Stevie Wonder, Sheryl Crow and Will.I.Am performed live at the Democratic National Convention in Denver, at the Mile High Stadium � abode to the Denver Broncos American football team.
On Thursday night (August 28) Barack Obama made a lecture accepting the position of Democratic nominee for the forthcoming US presidential elections.
Will.I.Am was linked by John Legend for his performance of 'Yes We Can' � a song he wrote about Obama.
Wonder performed 'Signed, Sealed, Delivered I'm Yours'. The convention had been kicked off by Crow on Sunday night (August 24) at the Red Rocks Amphitheater.
"What I'm hearing from Senator Obama is a lot like what we heard from Robert Kennedy," Crow had said from the stage, reports AP. "No matter what military campaign ad we see or how it's spun, bob Hope is crucial. It's what this country was based on."
Meanwhile, a more indie spin on the Democratic convention occurred last night (August 29) at Denver's Manifest Hope Gallery, where Clap Your Hands Say Yeah, Nada Surf and Cold War Kids performed, while She And Him singer, actress Zooey Deschanel teamed-up with Death Cab For Cutie.
The event was billed as an Obama-themed evening of musical amusement named Unconventional '08, and was hosted by San Francisco mayor Gavin Newsom.
See tV footage of Stevie Wonder performing at the Democratic Convention by clicking on the video below.
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Thursday, 4 September 2008
Tuesday, 26 August 2008
Metallica's new old edge: 'Death Magnetic'
DALLAS --
IMAGINE THE smell of barbecue and methamphetamine under the Texas summer sun. This year, the Ozzfest festival -- an all-day celebration of brawny and sinister intemperate metal music -- took its amplifiers to the Lone Star State, and tens of thousands of fans came from across the South and beyond to turn a loss themselves in guitar-solo alchemy and skull-and-bone lyrics.
Backstage and a million miles off from the mosh, the four members of Metallica, the night's headline work, seemed to be surrounded by a bubble of calm. Mingling by a catering table, they chatted quietly with friends and family and sipped from bottles of water or else of whisky as they waited for the masseuse to make it. The only real tension came through the headphone from New York and Los Angeles, where a deadline was looming. After two age of work, the concluding mix on their new album, "Death Magnetic," due Sept. 12, was simply hours away from completion in Manhattan, and drummer Lars Ulrich was safekeeping tabs from Texas.
"Unless in that respect is some major hiccup, today is the last day of creative input signal," said Ulrich, the compact, Danish-born player who is the band's most plainspoken member. "I'm one day from disownment the record. In the morning I can verbalise about it as part of my past. For months hoi polloi have been asking me what the new criminal record is like. I've told them, 'I don't know, I'm likewise close to it.' As of tomorrow perhaps I tin start answering."
Ulrich was being coy. Everyone in Metallica's circle is privately airheaded with the new album which, under the steering of imported star producer Rick Rubin, is a return to the thunderous menace of the band's mid-1980s work. Bassist Rob Trujillo, with a grinning, came the closest to bragging. "I will say this: Our contribution to popular refinement this time around is a identical, very strong one."
The album, their first in fivesome years, is clearly one of the major releases of 2008, but the question of where Metallica exactly fits into contemporaneous pop refinement is a slippery matter. The band is a proud 20th century animal in sound and heart, but that's not the most pressing problem. The real yield is whether Metallica, the hardest metallic element band of its generation, has shown its world too much of a soft side.
The 2004 documentary "Metallica: Some Kind of Monster" by filmmakers Joe Berlinger and Bruce Sinofsky started off as a straightforward "fashioning of the album" feature film about the 2003 collection "St. Anger." It terminated up as a racking, extended therapy session as the band members, shaken by lead singer James Hetfield's abrupt entry into rehab, bickered and worked with a controversial healer named Phil Towle.
"Monster" screened at the Sundance Film Festival and north Korean won strong reviews, but many longtime Metallica fans were aghast. The world's sterling fire-breathing metal monster was sitting on camera and revealing its own fears? Who wants a tender Metallica?
"I know, I bed, people called it 'Some Kind of Whiners,' " guitarist Kirk Hammett said with a groan. "Look, I can't watch it. I don't regular talk around it. It brings me back to that time, and it wasn't a good meter for me. And I never wanted that . . . motion picture to come out in the first-class honours degree place. I feel like it's an albatross around our neck. I hope this novel album will come out and make it clear that we've moved on. We're much more coordinated and mature."
A band is born
METALLICA began with a want ad: "Drummer looking for other metal musicians to cram with Tygers of Pan Tang, Diamond Head and Iron Maiden."
Ulrich was in Los Angeles and, at age 18, was bouncy around the globe following his love of metal music. His father was not only a tennis pro but also a respected jazz musician ( Dexter Gordon, in fact, was Ulrich's godfather), but for young Ulrich the sonic template had been Deep Purple and Black Sabbath. A rangy blond kyd named James Hetfield, elevated in a religiously strict home in Downey, answered the ad and a band was born.
More than 57 meg Metallica albums have been shipped to U.S. stores, according to the Recording Industry Assn. of America. That's more than U2, Celine Dion or Fleetwood Mac and just 3 million shy of Michael Jackson's life history total.
Since 1991, the band's producer had been Bob Rock. After the tumultuousness of "St. Anger" and the making of "Monster," Hetfield aforementioned, it was a good time to make a break. They also had brought in a new bassist, Trujillo, to replace 14-year member Jason New- sted, wHO left in a huff right earlier "St. Anger" -- yet another soap opera.
"A chapter has closed here, we've purged a lot of stuff from the past tense," said Hetfield, the chief lyricist for the stria and its most renowned face. "So after that we wanted to move on. We got a new bass player, a new attitude, and so we told Bob we were departure in a new focusing. We started working on songs without any manufacturer at all, and that was new for us."
They then turned to Rubin, the guru for landmark albums by artists as disparate as Johnny Cash, Red Hot Chili Peppers, Dixie Chicks and the Beastie Boys. While former producer Rock had been "the first one in the studio each sunrise turning on the lights and the one with the plan," Hetfield aforementioned, Rubin was a more occasional presence. "Rick Rubin didn't even have keys, he wasn't even skinny the edifice during the sessions!"
Asked a few months ago about his goals for "Death Magnetic," Rubin said, simply, that he wanted the band to use their mid-1980s cultivate as a stylistic starting point. "All of the things they have through with since then end up taking the music into a newfangled place, just this way of life it still holds on to the things that made those albums so powerful."
Ulrich said what Rubin really brought to the table was decisiveness. "He's no intercessor. There is no careen in what he says. If me and Hetfield butt heads, he will listen and say, 'This is right, that's wrong.' One time, we played something new and he didn't like it. 'That makes me want to kill myself,' he says. Then later he hears a different version he says, 'I want to hear that 1,000 times over.' "
The title of "Death Magnetic," Ulrich has said, is a reference to musicians who seemed drawn to death (among them Cliff Burton, the band's bassist who was killed in a 1986 tour-bus ram in Sweden). The song titles fit the nature of the band's euphony, which is relentlessly grim and at times furious: "Broken, Beat & Scarred," "Cyanide," "Suicide & Redemption," etc. Though Metallica has pulled its music toward the commercial at certain points in the past tense, this album (which fulfills its get with Warner Music Group) features epic songs with strafing guitar and artillery-like drums; ane clocks in at skinny ly 10 minutes. It hasn't sounded this serious since Reagan was in office.
"I think we successfully recalled the feelings of 'Master of Puppets' merely with the knowledge of now," said Hetfield, someway using the language of therapy to describe a soundtrack to the apocalypse. "We did a bunch of looking forward just we unbroken looking in the rearview mirror."
It was a few hours ahead showtime and Hetfield canted back a tall glass with a pulpy concoction. "It's a fruit-blended deglutition our enchantress doctor made for me. Pretty good. Not like the old days when I'd be looking for a vodka bottle. They told me this stuff is an anti-accident" -- he said, with a wink, intentionally mispronouncing antioxidant -- "and that's skillful. God knows I had enough accidents in the past."
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IMAGINE THE smell of barbecue and methamphetamine under the Texas summer sun. This year, the Ozzfest festival -- an all-day celebration of brawny and sinister intemperate metal music -- took its amplifiers to the Lone Star State, and tens of thousands of fans came from across the South and beyond to turn a loss themselves in guitar-solo alchemy and skull-and-bone lyrics.
Backstage and a million miles off from the mosh, the four members of Metallica, the night's headline work, seemed to be surrounded by a bubble of calm. Mingling by a catering table, they chatted quietly with friends and family and sipped from bottles of water or else of whisky as they waited for the masseuse to make it. The only real tension came through the headphone from New York and Los Angeles, where a deadline was looming. After two age of work, the concluding mix on their new album, "Death Magnetic," due Sept. 12, was simply hours away from completion in Manhattan, and drummer Lars Ulrich was safekeeping tabs from Texas.
"Unless in that respect is some major hiccup, today is the last day of creative input signal," said Ulrich, the compact, Danish-born player who is the band's most plainspoken member. "I'm one day from disownment the record. In the morning I can verbalise about it as part of my past. For months hoi polloi have been asking me what the new criminal record is like. I've told them, 'I don't know, I'm likewise close to it.' As of tomorrow perhaps I tin start answering."
Ulrich was being coy. Everyone in Metallica's circle is privately airheaded with the new album which, under the steering of imported star producer Rick Rubin, is a return to the thunderous menace of the band's mid-1980s work. Bassist Rob Trujillo, with a grinning, came the closest to bragging. "I will say this: Our contribution to popular refinement this time around is a identical, very strong one."
The album, their first in fivesome years, is clearly one of the major releases of 2008, but the question of where Metallica exactly fits into contemporaneous pop refinement is a slippery matter. The band is a proud 20th century animal in sound and heart, but that's not the most pressing problem. The real yield is whether Metallica, the hardest metallic element band of its generation, has shown its world too much of a soft side.
The 2004 documentary "Metallica: Some Kind of Monster" by filmmakers Joe Berlinger and Bruce Sinofsky started off as a straightforward "fashioning of the album" feature film about the 2003 collection "St. Anger." It terminated up as a racking, extended therapy session as the band members, shaken by lead singer James Hetfield's abrupt entry into rehab, bickered and worked with a controversial healer named Phil Towle.
"Monster" screened at the Sundance Film Festival and north Korean won strong reviews, but many longtime Metallica fans were aghast. The world's sterling fire-breathing metal monster was sitting on camera and revealing its own fears? Who wants a tender Metallica?
"I know, I bed, people called it 'Some Kind of Whiners,' " guitarist Kirk Hammett said with a groan. "Look, I can't watch it. I don't regular talk around it. It brings me back to that time, and it wasn't a good meter for me. And I never wanted that . . . motion picture to come out in the first-class honours degree place. I feel like it's an albatross around our neck. I hope this novel album will come out and make it clear that we've moved on. We're much more coordinated and mature."
A band is born
METALLICA began with a want ad: "Drummer looking for other metal musicians to cram with Tygers of Pan Tang, Diamond Head and Iron Maiden."
Ulrich was in Los Angeles and, at age 18, was bouncy around the globe following his love of metal music. His father was not only a tennis pro but also a respected jazz musician ( Dexter Gordon, in fact, was Ulrich's godfather), but for young Ulrich the sonic template had been Deep Purple and Black Sabbath. A rangy blond kyd named James Hetfield, elevated in a religiously strict home in Downey, answered the ad and a band was born.
More than 57 meg Metallica albums have been shipped to U.S. stores, according to the Recording Industry Assn. of America. That's more than U2, Celine Dion or Fleetwood Mac and just 3 million shy of Michael Jackson's life history total.
Since 1991, the band's producer had been Bob Rock. After the tumultuousness of "St. Anger" and the making of "Monster," Hetfield aforementioned, it was a good time to make a break. They also had brought in a new bassist, Trujillo, to replace 14-year member Jason New- sted, wHO left in a huff right earlier "St. Anger" -- yet another soap opera.
"A chapter has closed here, we've purged a lot of stuff from the past tense," said Hetfield, the chief lyricist for the stria and its most renowned face. "So after that we wanted to move on. We got a new bass player, a new attitude, and so we told Bob we were departure in a new focusing. We started working on songs without any manufacturer at all, and that was new for us."
They then turned to Rubin, the guru for landmark albums by artists as disparate as Johnny Cash, Red Hot Chili Peppers, Dixie Chicks and the Beastie Boys. While former producer Rock had been "the first one in the studio each sunrise turning on the lights and the one with the plan," Hetfield aforementioned, Rubin was a more occasional presence. "Rick Rubin didn't even have keys, he wasn't even skinny the edifice during the sessions!"
Asked a few months ago about his goals for "Death Magnetic," Rubin said, simply, that he wanted the band to use their mid-1980s cultivate as a stylistic starting point. "All of the things they have through with since then end up taking the music into a newfangled place, just this way of life it still holds on to the things that made those albums so powerful."
Ulrich said what Rubin really brought to the table was decisiveness. "He's no intercessor. There is no careen in what he says. If me and Hetfield butt heads, he will listen and say, 'This is right, that's wrong.' One time, we played something new and he didn't like it. 'That makes me want to kill myself,' he says. Then later he hears a different version he says, 'I want to hear that 1,000 times over.' "
The title of "Death Magnetic," Ulrich has said, is a reference to musicians who seemed drawn to death (among them Cliff Burton, the band's bassist who was killed in a 1986 tour-bus ram in Sweden). The song titles fit the nature of the band's euphony, which is relentlessly grim and at times furious: "Broken, Beat & Scarred," "Cyanide," "Suicide & Redemption," etc. Though Metallica has pulled its music toward the commercial at certain points in the past tense, this album (which fulfills its get with Warner Music Group) features epic songs with strafing guitar and artillery-like drums; ane clocks in at skinny ly 10 minutes. It hasn't sounded this serious since Reagan was in office.
"I think we successfully recalled the feelings of 'Master of Puppets' merely with the knowledge of now," said Hetfield, someway using the language of therapy to describe a soundtrack to the apocalypse. "We did a bunch of looking forward just we unbroken looking in the rearview mirror."
It was a few hours ahead showtime and Hetfield canted back a tall glass with a pulpy concoction. "It's a fruit-blended deglutition our enchantress doctor made for me. Pretty good. Not like the old days when I'd be looking for a vodka bottle. They told me this stuff is an anti-accident" -- he said, with a wink, intentionally mispronouncing antioxidant -- "and that's skillful. God knows I had enough accidents in the past."
More information
Saturday, 16 August 2008
Download Senor Coconut
 Artist: Senor Coconut: mp3 download Genre(s): Other Discography:  El Baile Aleman Year: 2000 Tracks: 11  Gran Baile Con Year: 1997 Tracks: 10 For an absurdly comical idea, Señor Coconut proven to hold more than than a single distinction at their -- or perchance his -- disposal, managing iI albums and even planning a U.S. tour. German DJ and manufacturer Uwe Schmidt (aka Atom Heart) had released dance music in his mother area under a number of different aliases during the first half of the nineties. But he'd become blase with the European music scene and in 1996 transferred his stand of trading operations to Chile in monastic order to begin exploring the possibilities of Latin music, which was, he aforesaid, "a pretty much undiscovered planet to me. It unveils loads of interesting musical worlds to me." Adopting the ridiculous Señor Coconut nickname, he number 1 cooked up El Gran Baile, a distinctly Latin-flavored groove-a-thon, and did a remix for honest-to-goodness Deee-Lite turntablist Towa Tei. Then he began to excogitate the possibilities of a German-Latin fusion, and plant his material in the unlikeliest of places -- the sterling hits of man-machine band Kraftwerk, best-known for their very cold-blooded, unemotional approach to euphony -- the very paired of Latin cult. The |
Thursday, 7 August 2008
Shia Labeouf - Shia Labeouf To Miss Transformers 2 After Surgery
Shia LaBeouf will miss the start of filming for the next Transformers film after undergoing "extensive surgery" following a car crash this weekend.
The 22-year-old actor was arrested in the early hours of Sunday break of day in Hollywood after his car come to a truck and flipped across the road.
He was detained on suspicion of drink-driving following the 02:30 local time (10:30 BST) incident yesterday.
On Monday his publicist confirmed the halt and said LaBeouf would miss at least one month's worth of motion-picture photography for Transformers 2.
Although none of his injuries are life-threatening, he has sustained injuries to his
Friday, 27 June 2008
Rosebuds
Artist: Rosebuds
Genre(s):
Indie
Discography:
Night of the Furies
Year: 2007
Tracks: 9
The Rosebuds Unwind
Year: 2005
Tracks: 6
Birds Make Good Neighbors
Year: 2005
Tracks: 11
Indie rock triplet the Rosebuds formed in May 2001, shortly afterwards Ivan Howard (vocals/guitars) and Kelly Crisp (keyboards) met patch in college in Wilmington, NC. They touched to Raleigh that fall down and enlisted drummer Billy Alphin (of Ashley Stove). After a split 7", nearby Merge Records ascertained their demonstration in early 2003 and later released Make Out, their debut full-length, in October. Following that recording, Alphin left the group and was replaced by Jonathan Bass, wHO himself was replaced by Lee Waters for the recording of the band's second gear album, 2005's Birds Make Good Neighbors. By the release of their third album for Merge, 2007's Night of the Furies, the Rosebuds were down to the duo of Howard and Crisp. On the record they were joined by legion friends, including Matt McCaughan on drums and the Shout Out Louds on patronage vocals.
SIFF announces winners of Golden Space Needle Awards
Monday, 23 June 2008
Thompson almost quit filming over weight issue
Emma Thompson reportedly threatened to quit her upcoming movie 'Brideshead Revisited' after learning the film's producers had ordered her co-star Hayley Atwell to lose weight.
25-year-old Atwell said: "I went round to Emma's one night and she was getting very angry that I wasn't eating all the food she was giving me. I told her why and she hit the roof."
Contactmusic.com reports that the two-time Oscar winner was so outraged when she found out that she demanded Miramax producers accept Atwell's size or she'd resign.
25-year-old Atwell said: "I went round to Emma's one night and she was getting very angry that I wasn't eating all the food she was giving me. I told her why and she hit the roof."
Contactmusic.com reports that the two-time Oscar winner was so outraged when she found out that she demanded Miramax producers accept Atwell's size or she'd resign.
Tuesday, 17 June 2008
Imago honors Guiseppe Rotunno
Presenting the group's first lifetime achievement award
The European Federation of Cinematographers, Imago, will present its first lifetime achievement award to Italian cinematographer Guiseppe Rotunno for his contributions to his art during the 2008 Filmmaker's Festival, Sept. 28-30 in Frankfurt Germany.
Rotunno was a frequent collaborator with Federico Fellini. He credits include "All That Jazz," for which he received an Oscar nomination, and "Il Casanova di Federico Fellini."
Cinematographer Luciano Tovoli, founder of Imago, will make the presentation.
This year, Imago is joining American Cinema Editors as partners for the Filmmaker's Festival, which focuses on the art and science of filmmaking with panels and presentations from world-class artists covering a range of disciplines including cinematography, visual effects, editing and directing.
"Participation in the Filmmaker's Festival will provide cinematographers throughout Europe a meaningful platform to share and explore their craft together with so many other production professionals," Imago president Nigel Walters said.
Imago comprises 28 European societies of cinematographers with affiliations in additional nations.
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