter Pan ride and the tea cups, we met Mickey Mouse (who literally got on his knees and bowed down to Carol), and we had our own boat on “It’s a Small World.” It was all just as I had planned it until… the unexpected. As we were walking through Fantasyland, Harry kept staring in the direction of the carousel. I hadn’t planned on an attraction as simple as the carousel because, well, it’s a carousel. But I couldn’t help but notice Harry’s interest. “Harry,” I asked, “did you want to ride the carousel?” “I’m lookin’ at it,” came the reply. “Well Harry,” I said, “we’re here! If you want to ride it, let’s ride it.” We boarded and I went off in search of a nice bench for Carol and Harry. Carol seated herself but Harry was determined to mount a horse. At 91, however, he needed a hand or two, so I put my shoulder under his lower back and hoisted him up there. I then ran around to the other side and manually swung his leg astride the horse.
He was beaming, positively giddy. And in that moment, I realized that I was getting a major life lesson here. Carol and Harry were frail (he, in fact, passed less than three months later); one misstep could have been hugely consequential. A jostle from someone in the crowd could have been dire. But here they were, not just tasting everything life had to offer, but gobbling it up. If there was life to live, they were going to live it. And I thought to myself, “How does one become lucky enough to age into these people? Is it genetic? Is it a choice? What can I do to insure that when my golden years are upon me, I make them as golden as I can? Because these people have figured it out. They are who I aspire to be.”
When the sun was finally setting, we headed back to the hotel. I left them sitting in the lobby next to the grand piano while I went up to the room to retrieve their luggage. I returned just as the pianist was arriving for his set. He spied Carol and in no time he was gently tinkling the notes of “Hello, Dolly!” Before I knew what was happening, Carol was on her feet, one hand on the piano, the other aloft, belting out “Hello, Dolly!” for anyone who happened to be passing through the lobby of the Grand Californian Hotel at 4:30 in the afternoon. It was something to behold and a moment I will never, ever forget.
For months afterward, Harry would call me, just to say hello. “You don’t know the gift you gave us that day,” he would always end with. “Harry,” I’d always reply, “you don’t know the gift you gave me.”
Eddie Shapiro is the author of Nothing Like a Dame: Conversations with the Great Women of Musical Theater. His writing has appeared in publications such as Out Magazine, Instinct, and Backstage West. He is also a producer of Gay Days Disneyland and the author of Queens in the Kingdom: The Ultimate Gay and Lesbian Guide to the Disney Theme Parks.
Over two years ago, before The Only Ones came out, I did a countdown of 99 things (books, movies, art, places, etc.) that inspired it. It was a fun way to revisit some stuff I was actively thinking about when I wrote the book, as well as some stuff I didn’t realize influenced me until I had some time to reflect.
Well, it’s 99 days until The Riverman hits shelves and I figured, why not do it all again? So, without further ado, here is my list of #99inspirations that I’ll be counting down daily on Twitter. This doesn’t represent all of my favorite things (sorry, no bright copper kettles and warm woolen mittens here), though it does include some stuff that I truly love. And hopefully it sparks some conversation about the stuff you love and the stuff that leaks into your creations.
This year’s slate of contenders includes established pros (John Williams, Thomas Newman, Alexandre Desplat) along with some newcomers (William Butler and Owen Pallett, Steven Price). This used to be a category where you had to pay your dues, but no longer. The last three winners had never been nominated before. So the real surprise winner in this category would be Williams.
William Butler and Owen Pallett: Her
Butler and Pallett already have a pocketful of awards and this is just the kind of “outsider” score (Butler and Pallett’s first nomination) that Academy voters love: remember Reznor and Ross winning for The Social Network? A win for Butler and Pallett makes the Academy seem hip and edgy and cool, not unimportant to an aging votership. Gravity is the favorite to win here, but I wouldn’t be surprised if the statuette goes to Her. Its use of acoustic instruments (that piano!) brings coziness to the sterile interiors and even the electronic instruments radiate warmth. The score is crucial in helping us to understand the characters in the film and feel for them. This wouldn’t be the same film without the score.
Alexandre Desplat: Philomena
Desplat has done some remarkable work in the last few years (Argo, Zero Dark Thirty, The King’s Speech, The Queen, Harry Potter, Fantastic Mr. Fox—a personal favorite) and he’s the go-to composer for films about England and now Ireland. But he’s perennially overlooked by Academy voters (he’s lost five times in the last seven years and for some amazing work—come on, Academy)! I don’t think this is his year. Philomena doesn’t have a high enough profile in the Oscar race. I would LOVE to be wrong about this. Desplat deserves an Oscar for something and why not for Philomena—it’s a heartfelt film with an equally heartfelt score.
Thomas Newman: Saving Mr. Banks
Newman has twelve nominations and no wins but I don’t think this year is going to change that. Saving Mr. Banks was almost completely overlooked by the Academy (this is its only nomination) and Newman’s style of big symphonic scoring hasn’t found favor in recent years with Academy voters. (See John Williams below).
Steven Price: Gravity
*clip from film includes “Debris” from the soundtrack
Gravity is the front runner here. The trailer’s tag line reads “At 372 miles above the earth, there is nothing to carry sound.” Except the soundtrack…which is filled with the score. Big, noticeable, dare I say it—intrusive, this is the kind of score you can’t fail to notice…even if you try. John Williams meets Hans Zimmer.
John Williams: The Book Thief
This is Williams’ forty-ninth nomination—but The Book Thief doesn’t have the visibility of other films in this category and Academy voters of late have failed to embrace the kind of big symphonic scores, like this one, that routinely won Oscars back in the twentieth century. Lush, melodic, memorable—vintage Williams. Like Newman for Saving Mr. Banks, Williams would be an upset.
Will win: Steven Price for Gravity
Should win: William Butler and Owen Pallett for Her
Kathryn Kalinak is Professor of English and Film Studies at Rhode Island College. Her extensive writing on film music includes numerous articles as well as the books Settling the Score: Music in the Classical Hollywood Film and How the West was Sung: Music in the Westerns of John Ford. She is author of Film Music: A Very Short Introduction.
The Very Short Introductions (VSI) series combines a small format with authoritative analysis and big ideas for hundreds of topic areas. Written by our expert authors, these books can change the way you think about the things that interest you and are the perfect introduction to subjects you previously knew nothing about. Grow your knowledge with OUPblog and the VSI series every Friday, subscribe to Very Short Introductions articles on the OUPblog via email or RSS, and like Very Short Introductions on Facebook.
The post Best Original Score: Who will win (and who should!) appeared first on OUPblog.
Music therapy involves the use of clinical, evidence-supported musical interventions to meet a patient’s specific goals for healing (a useful fact sheet). The musical therapist should have the proper credentials and be licensed in the field of music therapy.
Music therapy is performed in rehabilitation centers such as 12 Keys Rehab, psychiatric and even general hospitals, private practices, nursing homes, schools, etc. to treat a wide variety of issues, including social, cognitive, emotional, and physical needs. After an initial assessment, the musical therapist prescribes a treatment plan in which the patient sings, moves and dances, creates, or simply listens to music. This experience facilitates a healthy outlet for patients to communicate and express their feelings, in addition to rehabilitating the patient physically.
As it has become more prevalent, music therapy has proven to be useful for a wide variety of populations. One such population is victims of crisis and trauma. After the 9/11 terror attacks in New York City, the American Music Therapy Association founded The New York City Music Therapy Relief Project. The goal of the project was to serve the children and adults living in the metropolitan vicinity by providing them with music therapy services. Some of these musical therapy programs were customized with the specific needs of caregivers in mind, targeting teachers, counselors, social workers, doctors, and nurses. More than 3,000 teachers and students were served through eleven different music therapy programs that reached out to eight local schools.
Music therapy has also been used in the treatment of mental illness. In addition to the basic care they should be receiving, music therapy helped patients with schizophrenia to achieve an enhanced mental state along with improving their overall condition. What’s more, music therapy has been shown to drastically reduce the unwanted symptoms these patients sometimes experience, making them more capable of having conversations with other people, thereby alleviating feelings of isolation and giving them more of an interest in what is going on around them.
Along with helping those suffering from schizophrenia, music therapy has also been used as an effective way to treat clinical depression. Studies have shown that when adolescents who were depressed listened to music, they had a notable drop in the levels of cortisol (a stress hormone), and the left frontal lobe of their brain was activated, which was reported to be a positive outcome.
Those who struggle with anger have also benefited from music therapy treatments. When assessed with the Achenbach’s Teacher’s Report Form, music therapy patients made significant improvements on the scale of aggression and hostility. Studies suggest that group sessions of music therapy allow patients to express themselves in a positive way, transforming their aggression and rage into healthier forms of communication.
While music therapy can go a long way in improving the mental health of a patient, it can also help in more physical ways. For one thing, music therapy lowers a patient’s perception of their pain so that what might normally be extremely painful becomes a much more tolerable experience. For patients suffering with cancer and undergoing chemotherapy, music therapy has been known to lower incidences of nausea and anxiety, sometimes significantly lowering the fatigue, anxiety, and pain of those in hospice care.
I caught up with Alyssa Regan, who is in her second year in the master’s equivalency program for music therapy at Immaculata University. She’s also near the end of her full-time internship at Children’s Hospital of Philadelphia.
How have you personally seen music therapy work on someone?
I was planning on having a session with one of my patients that I had been seeing regularly since the beginning of my internship. This patient was only 16 months old and suffered from many medical complications. When I arrived at his room, I noticed an entire medical team standing around his bed; his monitor was beeping, his heart rate and respiratory rate were so erratic that numbers weren’t even showing. My patient’s face was red and he seemed to be writhing in discomfort. With approval from the medical team, I came in and began to quietly play guitar. Around the same time, the patient was given some medication. As I began to sing, my patient’s face calmed. I aimed to match the tempo of my music with his breathing and then gradually slow it down. His HR and RR appeared on the monitors and slowly decreased. After 20 minutes or so, his vitals were stable and he was asleep. After the session, one of the nurses said, “Well, either you’re a miracle worker or those drugs kicked in extremely fast!” I’m sure the medicine had a little to do with it, but it was also the music.
Since you started studying music therapy, have you seen it grow?
Yes. I think that more of the general population is beginning to recognize it as a credible field, especially as it seems to be gaining more publicity recently (e.g. the Gabby Giffords documentary and the recent segment on the news about music therapy with premature infants). I hope it continues to grow!
Is music therapy becoming more recognized in hospitals, nursing homes, etc.?
I think it is becoming more recognized in general, which hopefully means that there will be more jobs available. The most growth seems to be happening in hospice care.
How do you see music therapy expanding over the next ten years?
Ideally, I’d like music therapy to be seen as important as physical therapy, speech therapy, or occupational therapy. Will that happen over the next ten years? Probably not. However, I would not be too surprised if every hospice care organization, children’s hospital, and major medical and psychiatric institution in the United States had at least one music therapist on staff in ten years.
Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.
Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.
Dirty South hip hop refers to a gritty rap culture first developed in the southern United States during the 1980s and the 1990s. Goodie Mob, an eccentric quartet from Atlanta, Georgia, titled a 1995 single “Dirty South” in order to shed light on myriad societal ills in the former Confederacy, where ethnic prejudice and racism seemed to be perennial sicknesses. Today the term is used to describe not only everyday life in Dixieland, but also an array of risqué artists, lyrics, clothes, and other fashion items that originated there. And even though some might say that dirty South hip hop, as a synthesis of global rap influences and aesthetics, lacks distinction, the emergence of Atlanta and other major Southern cities as recognized headquarters of urban popular culture has compelled many critics and fans to describe the phenomenon as unique. The following playlist, courtesy of Oxford African American Studies Center contributor Bertis English (Alabama State University), provides a wide-ranging selection of the most significant artists working in the genre.
Bertis English is an Associate Professor of History at Alabama State University. He has written about Atlanta’s unique contribution to hip hop on the Oxford African American Studies Center.
The Oxford African American Studies Center combines the authority of carefully edited reference works with sophisticated technology to create the most comprehensive collection of scholarship available online to focus on the lives and events which have shaped African American and African history and culture. The Oxford African American Studies Center is free for Black History Month. Simply use Username: blackhistorymonth and Password: onlineaccess to log in.
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The Disenchantments Nina LaCour
After graduation, Colby’s going on tour with Bev’s band, and then Colby and Bev are going to bum around Europe for a year. They’ve been planning this trip for years. But half-way through the tour, Bev drops the bomb that she’s going to college, not Europe, and Colby’s realizing that he doesn’t know his best friend at all.
Man, did I love this book. I loved Colby and his voice. I loved that Bev’s band was really, really bad. I loved their complicated and changing relationship, and that they’ve known each other forever and how that colors everything. I loved the other girls in Bev’s band (and man, I wished Colby would have woken up and realized that Meg was clearly awesome.) I loved the relationship between Meg and her sister Alexa (both in the band). I loved how it was about art and friendship and family.
AND JASPER. I loved Colby for thinking of Jasper-- this random character from early in the book. How Colby treats Jasper makes him my favorite. I loved Jasper.
So, yeah, I loved this book.
Book Provided by... my local library
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I have been following the career of mandolin virtuoso Chris Thile for over ten years now. He’s a year older than me, which means that while I was chugging beer at Ohio University, he was already on tour. I’ve seen him perform three times, as of last night, and the man never, ever disappoints.
I took along a novice as my date, and as I explained to her the wonder that is Chris Thile, she said, “I think you have a crush on him.” Oh, okay, maybe, but it’s not because he’s hot or mysterious or dark. I really have a crush on the music, and I think my girlfriend now feels the same.
The Musical Instrument Museum is a cool place to wander. There, you can see weird instruments you’ve never heard of as well as instruments played by some of your favorite musicians. The venue housed inside has been called one of the best in the world by musicians who’ve played there, and by the end of his show, Thile agreed. I do, too; he’s never sounded so good.
Chris Thile is a quirky guy. He has nice clothes, yes—well-cut, stylish, colorful suits—but he can’t tame that wonky blond hair. He dances when he’s on stage. He moves with the music like an eighties hairband head-banger. Between songs, he goes on long tangents, akin to a stand-up comedian. Last night, he even admitted: “Most of my banter doesn’t go anywhere.” Yet, the audience was not perturbed, because Thile is too charming and wide-eyed to be a nuisance.
He hit several high notes for me, including segments from his four-part suite “The Blind Leaving the Blind,” which chronicles his painful 2004 divorce. He did a Fiona Apple cover, connecting my favorite female musician to my favorite male. As if that wasn’t enough, he attacked Bach (which he described as a huge musical cube in the center of his set).
As a solo musician, I assume you worry you’ll be boring up there all by yourself, but Thile’s set list kept us glued to our seats. He jumped from classical to covers to sad songs to songs that paused in the middle due to audience hysterics (see “If You’re Gonna Leave Me Set Me Up With One of Your Friends” or, my personal favorite, “Too Many Notes”).
Thile is thankful, modest, and so comfortable on stage, you’d think he lives there. He is the epitome of a one-man show: a genius talent and an improv expert. He received three standing ovations and deserved many more.
Post show, we all stood around, hoping he’d show his face (as he did when I met him last year at Crescent Ballroom). Alas, there was no sign, so my girlfriend and I prepared to hit the road … until we walked outside. I spotted Thile, and in stiletto heels, I scampered to a parked car where I found my music crush and said, so eloquently, “Can I, like, talk to you for a second?”
We shook hands and reminisced over the Crescent Ballroom show. We talked high points of his solo tour and his upcoming reunion with his first band, Nickel Creek. I thanked him for being, well, him, and I even got my second (second!) Chris Thile hug before we separated in the night—him to dinner with his in-laws and me to a giggle fit in my car.
There is something to be said for great musicians. There is even more to be said for great musicians who are polite. They have a way of inspiring fellow artists to be the best they can be. Thile works hard, you can tell; he makes me want to work hard at my craft, too, but I hope I remember more than just that. I hope I remember to always be humble and never forget to say “thank you.”
Anything is possible, if you set your mind to it, work hard, and have your heart in the right place.
Little Mix, an awesome all-female vocal group and winner of The X Factor, reinforces these ideas in their new song "Little Me." The next time you're feeling down on yourself, turn this song on and remind yourself that the possibilities are endless, and that you can be anything you want to be.
If you can't see the video embedded above, click here to watch it on YouTube.
Wish I knew back then what I know now
Wish I could somehow go back in time
And maybe listen to my own advice
I'd tell her to speak up, tell her to shout out
Talk a bit louder, be a bit prouder
Tell her she's beautiful, wonderful,
Everything she doesn't see
You gotta speak up, you gotta shout out
And know that right here, right now
You can be beautiful, wonderful,
Anything you wanna be
Click here to read all of the lyrics.
I remember this Christmas and this song quite vividly. I still believe we can feed the world and more than ever, that we shouldn't stop trying.
In order, these are the artists who sang: Paul Young, Boy George, George Michael, Simon Le Bon, and Bono. The chorus included David Bowie, Phil Collins, Paul McCartney, Bob Geldof, Ure and many other artists who weren't given a verse but sang the "Feed The World" part and lent their images to the effort by appearing in the promotional photo.Add a Comment
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From the Kennedy Center Honors, 2012. I listen to this and I think we all just might make it in this world, as long as we keep doing this sort of wonderful magic.
Siren is a biannual online zine looking for artists of all genres who create new, edgy, and experimental work. We want work that pushes boundaries, that surprises in terms of structure and content, that provokes a visceral response. We want to be shocked. We want to blush. We want Art that is provocative, raw and beautiful. We want Art with wings, teeth, claws.
We welcome submissions from artists of all genres. This includes, but is not limited to, poets and writers of ALL genres, audio/visual and graphic artists, video and film makers, performance and spoken word artists, musicians, fine artists, and photographers...
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I attended Suicide Girls’ Blackheart Burlesque at the Marquee Theater in Tempe. Initially, I bought tickets because I love burlesque. Only secondarily did I look into the Suicide Girls, although as I understand it, the majority of my male friends knew about them already.
Suicide Girls is a website, created by two Portsmouth, Oregon, folk who wanted to see “hot punk rock girls naked.” To be a member of the website, you must pay, and it’s become an international phenomenon, now based in Los Angeles. There are books by the Suicide Girls, as well as movies and a tour.The Blackheart Burlesque show is a little different than the tour, because not all Suicide Girls can dance—and the BB girls … they could freakin’ dance. The lead cast of the show was only four ladies. I could have gone for more, but the four did not disappoint—Priddy Suicide, in particular. Talk about a hot chick. Yipes. Each of the four women was different: different colored hair, different tattoos, different body shapes. What did they have in common? Severe confidence and an edge.
The Blackheart Burlesque was very much about nerd love. Since I’m a nerd, I appreciated all the cultural references. This wasn’t a stupid strip tease. This was everything from The Big Lebowski to Planet of the Apes to Star Wars. True, Star Wars in g-strings with duct tape over nipples—but Star Wars!
I was about six rows back, but the front couple rows got covered in everything from fake blood to whiskey. And how could I forget the birthday cake? At one point, the MC covered her breasts in birthday cake and let the audience lick frosting from her fingers. Priddy Suicide even poured whiskey into her own mouth and then spit liquor into the awaiting, open mouths of her fans.
Half the troupe was British (hot). But of course, Priddy, the whiskey-chugging, foul-mouthed, ample-breasted redhead, was American. Thank you.
The Suicide Girls are not about dotting letters with little hearts. They aren’t about being sweet or shy. Although burlesque is the art of tease, this was teasing with a fist to the head. Whenever you open a show with Bjork’s “Army of Me,” what can you expect? Nothing less than one kick ass performance from four kick ass women who chew men up and spit ‘em out like bad sushi.
Have you ever quoted song lyrics in your book? Music can set the mood, evoke a certain setting or channel a particular emotion.
However, writers need to be aware of copyright issues surrounding music in books. We caught up with Copyright Clearance Center‘s author and creator relations director Christopher Kenneally, discovering the key questions authors should ask before including a song. Kenneally explained:
Consider not quoting the song. Lyrics, like all creative expression, are copyrighted. Copyright gives the author or creator the exclusive right to republication of the work. Any writer who wishes to quote lyrics, or for that matter, passages from another’s book, must obtain permission first. It’s probably worth asking how necessary or vital such quotation is to any particular creative work.
New Career Opportunities Daily: The best jobs in media.Add a Comment
Do you listen to music when you create? As a writer, I must say I do not, but I know Stephen King has a penchant for hard rock and metal bands when he writes. What about painters? Sculptors? Dancers don’t count, because you obviously listen to music when you create.
Artists out there: what does music mean to you?
I only ask because I’d like to know I’m not alone. See, every time I start a new book, I slowly develop the movie soundtrack. I’m a geek, right? Like, totally, but for real: every book I have ever written has a playlist in iTunes, complete with the book title and a full list of songs that inspired the project.
Sometimes, the list is built before the book even begins. Other times, the playlist grows as the book grows. Generally, there is a main band that frames the novel. I swear, each time I start a new novel, some band out there releases an album that fits perfectly with my project. Very cosmic, yes? It goes back to the theory that we’re all connected: artists and non-artists alike.
What we do inspires other people even if we aren’t aware—which is, I suppose, why we should be cautious of what we create. There’s a lot of pressure, putting something new out into the world. You never know what effect you might have, which is part of the excitement and part of the danger. But I digress …
This blog post is actually a playlist for my first completed novel Life without Harry (available in eBook). I started writing Life without Harry during the summer of last year, and it just so happened that Florence + the Machine released Ceremonials around the same time. Voila. Soundtrack created. But as the book grew, so did the songs.
I’d now like to share the very special, very personal song list that went along with the writing of Life without Harry. I can even tell you the specific scene where each song belongs. Enjoy some good music today and realize how much music affects you, your life, and your art.
Official Soundtrack to Life without Harry
We Are Young – Fun (Movie Trailer)
Prologue – John Williams (Just because.)
Only If For A Night – Florence + the Machine (Opening Credits)
I Won’t Let You Down – Alex Clare (Kissing in the Fireflies)
Heartlines – Florence + the Machine (Running from Cops on Camelback)
Transatlantic – Silver Rocket (Anywhere. This song fits anywhere.)
Between Two Lungs – Florence + the Machine (Sam Begins to Write)
Arizona – Kings of Leon (Paul Takes Sam Broom-Flying)
Never Let Me Go – Florence + the Machine (The Haboob Chase)
Soon or Never – Punch Brothers (The Final Goodbye to Sig)
Thanks for reading … er, listening. In the future, I think I’ll always include a playlist in the content of my novels. It seems to make the experience so much more personal, for me and my reader. We can not only share words and images but sounds, as well, no matter the distance between us, and I like that.
I learned something interesting as soon as I walked into Binks Forest Elementary School in Wellington, FL. The school and the area surrounding it got its name “Binks,” because it was the nickname of the man who used to own the land there. I also couldn’t help but be impressed with how helpful the staff was as soon as I opened the front door. Several smiling people helped me drag my books and props in and out, and they couldn’t be any friendlier.
Well to say the least, this was a very special author visit, as I did two presentations with 500 students in each group! Talk about an energetic crowd!!! You never know what will get kids going, and every author visit I do is different. Well, when the 2nd-5th graders learned that many trees are planted by birds because they poop out the seeds, this caused a hilarious uproar that lasted some time. Naturally it put a huge smile on my face.
With the school’s terrific technology I was able to show my animal posters on a big screen so the crowd could see them better. I was asked some terrific questions about those animals, and one 4th grader let me know he had just been to Costa Rica, where he saw a Howler monkey!
One of the highlights of this visit was telling the children that the paintbrushes I used for my illustrations belonged to my grandfather, and I’ve kept them for 30 years. They sure do love watching the magic of watercolor pencils blending with just a touch of water on a brush.
The students are always shocked when I give them statistics on how “Geography Illiterate” Americans really are. I encouraged them to ask for a wall map for the holidays or their birthday. They’re very affordable, and oh so fun to look at and learn about the world.
Media Specialist Sharon Wedgworth absolutely loves her job and it shows! Her library is big and inviting and the students are welcome to browse the shelves at various times throughout the day. She works with readers of all levels and comes up with creative ways of motivating reluctant readers.
Tell me you wouldn’t want to linger in this library for a few hours! Notice the pile of Lilly Badilly books on the table I autographed.
Binks Forest Elementary’s music teacher, Devon Heinrichs has an incredible music program and provides the children with live performances from every genre of music. His classroom is full of interesting instruments, and his students are so fortunate to benefit from his passion for music. It’s teachers like Mr. Heinrichs who can inspire a child to master a musical instrument or sing like Broadway star. And we all know how much music ability and math success go hand in hand.
Music is not the only wonderful part of the Fine Arts classes at Binks Elementary. Check out these impressive painted self-portrait tiles made by students a few years back.
There are many aspects to being a children’s book author that make it so fulfilling. Without a doubt, one of the best parts is visiting a harmonious school, where the teachers truly care, the parents are hands on, the students are curious, and the resources are abundant. Binks Forest is one of those schools, and how lucky these students are to have the privilege of attending!
Thank you Mrs. Wedgworth for inviting me to your school and putting together such a well organized event. Thank you, too, to all the teachers I met, who were so kind and welcoming. And of course, I must express my gratitude for 1,000 beautiful, smiling, giggling children, who were eager to learn and who told me how much they enjoyed the visit.
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"When you live your life through records, the records are a record of your life." Drummer, DJ, producer, and cofounder of the legendary Roots crew, Ahmir "Questlove" (a.k.a. "?uestlove" and "Questo") Thompson is one of the music world's most virtuosic individuals. Possessing talent in spades, Questlove's accomplishments are many, but it is his encyclopedic knowledge [...]Add a Comment
Most celebrity musician memoirs amount to not much more than an inevitable litany of the excesses that come with the dubious position of rock star. Sting, however, makes the interesting (and refreshing) choice to stop his memoir right before The Police hit it big. While the opening recollection of his first experience with the entheogen [...]Add a Comment
Playlist? You want a playlist, you say? Don't you understand that I'm busy? Look, when you're a D-list literary celebrity like me, you don't have time for silly pursuits like making lists of songs for people. Beard grooming alone takes up enough of my time, and this week I'm supervising the modification of my waterfall-bubinga [...]Add a Comment
Graham Nash visited Penguin Towers recently, the Penguin Blog was lucky enough to sit down with him and hear, from the man himself, about the 10 songs that mean the most to him. Graham recorded this as an audio interview, but we thought we'd share it with you here so you can listen to the songs as you read.
This post is in Graham's words. We hope you like it. Happy listening.
1. The first song I’d like to talk about is Be-Bop-A-Lula by Gene Vincent. An amazing, amazing record, recorded 2-track at Capital Records. One of the reasons I joined Capital Records personally, apart from all the financial stuff that went on between my managers and the record company, was that I would join if they would leave me in the studio with the original two-track of Gene Vincent’s Be-Bop-A-Lula. It was the very first record I ever bought and unfortunately the day after I bought it I sat on it. It was a '78 and of course it shattered. Anyway, this is Be-Bop-A-Lula by Gene Vincent.
2. I was once talking to John Lennon about great rock’n’roll songs. And he and I both agreed that Great Balls of Fire by Jerry Lee Lewis was undeniably a great, great rock’n’roll song.
3. One of my personal favourite groups of course, is The Everly Brothers. I’ll never forget what their music did to me when I was fifteen years old, I was enthralled by their sound, by their harmony. I know they were brothers and I know they came from Kentucky but they had this unbelievable blend. In 1992 in Toledo, Ohio, I was in my hotel room and the phone rang. It was Phil Everly and he was talking to me. I said "Why are you talking to me in Toledo, Ohio?" And he said, “Well, you’re doing the show at the place that we’re going to play tonight. Would you like to come to the show?” So I went down with The Everly Brothers in their bus, to the venue. We had that rubber chicken at 5 o'clock after soundcheck that most rock’n’roll bands have and Don Everly looked at me and said “OK. What are you gonna sing with us?” And you know, I’m dying inside, it’s been my dream to sing with The Everly Brothers, and I have a cassette of me singing So Sad with The Everly Brothers and it thrills me to this day. So let’s play So Sad.
4. After World War II when 14 and 15 year old kids had nothing to do but kick a ball around, Lonnie Donnegan came into our lives on the BBC and Saturday Club on Saturday Morning. He was very influential with us because he provided a form of music that we could afford. If you had a cheap acoustic guitar and a washboard then you could put thimbles on your fingers and replicate the drums, and have a tea chest with a broom handle and a piece of string for the bass, and you could actually make decent music. So let’s play Rock Island Line by Lonnie Donegan.
5. There was a movie out when I was a kid, it was called Blackboard Jungle. Part of the musical track was this song by Bill Haley & The Comets called Rock Around The Clock. A few days before my fifteenth birthday, Bill Haley came to Manchester and I got tickets for me and Alan Clarke. We sat in the front row of the balcony and were absolutely blown away by the energy of The Comets. So why don’t we play, Rock Around The Clock.
6. I’m a lover of harmony. I mean it’s very obvious – I was in The Hollies, a great harmony band; Buffalo Springfield and The Byrds were both great harmony bands, but The Beach Boys were something else. I truly love this song, this is one of the finest songs on record. By The Beach Boys, it's God Only Knows.
7. I’d like to be a little selfish here. When Stephen Stills first played me Suite Judy Blue Eyes I couldn’t believe what a great song it was. It was 7.5 minutes, it was in four movements; a brilliant, brilliant song.
8. After I joined David and Stephen I kind of put The Hollies into the back of mind. You certainly don’t talk to your new girlfriend about your old girlfriend, you know, you just don’t do that. And so I spent many years kind of pushing them away in my mind. But recently, for the last 10 years I’ve been listening to The Hollies and, man, we were a fine band! Good harmonies, great energy. I remember this particular song because we had a manager, Michael Cohen. And he said to us one day, “I have this neighbour, this friend of mine, and she says that her son writes songs. Do me a favour - she keeps bugging me - why don’t you do down and just check out this kid.” So we went to this house and there’s this fourteen or fifteen year old kid and, you know, we were The Hollies! And we knew we were The Hollies. And I said “OK kid, what have you got?” And he said, “I’ve got this song and it goes like this…” *sings first lines of Bus Stop* And we knew The Hollies could cut a great record of it. So this is Bus Stop.
9. One day [David] Crosby told me that he had just come from a session at Abbey Road with The Beatles and they pushed two giant speakers left and right, opposite each ear, sat him in a chair, and David Crosby was one of the first people ever to hear this song: A Day In The Life.
10. I’ve always been a tenacious man. I don’t give up easily. When I’m committed to something I do it with all my heart. This is a wonderful, wonderful song that we should all listen to and take to heart, this is Don’t Give Up by Peter Gabriel.Add a Comment
The Cartier Street Review is alive and well and requesting submissions. Please send poetry, flash fiction, articles on writing, short stories, and reviews of books, music and other type articles for consideration to:
violetwritesATgmailDOTcom (Change AT to @ and DOT to .)
Please put submission into the subject line along with your last name and the type of work you are submitting.
A short note to the editor such as, “Hi I am writer submitting 3 poems titled …”
Include a short bio with your submission.