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Tommy Roe is back with his first new CD release in many years called Devil's Soul Pile. Roe's new album not only contains the rock 'n' roll music we grew up with but songs with important messages for today's times.
"I called the new CD Devils Soul Pile, after a song I have written and included in the line up," Roe says. "The song is a departure from my normal and expected style, and one that tells the story of dysfunctional families, and the effect it has on our youth and our neighborhoods. Lyrically, this song is a bit serious, and was inspired by the everyday news of violence in our neighborhoods and cities. But a song that ends with a message of hope."
Other songs on the record include "Memphis Me," "Remember," "It's For You I'm Me," "Without Her" and "Water Underneath My Burning Bridge."
"For me, songwriting comes in waves and I will write as many new songs as possible during these short periods of creativity," Roe explains. "This collection contains some of my latest efforts and although I never know when the next rush of new ideas will come, if ever. I am always hopeful for just one more song to write. It's just something I love to do and I hope you enjoy."
In support of the new album, Roe has been performing several select dates in the US and Canada. He and his band are also looking at offers from the UK and Europe for the upcoming year.
A bona fide international star, Tommy Roe wrote and recorded six "Top 10" hits between 1962-69, more than any other solo American artist. To his credits he has 11 US Top 40 hits, 6 Top 10s, 4 Certified Gold singles, and 2 #1 Hits. He is a member of the Hit Parade Hall of Fame, The Georgia Music Hall of Fame, and the Rockabilly Hall of Fame. On September 2, 2012 Tommy Roe will be inducted into the Iowa Rock 'n' Roll Music Association (IRRMA) Hall of Fame.
Born in Atlanta, Georgia, roe began writing songs at the age of fourteen, and his first recording effort yielded the international #1 hit..SHEILA. In 1963, he headlined the now famous UK tour, in which a rising band called the Beatles were the opening act.
AN EVENING WITH TOMMY ROE is a new show featuring all his hits, plus less familiar tunes,
and new material as well.
The show features full band, unplugged and solo segments.The band is led by veteran guitarist/music director Rick Levy.
“I am really excited about my new show,” Roe says. “I will be featuring some of the new songs I have written, along with some obscure material I have recorded through the years, and get many requests to do. Of course I will highlight the hits, like 'Sheila,' 'Everybody,' 'Hooray For Hazel,' 'Sweet Pea,' 'Jam Up and Jelly Tight' and 'Dizzy', along with some of my favorite covers. I will also do a Q&A session in the middle of the show while the stage is being set for my acoustic set with band leader and lead guitarist Rick Levy. This is a new addition to our show, and something I really enjoy. It gives me a chance to get up close and intimate with our audience, kind of like I do at home with family and friends.”
Tommy Roe will be performing on these dates:
June 16 – Fountain of Life Fair – Gray, TN
June 18 – The Villages – FL
August 31 – DiamondJo Casino – Dubuque, IA
September 1 – Winnavegas Casino – Sloan, IA
September 2 – Hall of Fame Induction – Arnolds Park, IA
Tommy Roe promo video: www.youtube.com/watch?v=acd5ZTjEKaA&feature=youtu.be.
To purchase Tommy Roe's Devil's Soul Pile, go to http://cdbaby.com/cd/tommyroe.
To purchase Tommy Roe's Devil's Soul Pile digital download from Amazon, go to http://www.amazon.com/Devils-Soul-Pile/dp/B0088V0986/ref=sr_1_1?s=music&ie=UTF8&qid=1339640677&sr=1-1.
To purchase Tommy Roe's Devil's Soul Pile digital download from iTunes, go to
http://itunes.apple.com/us/album/devils-soul-pile/id533340557.
For more information, go to www.tommyroe.com.
30 Haziran 2012 Cumartesi
From the Pit: An Opera Company's "Unsung Heroes"
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Sarah Richardson, who plays the viola, sent us this vlog (video blog) about the time she and her fellow musicians spend underneath the Central City Opera stage as members of the Central City Opera Orchestra. I've mentioned in a previous blog post how much I enjoy watching the Orchestra from the balcony. This collection of photos, videos and commentary gives you an insider's view from below as well!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
The Costumes of OKLAHOMA!
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For the latest video episode of Behind the Curtain, I spoke with Costume Designer Marcy Froehlich about her design for Oklahoma! This is Marcy's first year at Central City Opera, and as a self-proclaimed history buff, she's enjoying spending the summer in such a historic locale. Watch the video below for a sneak peak at her designs, including her sketches and the research that inspired the costumes.
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| Marcy Froehlich |
Character Spotlight: OKLAHOMA!'s Will Parker
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Erin Joy Swank, of the Education & Community Programs Department, recently caught up with baritone Curt Olds. Below is an excerpt from that interview.
Welcome back toCentral City Opera! We last saw you on stage as John Styx in Orpheus in theUnderworld (2010). While keeping guard over Eurydice in Hades, youentertained us in song and dance. This summer you’ll once again charm theaudience as the dancing rodeo cowboy Will Parker in Oklahoma!
You’ve made a careerout of working as a “triple threat,” a performer who acts, sings and dances.Can you explain the similarities and differences working in opera, musicaltheatre and dance?
Thanks for the compliment of calling me a "triplethreat." The skills that might make me a "triplethreat" as you say (singing, acting and dancing) come out of my theatretraining and years of doing musicals as a child and young adult. In the musicaltheatre world, a performer definitely has to possess a singing voice, butsinging tends to be on equal footing with acting ability and, if the dramaticmoment calls for it, the singing might be compromised for dramatic effect.Regarding dance, if a singer also happens to have the ability to dance, then itopens an entire new world of casting possibilities. In the operatic world, singing and attention to the voice iseverything. If an opera singer possessing a world-class voice can also act -- and Imean not only just while singing, but also in the moments on stage that areunsung -- then they have the makings of a major career. But the voice and abilityto use it come first. And that is a very good thing. For most opera singers,acting skills are developed later because of the heavy requirements of foreignlanguages and the study of historical performance practices. With me, when Iwas studying opera, I put all serious acting, dancing and musical theatre studyon the back burner for a little over six years. I had to concentrate on vocalstudies and languages. My mainobjective when performing is to affect the audience, to move them, to make themfeel. Any extra skill to help do that is a bonus.
You’ve played Curlyin a past production of Oklahoma! What is it like to preparefor the role of Will Parker this time?
When I played Curly, all I really wanted to do was play WillParker. I am definitely a casting possibility for Curly, but personally, I ammuch more like Will Parker and I understand the comic elements of the role.Curly is cool, steady. He has to be to deal so keenly with Jud Fry. Will is awild card and easily excitable. The great thing about Oklahoma! is Istill get to be handsome and cute outside of the central romantic leading man.I feel very fortunate to have played both roles professionally and Rodgers andHammerstein shows are always so fulfilling to perform. I did The Soundof Music earlier this season and Oklahoma! is apersonal favorite of mine. Win win.
You were also a pastApprentice and Studio Artist with Central City Opera. What did you learn orpractice in the artist training program that helped you in your careerdevelopment?
The Bonfils-Stanton Training Program was instrumental to anysuccess I have enjoyed over the past twenty years. I was a college kid fromMontana with no idea how to approach a singing career on a national level. Icame to Denver and sang for John Moriarty and it changed my life. Not only didCentral City Opera's training program offer wonderful classes in diction,audition technique, movement, and repertoire, but it also provided me withquality stage time in comprimario [supporting] roles, recital engagements andscenes concerts. That first summer with Central City Opera led to mygraduate studies at New England Conservatory and additionally, Central CityOpera gave me some of my first principal roles. I will be forever grateful.
The full interview with Curt will be available in the 2012 Opera Insider (festival resource guide) very soon. Stay tuned for more insider interviews!
Erin Joy Swank, of the Education & Community Programs Department, recently caught up with baritone Curt Olds. Below is an excerpt from that interview.Welcome back toCentral City Opera! We last saw you on stage as John Styx in Orpheus in theUnderworld (2010). While keeping guard over Eurydice in Hades, youentertained us in song and dance. This summer you’ll once again charm theaudience as the dancing rodeo cowboy Will Parker in Oklahoma!
You’ve made a careerout of working as a “triple threat,” a performer who acts, sings and dances.Can you explain the similarities and differences working in opera, musicaltheatre and dance?
Thanks for the compliment of calling me a "triplethreat." The skills that might make me a "triplethreat" as you say (singing, acting and dancing) come out of my theatretraining and years of doing musicals as a child and young adult. In the musicaltheatre world, a performer definitely has to possess a singing voice, butsinging tends to be on equal footing with acting ability and, if the dramaticmoment calls for it, the singing might be compromised for dramatic effect.Regarding dance, if a singer also happens to have the ability to dance, then itopens an entire new world of casting possibilities. In the operatic world, singing and attention to the voice iseverything. If an opera singer possessing a world-class voice can also act -- and Imean not only just while singing, but also in the moments on stage that areunsung -- then they have the makings of a major career. But the voice and abilityto use it come first. And that is a very good thing. For most opera singers,acting skills are developed later because of the heavy requirements of foreignlanguages and the study of historical performance practices. With me, when Iwas studying opera, I put all serious acting, dancing and musical theatre studyon the back burner for a little over six years. I had to concentrate on vocalstudies and languages. My mainobjective when performing is to affect the audience, to move them, to make themfeel. Any extra skill to help do that is a bonus.
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| Central City Opera’s ORPHEUS IN THE UNDERWORLD (2010). Pictured (L to R): Joanna Mongiardo (Eurydice) and Curt Olds (John Styx). Photo by Mark Kiryluk. |
When I played Curly, all I really wanted to do was play WillParker. I am definitely a casting possibility for Curly, but personally, I ammuch more like Will Parker and I understand the comic elements of the role.Curly is cool, steady. He has to be to deal so keenly with Jud Fry. Will is awild card and easily excitable. The great thing about Oklahoma! is Istill get to be handsome and cute outside of the central romantic leading man.I feel very fortunate to have played both roles professionally and Rodgers andHammerstein shows are always so fulfilling to perform. I did The Soundof Music earlier this season and Oklahoma! is apersonal favorite of mine. Win win.
 |
| Central City Opera’s OKLAHOMA! (2012). Pictured: Kaitlyn Costello (Ado Annie), Curt Olds (Will Parker). Photo by Kira Horvath. |
The Bonfils-Stanton Training Program was instrumental to anysuccess I have enjoyed over the past twenty years. I was a college kid fromMontana with no idea how to approach a singing career on a national level. Icame to Denver and sang for John Moriarty and it changed my life. Not only didCentral City Opera's training program offer wonderful classes in diction,audition technique, movement, and repertoire, but it also provided me withquality stage time in comprimario [supporting] roles, recital engagements andscenes concerts. That first summer with Central City Opera led to mygraduate studies at New England Conservatory and additionally, Central CityOpera gave me some of my first principal roles. I will be forever grateful.
The full interview with Curt will be available in the 2012 Opera Insider (festival resource guide) very soon. Stay tuned for more insider interviews!
Denver Public Library's Fresh City Life takes a Road Trip
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Last Saturday, participants from Denver Public Library's Fresh City Life took a road trip to Central City. First on the agenda was attending one of the Bonfils-Stanton Foundation Artists Training Program's classes, which focused on auditioning. We watched as the young artists, chosen from a pool of over 900 applicants, rehearsed an aria as if they were at an audition. Program Administrator Marc Astafan and Principal Coach Michael Baitzer gave each singer feedback on their mock auditions -- everything from their attire to the organization of the book of music given to their accompanist.
After watching a few of the talented young artists, we made our way down the hill to Main Street for an old-fashioned shoot out, performed by members of the Gilpin County Historical Society.
Next on the agenda was a look at the costumes of Oklahoma! with Costume Designer Marcy Froehlich. You can get your own virtual sneak peak of the costumes in our earlier vlog post.
After a lunch in the beautiful Opera Garden, we took a tour of the historic Teller House, once the most opulent hotel between Chicago and San Francisco. Finally, it was time for the Oklahoma! wandelprobe.
An important stage of the opera production process is the sitzprobe-- a German term which literally means "seat test." It's the rehearsal in which the singers sit on the stage while singing with the orchestra for the first time.
A wandelprobe, however, is an entirely made-up word, used for when the singers actually move around the stage while rehearsing with the orchestra for the first time. After enjoying the first hour of the wandleprobe from the Opera House's balcony, we made our way back to Opera Garden for a quick Q-and-A session.
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| Apprentice Artist Stephen Carrol sings his audition aria as Program Administrator Mark Astafan, right, looks on. |
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| An unsuspecting onlooker is roped into an attempted shotgun wedding before being run out of town. |
Next on the agenda was a look at the costumes of Oklahoma! with Costume Designer Marcy Froehlich. You can get your own virtual sneak peak of the costumes in our earlier vlog post.
After a lunch in the beautiful Opera Garden, we took a tour of the historic Teller House, once the most opulent hotel between Chicago and San Francisco. Finally, it was time for the Oklahoma! wandelprobe.
An important stage of the opera production process is the sitzprobe-- a German term which literally means "seat test." It's the rehearsal in which the singers sit on the stage while singing with the orchestra for the first time.
A wandelprobe, however, is an entirely made-up word, used for when the singers actually move around the stage while rehearsing with the orchestra for the first time. After enjoying the first hour of the wandleprobe from the Opera House's balcony, we made our way back to Opera Garden for a quick Q-and-A session.
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| Participants from Fresh City Life watch from the balcony as the cast sings "Kansas City" with the orchestra for the first time. |
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| Gene Scheer (Ali Hakim) sings "It's a Scandal, It's an Outrage," surrounded by a chorus of cowboys. |
27 Haziran 2012 Çarşamba
Jerry Gaskill of King's X Suffers Heart Attack
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Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
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The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
25 Haziran 2012 Pazartesi
Photos Of Beatles' First U.S.Tour Exhibited In NYC
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A new exhibition featuring photos of The Beatles' first tour of America has opened in New York.
The Liverpool legends' first journey to the US and the height of the Beatlemania craze in the early 1960s was photographed by Curt Gunther, and a retrospective of his work, Unseen Beatles, is currently taking place at the Morrison Hotel Gallery in Soho, New York.
Speaking of how close he was to the band, Gunther's son says: "He was there on every plane ride and in every hotel room. I think there was real, genuine affection between The Beatles and my dad."
The photos the photographer collected include not just the band playing live, but also of their downtime, with them riding horses and goofing around with manager Brian Epstein. Peter Blachley, co-founder of the Morrison Hotel Gallery, says: "You can see it in the photographs. There were no handlers. Just, 'Hang out, you're one of the band now'."
Alongside Gunther's photos are pictures by another photographer close to the band, Robert Whitaker, who famously posed the band with a number of dismembered toy dolls and raw meat for the album cover of US release 'Yesterday and Today'.
The Unseen Beatles exhibition of Robert Whitaker and Curt Gunther's work is on throughout the summer. For more info visit morrisonhotelgallery.com.
The Liverpool legends' first journey to the US and the height of the Beatlemania craze in the early 1960s was photographed by Curt Gunther, and a retrospective of his work, Unseen Beatles, is currently taking place at the Morrison Hotel Gallery in Soho, New York.
Speaking of how close he was to the band, Gunther's son says: "He was there on every plane ride and in every hotel room. I think there was real, genuine affection between The Beatles and my dad."
The photos the photographer collected include not just the band playing live, but also of their downtime, with them riding horses and goofing around with manager Brian Epstein. Peter Blachley, co-founder of the Morrison Hotel Gallery, says: "You can see it in the photographs. There were no handlers. Just, 'Hang out, you're one of the band now'."
Alongside Gunther's photos are pictures by another photographer close to the band, Robert Whitaker, who famously posed the band with a number of dismembered toy dolls and raw meat for the album cover of US release 'Yesterday and Today'.
The Unseen Beatles exhibition of Robert Whitaker and Curt Gunther's work is on throughout the summer. For more info visit morrisonhotelgallery.com.
The Who's 'Quadrophenia' Documentary To Debut At U.S. Cinemas
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The Who are to reveal all about the making of their groundbreaking 1973 album Quadrophenia as part of a major new documentary, which is to be screened across America for one night only this summer.
The Who: Quadrophenia - Can You See The Real Me? The Story Behind The Album will premiere at select cinemas on July 24.
The documentary features an introduction from guitarist Pete Townshend and includes never-before-heard anecdotes and additional performances of songs from the Quadrophenia album, which is considered one of the most important rock releases.
The Who: Quadrophenia - Can You See The Real Me? The Story Behind The Album will premiere at select cinemas on July 24.
The documentary features an introduction from guitarist Pete Townshend and includes never-before-heard anecdotes and additional performances of songs from the Quadrophenia album, which is considered one of the most important rock releases.
Robert Plant To Bring The Sensational Space Shifters To Alabama
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Robert Plant will perform one of only two North American shows this summer at Birmingham’s Historic Alabama Theatre on Sunday, August 12th.
The performance will feature Plant’s latest project, The Sensational Space Shifters. The singer will be joined for this show by Patty Griffin, who collaborated with Plant in 2010 on the Band of Joy project.
The Sensational Space Shifters are:
The performance will feature Plant’s latest project, The Sensational Space Shifters. The singer will be joined for this show by Patty Griffin, who collaborated with Plant in 2010 on the Band of Joy project.
The Sensational Space Shifters are:
- Robert Plant – vocals, harmonica
- Juldeh Camara of JuJu – ritti (one-stringed African Violin), kologo (African Banjo), talking drum, vocals.
- Justin Adams of JuJu, Jah Wobble – guitar, bendir, vocals
- John Baggott of Massive Attack, Portishead – keyboards
- Liam “Skin” Tyson of Cast – guitar, vocals
- Dave Smith of JuJu, Outhouse Ruhabi – drums and percussion
- Billy Fuller of JuJu, Beak – bass guitar, vocals
From the Pit: An Opera Company's "Unsung Heroes"
To contact us Click HERE
Sarah Richardson, who plays the viola, sent us this vlog (video blog) about the time she and her fellow musicians spend underneath the Central City Opera stage as members of the Central City Opera Orchestra. I've mentioned in a previous blog post how much I enjoy watching the Orchestra from the balcony. This collection of photos, videos and commentary gives you an insider's view from below as well!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
Celebrating John Moriarty
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Artistic Director Emeritus John Moriarty is spending his first summer of retirement where he's spent the last thirty-three: in Central City. Last night, Central City Opera celebrated his years of service during a reception at the Gilpin County Arts Association Gallery across the street from the Opera House.
Mr. Moriarty first arrived in Central City in 1978 and founded the Bonfils-Stanton Foundation Artists Training Program. After the company ran into financial trouble and cancelled the 1982 Festival, the Board of Directors asked him to become artistic director. When he transitioned to the role of artistic director emeritus in 1998, he continued to serve as the administrator of the training program through 2011.
At the reception, Mr. Moriarty explained that before he came to Central City, he had never spent more than seven years at any one opera company. Little did he know that he'd be spending the next three decades with Central City Opera.
One of his accomplishments in his tenure as artistic director was creating the Lanny and Sharon Martin Foundry Rehearsal Center. Until that point, the company rehearsed on the creaky second floor of Williams' Stables and any other large space in town they could rent. John Moriarty had the vision of turning Peter McFarlane's old foundry, a few blocks west of the Opera House on Eureka Street, into a brand new rehearsal center. One of the busiest and most used buildings in Central City, the facility now houses three rehearsal halls, four smaller studios, the props shop and stage management office. At tonight's reception, President/Chairman of the Board Nancy Parker announced that one of the building's rehearsal halls, previously known as "Minor" will now be named "Moriarty Hall." Now, not only will John Moriarty's legacy live on in Central City through the countless contributions he has made to Central City Opera, but also in the rehearsal hall that bears his name.
Mr. Moriarty first arrived in Central City in 1978 and founded the Bonfils-Stanton Foundation Artists Training Program. After the company ran into financial trouble and cancelled the 1982 Festival, the Board of Directors asked him to become artistic director. When he transitioned to the role of artistic director emeritus in 1998, he continued to serve as the administrator of the training program through 2011.
At the reception, Mr. Moriarty explained that before he came to Central City, he had never spent more than seven years at any one opera company. Little did he know that he'd be spending the next three decades with Central City Opera.
One of his accomplishments in his tenure as artistic director was creating the Lanny and Sharon Martin Foundry Rehearsal Center. Until that point, the company rehearsed on the creaky second floor of Williams' Stables and any other large space in town they could rent. John Moriarty had the vision of turning Peter McFarlane's old foundry, a few blocks west of the Opera House on Eureka Street, into a brand new rehearsal center. One of the busiest and most used buildings in Central City, the facility now houses three rehearsal halls, four smaller studios, the props shop and stage management office. At tonight's reception, President/Chairman of the Board Nancy Parker announced that one of the building's rehearsal halls, previously known as "Minor" will now be named "Moriarty Hall." Now, not only will John Moriarty's legacy live on in Central City through the countless contributions he has made to Central City Opera, but also in the rehearsal hall that bears his name.
24 Haziran 2012 Pazar
Conversations With Ken Cazan: Part Two
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Below are the final two installments of my interview with Ken Cazan, stage director of Oklahoma! Here he explains what makes Central City Opera's production unique and gives audiences a sneak peek at what to expect if they travel up the mountain for this production, including a preview of the scenic design by Alan E. Muraoka.
View Part One
For continued behind-the-scenes updates on Central City Opera's Oklahoma!, follow #CCityOK on Twitter!
Below are the final two installments of my interview with Ken Cazan, stage director of Oklahoma! Here he explains what makes Central City Opera's production unique and gives audiences a sneak peek at what to expect if they travel up the mountain for this production, including a preview of the scenic design by Alan E. Muraoka.
View Part One
For continued behind-the-scenes updates on Central City Opera's Oklahoma!, follow #CCityOK on Twitter!
Guns N' Roses - Concert Review
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The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.
While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
23 Haziran 2012 Cumartesi
From the Pit: An Opera Company's "Unsung Heroes"
To contact us Click HERE
Sarah Richardson, who plays the viola, sent us this vlog (video blog) about the time she and her fellow musicians spend underneath the Central City Opera stage as members of the Central City Opera Orchestra. I've mentioned in a previous blog post how much I enjoy watching the Orchestra from the balcony. This collection of photos, videos and commentary gives you an insider's view from below as well!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!
Conversations with Ken Cazan: Part One
To contact us Click HERE
This week, I was fortunate enough to steal Ken Cazan, the stage director for Oklahoma! away from rehearsals to chat about the production. Central City Opera fans might recognize Ken. Oklahoma! marks his eleventh production with Central City Opera. Last year, he directed the triple bill (Gianni Schicchi, Seven Deadly Sins, and The Breasts of Tiresias) and in 2010 he directed Three Decembers. But Oklahoma! isn't his first musical theatre piece. He is an accomplished director for both opera and theatre, having directed A Little Night Music and West Side Story for CCO previously.
Check out our conversation below to see what Ken has to say about the history and the cast of this summer's opening productions. If you have any more questions for Ken Cazan or the rest of the Oklahoma! production team, leave a comment below. Stay tuned for "Part Two" coming soon!
Check out our conversation below to see what Ken has to say about the history and the cast of this summer's opening productions. If you have any more questions for Ken Cazan or the rest of the Oklahoma! production team, leave a comment below. Stay tuned for "Part Two" coming soon!
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
21 Haziran 2012 Perşembe
California Saga Opening Beach Boys' Weekend Of California Shows
To contact us Click HERE
Over the last 50 years the Beach Boys have become the most successful band in American music history. As they celebrate that anniversary with a new album and an international tour their children come to together to honor that legacy and write a new chapter in this family band.
“California Saga” is a band comprising of the historic bloodlines that fueled some of the greatest songs in the pop music songbook. With a rare vocal blend only possible in siblings the band explores the Beach Boys rarities catalog and brings to life songs that may never have been performed live before.
The group will make their debut performing alongside The Beach Boys at the Hollywood Bowl on Saturday, June 2nd, then will be given the stage the following night to open the Sunday, June 3rd show in Irvine at the Verizon Wireless Amphitheatre. Additional show dates to be announced.
CALIFORNIA SAGA featuring…
Carnie Wilson:
Brian Wilson’s daughter Carnie is a talented singer and television personality. In 1989 she co-founded with sister Wendy and friend Chynna Phillips the band “Wilson Phillips.” Their tight harmonies landed the band three #1 singles and six top 20 hits. Carnie hosted her own talk show and is in constant demand for various television projects, including several popular reality TV series.
Wendy Wilson:
Brian Wilson’s daughter Wendy is also a founding member of the wildly successful band “Wilson Phillips.” With hits like “Hold On” and “Release Me” she has been nominated for four Grammy’s and has won the prestigious Billboard Music Award for hot 100 “single of the year.” Wendy is also a sought after television personality featured in several popular reality TV series.
Christian Love:
Mike Love’s son Christian is the quintessential beach boy. Since 2004 Christian has toured as a guitarist and vocalist in the Beach Boys. With a vocal styling reminiscent of the late Carl Wilson, Christian can be heard night after night singing the leads of songs like “Good Vibrations” and “Then I Kissed Her”. Christian has released several albums of original material over the years with his own band, “5 Alarm.” He is also an avid beach volleyball player competing as often as his tour schedule will allow.
Ambha Love:
Mike Love’s daughter Ambha frequently joins her dad on stage to add her bluesy sultry lead vocal to the Beach Boys 1973 hit “Sail On, Sailor.” Ambha currently studies drama and voice with aspirations of a professional singing career. She is also an avid equestrian.
Justyn Wilson:
Carl Wilson’s son Justyn bares a striking resemblance to his late father visually and spiritually engaging you with the same sweetness that was so transparent in his fathers’ performances on signature songs like “God Only Knows.” Justyn followed in his fathers’ footsteps with his own band “In Bloom” which found success on a regional basis and landed a song in a major motion picture. Justyn and his brother Jonah’s most proud accomplishment maybe the formation of the “Carl Wilson Foundation.” The brothers have produced several high profile events that raised over $500,000.00 dollars for the fight against cancer that claimed their dad in 1998.
Carl B. Wilson:
Dennis Wilson’s son Carl was also a founding member of the LA based band “In Bloom” which over the course of ten years found him performing at “Woodstock ‘99” and various other historic Los Angeles hot spots. Carl is currently busy co-producing an upcoming biopic called “The Drummer.” Due to be released in 2013 it is the fascinating story of the Beach Boys founding member, drummer, Dennis Wilson. He is also the proud father of two young sons
Matt Jardine:
Al Jardine’s eldest son Matt accompanied his father on tour many times throughout his childhood. Matt began his career in music working as an assistant road manager for The Beach Boys. After literally being called onstage to perform as a percussionist in the middle of a major tour, he was later asked to sing lead & back-up vocals & soon was singing & performing full-time as a touring member of The Beach Boys back-up band. He toured with The Beach Boys from 1991 through 1998 & sang on three of their studio albums. He worked briefly with Brian Wilson, toured extensively with Mike Love’s California Beach Band & is currently a member of Al Jardine’s Endless Summer Band. He sang on his father’s solo album, “A Postcard from California” with his father & music legends Glen Campbell, David Crosby, Neil Young & Brian Wilson. Earlier this year, Carnie & Wendy Wilson asked him to join Wilson Phillips on selected dates as a back-up singer & percussionist. He is currently working on a solo album and tours extensively with several bands. Matt’s incredible soaring falsetto has graced the stages of all the surviving Beach Boys bands at one point or another over the last decade.
Adam Jardine:
Al Jardine’s son Adam Jardine, is a songwriter & vocalist & tours extensively with his father’s Endless Summer Beach Band. As a child, he grew up spending his summers on the road with The Beach Boys & later sang background vocals on their album “Still Cruisin.” He has most recently recorded with his brother Matt on their father’s solo album “A Postcard from California”, which included musical greats Neil Young, David Crosby & Brian Wilson. When not on the road, he lives in Northern California with his wife & writes original music.
The band also features two noteworthy supporting musicians. Billy Hinsche who toured with the Beach Boys for decades and was the founder of the group “Dino, Desi and Billy” and Rob Bonfiglio a talented singer/songwriter/guitarist who’s compositions can be heard in major and independent motion pictures and television. He has also produced a record called “Dedicated” for Wilson Phillips released on the Sony/Masterworks label. It was a labor of love that featured songs made famous by the trio’s parents.
“California Saga” is a band comprising of the historic bloodlines that fueled some of the greatest songs in the pop music songbook. With a rare vocal blend only possible in siblings the band explores the Beach Boys rarities catalog and brings to life songs that may never have been performed live before.
The group will make their debut performing alongside The Beach Boys at the Hollywood Bowl on Saturday, June 2nd, then will be given the stage the following night to open the Sunday, June 3rd show in Irvine at the Verizon Wireless Amphitheatre. Additional show dates to be announced.
CALIFORNIA SAGA featuring…
Carnie Wilson:
Brian Wilson’s daughter Carnie is a talented singer and television personality. In 1989 she co-founded with sister Wendy and friend Chynna Phillips the band “Wilson Phillips.” Their tight harmonies landed the band three #1 singles and six top 20 hits. Carnie hosted her own talk show and is in constant demand for various television projects, including several popular reality TV series.
Wendy Wilson:
Brian Wilson’s daughter Wendy is also a founding member of the wildly successful band “Wilson Phillips.” With hits like “Hold On” and “Release Me” she has been nominated for four Grammy’s and has won the prestigious Billboard Music Award for hot 100 “single of the year.” Wendy is also a sought after television personality featured in several popular reality TV series.
Christian Love:
Mike Love’s son Christian is the quintessential beach boy. Since 2004 Christian has toured as a guitarist and vocalist in the Beach Boys. With a vocal styling reminiscent of the late Carl Wilson, Christian can be heard night after night singing the leads of songs like “Good Vibrations” and “Then I Kissed Her”. Christian has released several albums of original material over the years with his own band, “5 Alarm.” He is also an avid beach volleyball player competing as often as his tour schedule will allow.
Ambha Love:
Mike Love’s daughter Ambha frequently joins her dad on stage to add her bluesy sultry lead vocal to the Beach Boys 1973 hit “Sail On, Sailor.” Ambha currently studies drama and voice with aspirations of a professional singing career. She is also an avid equestrian.
Justyn Wilson:
Carl Wilson’s son Justyn bares a striking resemblance to his late father visually and spiritually engaging you with the same sweetness that was so transparent in his fathers’ performances on signature songs like “God Only Knows.” Justyn followed in his fathers’ footsteps with his own band “In Bloom” which found success on a regional basis and landed a song in a major motion picture. Justyn and his brother Jonah’s most proud accomplishment maybe the formation of the “Carl Wilson Foundation.” The brothers have produced several high profile events that raised over $500,000.00 dollars for the fight against cancer that claimed their dad in 1998.
Carl B. Wilson:
Dennis Wilson’s son Carl was also a founding member of the LA based band “In Bloom” which over the course of ten years found him performing at “Woodstock ‘99” and various other historic Los Angeles hot spots. Carl is currently busy co-producing an upcoming biopic called “The Drummer.” Due to be released in 2013 it is the fascinating story of the Beach Boys founding member, drummer, Dennis Wilson. He is also the proud father of two young sons
Matt Jardine:
Al Jardine’s eldest son Matt accompanied his father on tour many times throughout his childhood. Matt began his career in music working as an assistant road manager for The Beach Boys. After literally being called onstage to perform as a percussionist in the middle of a major tour, he was later asked to sing lead & back-up vocals & soon was singing & performing full-time as a touring member of The Beach Boys back-up band. He toured with The Beach Boys from 1991 through 1998 & sang on three of their studio albums. He worked briefly with Brian Wilson, toured extensively with Mike Love’s California Beach Band & is currently a member of Al Jardine’s Endless Summer Band. He sang on his father’s solo album, “A Postcard from California” with his father & music legends Glen Campbell, David Crosby, Neil Young & Brian Wilson. Earlier this year, Carnie & Wendy Wilson asked him to join Wilson Phillips on selected dates as a back-up singer & percussionist. He is currently working on a solo album and tours extensively with several bands. Matt’s incredible soaring falsetto has graced the stages of all the surviving Beach Boys bands at one point or another over the last decade.
Adam Jardine:
Al Jardine’s son Adam Jardine, is a songwriter & vocalist & tours extensively with his father’s Endless Summer Beach Band. As a child, he grew up spending his summers on the road with The Beach Boys & later sang background vocals on their album “Still Cruisin.” He has most recently recorded with his brother Matt on their father’s solo album “A Postcard from California”, which included musical greats Neil Young, David Crosby & Brian Wilson. When not on the road, he lives in Northern California with his wife & writes original music.
The band also features two noteworthy supporting musicians. Billy Hinsche who toured with the Beach Boys for decades and was the founder of the group “Dino, Desi and Billy” and Rob Bonfiglio a talented singer/songwriter/guitarist who’s compositions can be heard in major and independent motion pictures and television. He has also produced a record called “Dedicated” for Wilson Phillips released on the Sony/Masterworks label. It was a labor of love that featured songs made famous by the trio’s parents.
Queen's Jubilee Highlighted By Paul McCartney, Elton John
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A glittering parade of artists from the 1950s to the present day - from Sir Cliff Richard and Sir Tom Jones to Jessie J and Ed Sheeran - performed outside Buckingham Palace on Monday night (June 4) at the Diamond Jubilee Concert in honor of Her Majesty Queen Elizabeth II.
British talent from the Queen's 60-year reign also included Annie Lennox, Madness, Robbie Williams, his Take That bandmate Gary Barlow and an array of decorated superstars that additionally featured Dame Shirley Bassey and two more Knights of the Realm, Elton John and Paul McCartney. Non-British artists on the bill included Stevie Wonder, Kylie Minogue, Grace Jones, will.i.am, soprano Reneé Fleming and pianist Lang Lang.
The concert took place on a spectacular, special-built stage for a live audience of some 20,000, with a reported 250,000 people stretching all the way down the Mall towards Trafalgar Square. Many millions more watched live through the primetime television coverage on BBC1.
Highlights of the three-hour-plus show included a winning rendition of "O Sole Mio" by English tenor Alfie Boe, who temporarily assumed a rock 'n' roll persona to conclude in Elvis style; and pianist and bandleader Jools Holland, joined by his frequent collaborator and distinguished vocalist Ruby Turner, who was her usual ultra-soulful self on a classy version of the Billy Preston co-write "You Are So Beautiful."
Williams had opened the show in reliably swaggering form on his trademark barnstormer "Let Me Entertain You," returning later with "Mack The Knife," while Barlow and the Commonwealth Band delivered the first live performance of "Sing," the title song from his Jubilee-inspired album collaboration with Sir Andrew Lloyd Webber.
Prior to that, Barlow had duetted with Cheryl Cole on a cover of Lady Antebellum's "Need You Now" that exposed "X Factor" celebrity judge Cole's vocal limitations to the full. The contrast was particularly stark when Grace Jones delivered an accurate rendition of "Slave To The Rhythm" while swaying a perfectly-balanced hula hoop on her hips.
Two British stalwarts in the seventh decade of their careers, Richard and Bassey, celebrated their own longevity, Sir Cliff with a hits medley and Dame Shirley with perhaps the only song she could have chosen, "Diamonds Are Forever." Meanwhile, Minogue was in disco mood, in a mix that included "Spinning Around" and other hits.
It was also a night to admire the staying power of Tom Jones, 47 years a star and, as his outstanding new Universal Island album "Spirit In The Room" shows, every bit the vocalist he ever was. His two-song set included an inspired reworking of "Delilah," reinvigorated in acoustic flamenco style. Even if the Queen only took her seat just after his performance, Prince Harry was seen singing along.
Perhaps it was the absence of her husband Prince Philip, taken to the hospital earlier in the day with a bladder infection, that accounted for the Queen's sometimes stern expression as she watched the later stages of the event. Elton John was himself fighting back from his recent hospitalization and played with dependable dash, even if he was not at his sparkling best on a three-song selection.
As night fell, Stevie Wonder raised the crowd with "Sir Duke," "Isn't She Lovely" and, joined by will.i.am, "Happy Birthday" and the indestructibly funky "Superstition." The ageless "Nutty Boys" Madness then performed "Our House" on the Buckingham Palace roof, with some highly effective projections that, at one point, made it appear that a London bus was driving across the front of the Queen's house.
As so often, it was left to Paul McCartney to conclude the proceedings and, indeed, to bring the Royal Box to its feet. "Magical Mystery Tour" was followed by a trip even further back into his, and Her Majesty's, reign for "All My Loving." A de rigeur "Let It Be" led to an explosive "Live And Let Die."
As the celebrations around the Palace mirrored those of countless street parties across Britain tonight, Macca was joined by the entire cast on stage as he sang a closing "Ob-La-Di, Ob-La-Da." Not to be upstaged at her own bash, the Queen took the stage, accompanied by members of her family including Prince Charles, who addressed her as both "Your Majesty" and "Mummy," before she lit the National Beacon, and a different type of fireworks show commenced.
British talent from the Queen's 60-year reign also included Annie Lennox, Madness, Robbie Williams, his Take That bandmate Gary Barlow and an array of decorated superstars that additionally featured Dame Shirley Bassey and two more Knights of the Realm, Elton John and Paul McCartney. Non-British artists on the bill included Stevie Wonder, Kylie Minogue, Grace Jones, will.i.am, soprano Reneé Fleming and pianist Lang Lang.
The concert took place on a spectacular, special-built stage for a live audience of some 20,000, with a reported 250,000 people stretching all the way down the Mall towards Trafalgar Square. Many millions more watched live through the primetime television coverage on BBC1.
Highlights of the three-hour-plus show included a winning rendition of "O Sole Mio" by English tenor Alfie Boe, who temporarily assumed a rock 'n' roll persona to conclude in Elvis style; and pianist and bandleader Jools Holland, joined by his frequent collaborator and distinguished vocalist Ruby Turner, who was her usual ultra-soulful self on a classy version of the Billy Preston co-write "You Are So Beautiful."
Williams had opened the show in reliably swaggering form on his trademark barnstormer "Let Me Entertain You," returning later with "Mack The Knife," while Barlow and the Commonwealth Band delivered the first live performance of "Sing," the title song from his Jubilee-inspired album collaboration with Sir Andrew Lloyd Webber.
Prior to that, Barlow had duetted with Cheryl Cole on a cover of Lady Antebellum's "Need You Now" that exposed "X Factor" celebrity judge Cole's vocal limitations to the full. The contrast was particularly stark when Grace Jones delivered an accurate rendition of "Slave To The Rhythm" while swaying a perfectly-balanced hula hoop on her hips.
Two British stalwarts in the seventh decade of their careers, Richard and Bassey, celebrated their own longevity, Sir Cliff with a hits medley and Dame Shirley with perhaps the only song she could have chosen, "Diamonds Are Forever." Meanwhile, Minogue was in disco mood, in a mix that included "Spinning Around" and other hits.
It was also a night to admire the staying power of Tom Jones, 47 years a star and, as his outstanding new Universal Island album "Spirit In The Room" shows, every bit the vocalist he ever was. His two-song set included an inspired reworking of "Delilah," reinvigorated in acoustic flamenco style. Even if the Queen only took her seat just after his performance, Prince Harry was seen singing along.
Perhaps it was the absence of her husband Prince Philip, taken to the hospital earlier in the day with a bladder infection, that accounted for the Queen's sometimes stern expression as she watched the later stages of the event. Elton John was himself fighting back from his recent hospitalization and played with dependable dash, even if he was not at his sparkling best on a three-song selection.
As night fell, Stevie Wonder raised the crowd with "Sir Duke," "Isn't She Lovely" and, joined by will.i.am, "Happy Birthday" and the indestructibly funky "Superstition." The ageless "Nutty Boys" Madness then performed "Our House" on the Buckingham Palace roof, with some highly effective projections that, at one point, made it appear that a London bus was driving across the front of the Queen's house.
As so often, it was left to Paul McCartney to conclude the proceedings and, indeed, to bring the Royal Box to its feet. "Magical Mystery Tour" was followed by a trip even further back into his, and Her Majesty's, reign for "All My Loving." A de rigeur "Let It Be" led to an explosive "Live And Let Die."
As the celebrations around the Palace mirrored those of countless street parties across Britain tonight, Macca was joined by the entire cast on stage as he sang a closing "Ob-La-Di, Ob-La-Da." Not to be upstaged at her own bash, the Queen took the stage, accompanied by members of her family including Prince Charles, who addressed her as both "Your Majesty" and "Mummy," before she lit the National Beacon, and a different type of fireworks show commenced.
Time To Freak Out... Zappa's Back
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The music of Frank Zappa is now back in the hands of the Zappa Family Trust. Tocelebrate this, the estate has signed a global license and distribution dealwith Universal Music Enterprises to release 60 of the iconic composer'srecordings. The roll-out kicks off July 31 with 12 recordings, with anotherdozen recordings to be released monthly through the end of 2012.
"The ink is not yet dry on The Zappa Family Trust'sworldwide deal with Universal Music Enterprises," says Gail Zappa."They made us the offer we couldn't refuse -- for all the right reasons.It is a win-win for all of us, but mostly for Frank Zappa. Long may his batonwave. We are so ready to go."
"The artist and composer, Frank Zappa, is one of themost important and influential artists in music history with his prolific bodyof work, including his breakthrough rock 'n roll concept albums. We are honoredthat Gail Zappa and the Zappa Family Trust have entrusted us with his legacy.We intend to honor him and bring high quality releases, digital and physical,for his new and longtime fans," said Bruce Resnikoff, President/CEO,Universal Music Enterprises (UMe ).
Now fully back in hands of the Zappa Family Trust -- headed byZappa's widow Gail Zappa -- the releases will honor the iconic legacy of thecomposer, musician, bandleader and filmmaker.
Zappa was posthumously inducted into the Rock and Roll Hallof Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997(although the family would like to know where it is). The official biography:Frank Zappa, American composer, 1940-1993.
TheUME deal is for theentire Zappa catalog as it appeared on Frank Zappa's own independent label,Barking Pumpkin Records. Many of the original analog masters have beenremastered for this occasion. The entire catalog will launch July 31, just intime for Frank Zappa's daughter Diva's birthday -- an occasion that will be celebratedalong with the entire Zappa family.
The initial 12 Frank Zappa releases included are as follows:1. Freak Out! (1966) 2. Absolutely Free (1967) 3. LumpyGravy (1968) 4. We're Only In It For The Money (1968) 5. Cruising With Ruben& The Jets (1968) 6. Uncle Meat (1969) 7. Hot Rats (1969) 8. BurntWeenySandwich (1970) 9. Weasels Ripped MyFlesh (1970) 10. Chunga's Revenge (1970) 11. Fillmore East, June 1971 (1971)12. Just Another Band From L.A. (1972).
For more information, go to www.zappa.com.
"The ink is not yet dry on The Zappa Family Trust'sworldwide deal with Universal Music Enterprises," says Gail Zappa."They made us the offer we couldn't refuse -- for all the right reasons.It is a win-win for all of us, but mostly for Frank Zappa. Long may his batonwave. We are so ready to go."
"The artist and composer, Frank Zappa, is one of themost important and influential artists in music history with his prolific bodyof work, including his breakthrough rock 'n roll concept albums. We are honoredthat Gail Zappa and the Zappa Family Trust have entrusted us with his legacy.We intend to honor him and bring high quality releases, digital and physical,for his new and longtime fans," said Bruce Resnikoff, President/CEO,Universal Music Enterprises (
Now fully back in hands of the Zappa Family Trust -- headed byZappa's widow Gail Zappa -- the releases will honor the iconic legacy of thecomposer, musician, bandleader and filmmaker.
Zappa was posthumously inducted into the Rock and Roll Hallof Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997(although the family would like to know where it is). The official biography:Frank Zappa, American composer, 1940-1993.
The
The initial 12 Frank Zappa releases included are as follows:1. Freak Out! (1966) 2. Absolutely Free (1967) 3. LumpyGravy (1968) 4. We're Only In It For The Money (1968) 5. Cruising With Ruben& The Jets (1968) 6. Uncle Meat (1969) 7. Hot Rats (1969) 8. BurntWeeny
For more information, go to www.zappa.com.
JetBlue, Night Ranger Honor New 'Rock of Ages' Movie
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JetBlue Airways, the largest carrier out of Long Beach, is celebrating the release of Warner Bros. new theatrical release Rock of Ages, featuring Night Ranger, by rolling fares back to the '80s.
On June 15, the day the movie is released in theaters, JetBlue will offer the "What's Your Price For Flight" fare sale at www.jetblue.com for as low as $40 for all-in travel between Long Beach and Oakland, San Francisco, Sacramento or Las Vegas and $70 for all-in travel between Long Beach and Seattle or Portland, OR. Flights are on sale today only through 11:59 p.m. PT for travel between September 11, 2012 and October 3, 2012.
As a precursor to the movie and also in honor of the '80s, on June 14, JetBlue also hosted a special performance by the rock band Night Ranger at Long Beach Airport. Best known for their 1984 mega-hit "Sister Christian," which is featured in New Line Cinema's new musical film 'Rock of Ages,' Night Ranger performed the first-ever live musical concert at Long Beach Airport. JetBlue partnered with Long Beach Airport, KLOS-FM and Warner Bros. for this special customer experience. Fans enjoyed a personal, intimate acoustic 30-minute performance of the rock band's classics.
Night Ranger performed with JetBlue's runways and Los Angeles County as its backdrop. Additionally, fans paid homage to the '80s by showing up clad in their finest threads from the era. JetBlue representatives were on hand with great prizes such as travel certificates for the first 80 fans that showed up in '80s gear and a vacation package for the most original costume. Photos can be viewed at: http://blog.jetblue.com/?p=21990.
On June 15, the day the movie is released in theaters, JetBlue will offer the "What's Your Price For Flight" fare sale at www.jetblue.com for as low as $40 for all-in travel between Long Beach and Oakland, San Francisco, Sacramento or Las Vegas and $70 for all-in travel between Long Beach and Seattle or Portland, OR. Flights are on sale today only through 11:59 p.m. PT for travel between September 11, 2012 and October 3, 2012.
As a precursor to the movie and also in honor of the '80s, on June 14, JetBlue also hosted a special performance by the rock band Night Ranger at Long Beach Airport. Best known for their 1984 mega-hit "Sister Christian," which is featured in New Line Cinema's new musical film 'Rock of Ages,' Night Ranger performed the first-ever live musical concert at Long Beach Airport. JetBlue partnered with Long Beach Airport, KLOS-FM and Warner Bros. for this special customer experience. Fans enjoyed a personal, intimate acoustic 30-minute performance of the rock band's classics.
Night Ranger performed with JetBlue's runways and Los Angeles County as its backdrop. Additionally, fans paid homage to the '80s by showing up clad in their finest threads from the era. JetBlue representatives were on hand with great prizes such as travel certificates for the first 80 fans that showed up in '80s gear and a vacation package for the most original costume. Photos can be viewed at: http://blog.jetblue.com/?p=21990.
Photos Of Beatles' First U.S.Tour Exhibited In NYC
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A new exhibition featuring photos of The Beatles' first tour of America has opened in New York.
The Liverpool legends' first journey to the US and the height of the Beatlemania craze in the early 1960s was photographed by Curt Gunther, and a retrospective of his work, Unseen Beatles, is currently taking place at the Morrison Hotel Gallery in Soho, New York.
Speaking of how close he was to the band, Gunther's son says: "He was there on every plane ride and in every hotel room. I think there was real, genuine affection between The Beatles and my dad."
The photos the photographer collected include not just the band playing live, but also of their downtime, with them riding horses and goofing around with manager Brian Epstein. Peter Blachley, co-founder of the Morrison Hotel Gallery, says: "You can see it in the photographs. There were no handlers. Just, 'Hang out, you're one of the band now'."
Alongside Gunther's photos are pictures by another photographer close to the band, Robert Whitaker, who famously posed the band with a number of dismembered toy dolls and raw meat for the album cover of US release 'Yesterday and Today'.
The Unseen Beatles exhibition of Robert Whitaker and Curt Gunther's work is on throughout the summer. For more info visit morrisonhotelgallery.com.
The Liverpool legends' first journey to the US and the height of the Beatlemania craze in the early 1960s was photographed by Curt Gunther, and a retrospective of his work, Unseen Beatles, is currently taking place at the Morrison Hotel Gallery in Soho, New York.
Speaking of how close he was to the band, Gunther's son says: "He was there on every plane ride and in every hotel room. I think there was real, genuine affection between The Beatles and my dad."
The photos the photographer collected include not just the band playing live, but also of their downtime, with them riding horses and goofing around with manager Brian Epstein. Peter Blachley, co-founder of the Morrison Hotel Gallery, says: "You can see it in the photographs. There were no handlers. Just, 'Hang out, you're one of the band now'."
Alongside Gunther's photos are pictures by another photographer close to the band, Robert Whitaker, who famously posed the band with a number of dismembered toy dolls and raw meat for the album cover of US release 'Yesterday and Today'.
The Unseen Beatles exhibition of Robert Whitaker and Curt Gunther's work is on throughout the summer. For more info visit morrisonhotelgallery.com.
20 Haziran 2012 Çarşamba
Queen's Jubilee Highlighted By Paul McCartney, Elton John
To contact us Click HERE
A glittering parade of artists from the 1950s to the present day - from Sir Cliff Richard and Sir Tom Jones to Jessie J and Ed Sheeran - performed outside Buckingham Palace on Monday night (June 4) at the Diamond Jubilee Concert in honor of Her Majesty Queen Elizabeth II.
British talent from the Queen's 60-year reign also included Annie Lennox, Madness, Robbie Williams, his Take That bandmate Gary Barlow and an array of decorated superstars that additionally featured Dame Shirley Bassey and two more Knights of the Realm, Elton John and Paul McCartney. Non-British artists on the bill included Stevie Wonder, Kylie Minogue, Grace Jones, will.i.am, soprano Reneé Fleming and pianist Lang Lang.
The concert took place on a spectacular, special-built stage for a live audience of some 20,000, with a reported 250,000 people stretching all the way down the Mall towards Trafalgar Square. Many millions more watched live through the primetime television coverage on BBC1.
Highlights of the three-hour-plus show included a winning rendition of "O Sole Mio" by English tenor Alfie Boe, who temporarily assumed a rock 'n' roll persona to conclude in Elvis style; and pianist and bandleader Jools Holland, joined by his frequent collaborator and distinguished vocalist Ruby Turner, who was her usual ultra-soulful self on a classy version of the Billy Preston co-write "You Are So Beautiful."
Williams had opened the show in reliably swaggering form on his trademark barnstormer "Let Me Entertain You," returning later with "Mack The Knife," while Barlow and the Commonwealth Band delivered the first live performance of "Sing," the title song from his Jubilee-inspired album collaboration with Sir Andrew Lloyd Webber.
Prior to that, Barlow had duetted with Cheryl Cole on a cover of Lady Antebellum's "Need You Now" that exposed "X Factor" celebrity judge Cole's vocal limitations to the full. The contrast was particularly stark when Grace Jones delivered an accurate rendition of "Slave To The Rhythm" while swaying a perfectly-balanced hula hoop on her hips.
Two British stalwarts in the seventh decade of their careers, Richard and Bassey, celebrated their own longevity, Sir Cliff with a hits medley and Dame Shirley with perhaps the only song she could have chosen, "Diamonds Are Forever." Meanwhile, Minogue was in disco mood, in a mix that included "Spinning Around" and other hits.
It was also a night to admire the staying power of Tom Jones, 47 years a star and, as his outstanding new Universal Island album "Spirit In The Room" shows, every bit the vocalist he ever was. His two-song set included an inspired reworking of "Delilah," reinvigorated in acoustic flamenco style. Even if the Queen only took her seat just after his performance, Prince Harry was seen singing along.
Perhaps it was the absence of her husband Prince Philip, taken to the hospital earlier in the day with a bladder infection, that accounted for the Queen's sometimes stern expression as she watched the later stages of the event. Elton John was himself fighting back from his recent hospitalization and played with dependable dash, even if he was not at his sparkling best on a three-song selection.
As night fell, Stevie Wonder raised the crowd with "Sir Duke," "Isn't She Lovely" and, joined by will.i.am, "Happy Birthday" and the indestructibly funky "Superstition." The ageless "Nutty Boys" Madness then performed "Our House" on the Buckingham Palace roof, with some highly effective projections that, at one point, made it appear that a London bus was driving across the front of the Queen's house.
As so often, it was left to Paul McCartney to conclude the proceedings and, indeed, to bring the Royal Box to its feet. "Magical Mystery Tour" was followed by a trip even further back into his, and Her Majesty's, reign for "All My Loving." A de rigeur "Let It Be" led to an explosive "Live And Let Die."
As the celebrations around the Palace mirrored those of countless street parties across Britain tonight, Macca was joined by the entire cast on stage as he sang a closing "Ob-La-Di, Ob-La-Da." Not to be upstaged at her own bash, the Queen took the stage, accompanied by members of her family including Prince Charles, who addressed her as both "Your Majesty" and "Mummy," before she lit the National Beacon, and a different type of fireworks show commenced.
British talent from the Queen's 60-year reign also included Annie Lennox, Madness, Robbie Williams, his Take That bandmate Gary Barlow and an array of decorated superstars that additionally featured Dame Shirley Bassey and two more Knights of the Realm, Elton John and Paul McCartney. Non-British artists on the bill included Stevie Wonder, Kylie Minogue, Grace Jones, will.i.am, soprano Reneé Fleming and pianist Lang Lang.
The concert took place on a spectacular, special-built stage for a live audience of some 20,000, with a reported 250,000 people stretching all the way down the Mall towards Trafalgar Square. Many millions more watched live through the primetime television coverage on BBC1.
Highlights of the three-hour-plus show included a winning rendition of "O Sole Mio" by English tenor Alfie Boe, who temporarily assumed a rock 'n' roll persona to conclude in Elvis style; and pianist and bandleader Jools Holland, joined by his frequent collaborator and distinguished vocalist Ruby Turner, who was her usual ultra-soulful self on a classy version of the Billy Preston co-write "You Are So Beautiful."
Williams had opened the show in reliably swaggering form on his trademark barnstormer "Let Me Entertain You," returning later with "Mack The Knife," while Barlow and the Commonwealth Band delivered the first live performance of "Sing," the title song from his Jubilee-inspired album collaboration with Sir Andrew Lloyd Webber.
Prior to that, Barlow had duetted with Cheryl Cole on a cover of Lady Antebellum's "Need You Now" that exposed "X Factor" celebrity judge Cole's vocal limitations to the full. The contrast was particularly stark when Grace Jones delivered an accurate rendition of "Slave To The Rhythm" while swaying a perfectly-balanced hula hoop on her hips.
Two British stalwarts in the seventh decade of their careers, Richard and Bassey, celebrated their own longevity, Sir Cliff with a hits medley and Dame Shirley with perhaps the only song she could have chosen, "Diamonds Are Forever." Meanwhile, Minogue was in disco mood, in a mix that included "Spinning Around" and other hits.
It was also a night to admire the staying power of Tom Jones, 47 years a star and, as his outstanding new Universal Island album "Spirit In The Room" shows, every bit the vocalist he ever was. His two-song set included an inspired reworking of "Delilah," reinvigorated in acoustic flamenco style. Even if the Queen only took her seat just after his performance, Prince Harry was seen singing along.
Perhaps it was the absence of her husband Prince Philip, taken to the hospital earlier in the day with a bladder infection, that accounted for the Queen's sometimes stern expression as she watched the later stages of the event. Elton John was himself fighting back from his recent hospitalization and played with dependable dash, even if he was not at his sparkling best on a three-song selection.
As night fell, Stevie Wonder raised the crowd with "Sir Duke," "Isn't She Lovely" and, joined by will.i.am, "Happy Birthday" and the indestructibly funky "Superstition." The ageless "Nutty Boys" Madness then performed "Our House" on the Buckingham Palace roof, with some highly effective projections that, at one point, made it appear that a London bus was driving across the front of the Queen's house.
As so often, it was left to Paul McCartney to conclude the proceedings and, indeed, to bring the Royal Box to its feet. "Magical Mystery Tour" was followed by a trip even further back into his, and Her Majesty's, reign for "All My Loving." A de rigeur "Let It Be" led to an explosive "Live And Let Die."
As the celebrations around the Palace mirrored those of countless street parties across Britain tonight, Macca was joined by the entire cast on stage as he sang a closing "Ob-La-Di, Ob-La-Da." Not to be upstaged at her own bash, the Queen took the stage, accompanied by members of her family including Prince Charles, who addressed her as both "Your Majesty" and "Mummy," before she lit the National Beacon, and a different type of fireworks show commenced.
Time To Freak Out... Zappa's Back
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The music of Frank Zappa is now back in the hands of the Zappa Family Trust. Tocelebrate this, the estate has signed a global license and distribution dealwith Universal Music Enterprises to release 60 of the iconic composer'srecordings. The roll-out kicks off July 31 with 12 recordings, with anotherdozen recordings to be released monthly through the end of 2012.
"The ink is not yet dry on The Zappa Family Trust'sworldwide deal with Universal Music Enterprises," says Gail Zappa."They made us the offer we couldn't refuse -- for all the right reasons.It is a win-win for all of us, but mostly for Frank Zappa. Long may his batonwave. We are so ready to go."
"The artist and composer, Frank Zappa, is one of themost important and influential artists in music history with his prolific bodyof work, including his breakthrough rock 'n roll concept albums. We are honoredthat Gail Zappa and the Zappa Family Trust have entrusted us with his legacy.We intend to honor him and bring high quality releases, digital and physical,for his new and longtime fans," said Bruce Resnikoff, President/CEO,Universal Music Enterprises (UMe ).
Now fully back in hands of the Zappa Family Trust -- headed byZappa's widow Gail Zappa -- the releases will honor the iconic legacy of thecomposer, musician, bandleader and filmmaker.
Zappa was posthumously inducted into the Rock and Roll Hallof Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997(although the family would like to know where it is). The official biography:Frank Zappa, American composer, 1940-1993.
TheUME deal is for theentire Zappa catalog as it appeared on Frank Zappa's own independent label,Barking Pumpkin Records. Many of the original analog masters have beenremastered for this occasion. The entire catalog will launch July 31, just intime for Frank Zappa's daughter Diva's birthday -- an occasion that will be celebratedalong with the entire Zappa family.
The initial 12 Frank Zappa releases included are as follows:1. Freak Out! (1966) 2. Absolutely Free (1967) 3. LumpyGravy (1968) 4. We're Only In It For The Money (1968) 5. Cruising With Ruben& The Jets (1968) 6. Uncle Meat (1969) 7. Hot Rats (1969) 8. BurntWeenySandwich (1970) 9. Weasels Ripped MyFlesh (1970) 10. Chunga's Revenge (1970) 11. Fillmore East, June 1971 (1971)12. Just Another Band From L.A. (1972).
For more information, go to www.zappa.com.
"The ink is not yet dry on The Zappa Family Trust'sworldwide deal with Universal Music Enterprises," says Gail Zappa."They made us the offer we couldn't refuse -- for all the right reasons.It is a win-win for all of us, but mostly for Frank Zappa. Long may his batonwave. We are so ready to go."
"The artist and composer, Frank Zappa, is one of themost important and influential artists in music history with his prolific bodyof work, including his breakthrough rock 'n roll concept albums. We are honoredthat Gail Zappa and the Zappa Family Trust have entrusted us with his legacy.We intend to honor him and bring high quality releases, digital and physical,for his new and longtime fans," said Bruce Resnikoff, President/CEO,Universal Music Enterprises (
Now fully back in hands of the Zappa Family Trust -- headed byZappa's widow Gail Zappa -- the releases will honor the iconic legacy of thecomposer, musician, bandleader and filmmaker.
Zappa was posthumously inducted into the Rock and Roll Hallof Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997(although the family would like to know where it is). The official biography:Frank Zappa, American composer, 1940-1993.
The
The initial 12 Frank Zappa releases included are as follows:1. Freak Out! (1966) 2. Absolutely Free (1967) 3. LumpyGravy (1968) 4. We're Only In It For The Money (1968) 5. Cruising With Ruben& The Jets (1968) 6. Uncle Meat (1969) 7. Hot Rats (1969) 8. BurntWeeny
For more information, go to www.zappa.com.
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