tag:blogger.com,1999:blog-84876324074609164572024-02-07T12:33:20.441-08:00mixdiggerzUnknownnoreply@blogger.comBlogger6125tag:blogger.com,1999:blog-8487632407460916457.post-80969439653217186882014-12-09T01:07:00.003-08:002015-05-10T00:28:26.706-07:00Chrissie Hynde says pop full of 'porn stars trying to make records'<div dir="ltr" style="text-align: left;" trbidi="on">
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The Pretenders' outspoken lead singer Chrissie Hynde has again raised
the spectre of so-called "stripper pop", blasting young singers for
selling sex before music.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Pe_xumNYhBkLFB9fUIRSliGjCLhcEqmEVXkK5RzVzpu8W8abCXgQt7WDxFHbfTc3pEBNt7YlqQOBjsvPg_qEHgdxbV7KJKwmhyphenhyphenBxctQn1hqMDuUxaaLSJc0UAl1hTeDtERr2XOdj4EMT/s1600/Chrissie-Hynde.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Pe_xumNYhBkLFB9fUIRSliGjCLhcEqmEVXkK5RzVzpu8W8abCXgQt7WDxFHbfTc3pEBNt7YlqQOBjsvPg_qEHgdxbV7KJKwmhyphenhyphenBxctQn1hqMDuUxaaLSJc0UAl1hTeDtERr2XOdj4EMT/s1600/Chrissie-Hynde.jpg" width="320" /></a></div>
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Hynde has labelled young pop stars "porn stars trying to make records".</div>
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The iconic Brass in Pocket hit maker has told the London Evening
Standard there were too many scantily clad pop stars and rockers filming
videos while wearing next to nothing.</div>
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</div>
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"There's a definite division of what I'd call porn stars trying to make records, and then musicians.</div>
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</div>
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"If you go and see Kate Bush, you'll see a real musician. She takes care
of business the way she wants. If a girl walks on stage and starts
playing like Jimi Hendrix, believe me, no one will be asking her to take
her clothes off," she told the UK publication.</div>
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</div>
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"If anyone says, 'I have to do this because my record company told me',
that's a lie. The artist is in control of what they're doing. You can
always tell anyone to f--- off.</div>
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</div>
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"If they're under pressure to get their kit off, maybe they should just be making porn films. Maybe they're in the wrong game."</div>
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Hynde isn't singling out anyone for criticism, but her remarks come just
days after actress Mayim Bialik took aim at Ariana Grande for wearing
"lingerie" to promote her new album.</div>
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</div>
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In 2013, Sinead O'Connor attacked Miley Cyrus after watching the pop
star's Wrecking Ball video, in which the former Disney regular swings
about on a huge metal ball, wearing only boots.</div>
</div>news updaterhttp://www.blogger.com/profile/11161223555497729499noreply@blogger.com1tag:blogger.com,1999:blog-8487632407460916457.post-56339824261056117432014-12-09T01:07:00.000-08:002015-05-10T00:27:37.595-07:00Britney Spears Fashion News: Pop Singer 'Would Love' To See Kate Middleton In Her New Lingerie Line<div dir="ltr" style="text-align: left;" trbidi="on">
Britney Spears débuted her new lingerie line in London on Tuesday and the pop icon knows exactly who she'd like to wear it.<br />
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<b>Britney Spears At The MTV Music Awards</b><br />
<br />
"I would love to see Kate [Middleton] wear my underwear designs," Spears
told People on Wednesday. "That would be splendid! I'm going to send
her one of every piece, so she'll have plenty to choose from.<br />
<br />
In defending her decision to offer some free samples to the Duchess, the
singer-turned-designer claimed that her line is for "every type of
woman."<br />
<br />
<b>Britney Spears Performs In Las Vegas</b><br />
<br />
While known for her fragrances, Intimate Britney Spears is the
32-year-old's first entry into the world of lingerie design. As for her
personal life, Spears admitted that she prefers to keep things
interesting.<br />
<br />
"I like to have matching and then sometimes I like to mix it up and
change it up… to make it more interesting and fun" revealed Spears of
her own lingerie.<br />
<br />
Spears announced the lingerie line back in July, offering a wide array of styles all under $80.<br />
<br />
"Every woman should feel confident and beautiful in everything she puts
on," she declared in a July 23 interview with People. "My vision for The
Intimate Britney Spears is to create pieces that are sexy, luxurious,
and comfortable at the same time. I am excited to introduce this
collection because I feel that we accomplished just that."<br />
<br />
The Duchess of Cambridge has not commented on Spears' offer and is currently pregnant with her second child.</div>news updaterhttp://www.blogger.com/profile/11161223555497729499noreply@blogger.com2tag:blogger.com,1999:blog-8487632407460916457.post-55041024249446076382014-12-09T01:06:00.003-08:002014-12-09T01:06:29.348-08:00Thousands of Jazz Fans Expected for 14th Annual Beantown Jazz Fest<div dir="ltr" style="text-align: left;" trbidi="on">
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If jazz and people aren’t your thing, you might want to stay away from
the South End this Saturday. According to Berklee’s Nick Balkin, the
14th annual Berklee Beantown Jazz Festival is expected to draw up to
80,000 music fans to the Columbus Avenue festival site.</div>
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In comparison, the September edition of Boston Calling attracted 45,000 attendees.</div>
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The festival is being hosted by Berklee College of Music, and there will
be no shortage of jazz, blues, and soul acts to keep the masses
entertained. Headliners include Shiela E., California-based Kneebody,
and renowned drummer Yoron Israel.</div>
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Also playing are Grammy winners Snarky Puppy and Dionne Farris, and
Grammy-nominated artist Oleta Adams. There are plenty of Berklee student
and faculty bands playing, too, including Bill Banfield’s the Jazz
Urbane and Screaming Headless Torso.</div>
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The festival was started in 2001 by local entrepreneur Darryl Settles as
a way to support local music, especially jazz, and South End
businesses.</div>
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It was a surpise for Settles and the organizers when 10,000 fans showed
up that weekend. Since then, the festvial has continued to grow and has
attracted around 75,000 fans in the last couple of years. Organizers
said that they are expecting a similar turnout this year, if the weather
is sunny as predicted.</div>
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In 2007 the running of the festival was taken over by Berklee College,
ensuring that the festival would become part of Boston’s rich cultural
calendar, but Settles doesn’t think that festival is all that different
now from its first few years.</div>
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“It was only 10,000 [people] for the first year, then it grew every year
after that,” Settles said via a phone interview with Boston.com on
Tuesday. “But the theme and the strategy are the same as the first year.
It’s such a diverse event for the city. And Berklee is the premier jazz
school in the whole world, so they’re the people to run it.”</div>
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Alon with the increase in attendence, Settles’s idea that the festival should benefit the local community remains true.</div>
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Other than the three music stages, Columbus Avenue will be lined with
vendors selling food, drinks and crafts, many of which in the past have
been local. Young jazz fans, even younger then the Berklee students on
stage, will be entertained by face painting, a family park and an
instrument petting zoo, as well as KidsJam, an interactive program run
by Berklee’s Music Education department.</div>
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</div>
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“Every year the festival just brings the neighborhood alive,” said Settles.</div>
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Discover Roxbury, a cultural preservation organization, will also be
offering short walking tours during the festival, aimed at showing off
the jazz and civil rights history of Roxbury and the South End. It’s
telling that just blocks away from the festival site is Wally’s Cafe,
one of the oldest jazz clubs in New England.</div>
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</div>
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On a more international front, the theme of this years festival is “Jazz: The Global Ambassador.”</div>
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</div>
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“We have seen how important music and the arts are to fostering cultural
exchange,” wrote Terri Lyne Carrington, the Grammy-winning drummer,
Berklee professor, and also artistic director of the festival, “so I am
happy that our theme this year is Jazz: the Global Ambassador.”</div>
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</div>
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The festival’s main sponsor, Natixis Global Assests Management, has
announced the Jazz Diplomacy Project, a series of events designed to
celebrate jazz and to foster discussion about international issues.</div>
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</div>
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At the festival, the company will award a $5,000 scholarship to a
Berklee student for the third year running. The scholarship covers the
cost for a high school student to attend Berklee’s Five-Week Summer
Performance Program. Natixis has also provided support to the Newport
Jazz Festivals.</div>
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</div>
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If you’re trying to plan for the Beantown Festival, its founder has some recommendations.</div>
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</div>
<div style="text-align: justify;">
“Well on friday I’m gonna see Oleta Adams. But I’m really excited about
Sheila E.,” Settles said, “I know she’s not really jazz, but she’s a
great performer.”</div>
</div>
</div>
news updaterhttp://www.blogger.com/profile/11161223555497729499noreply@blogger.com0tag:blogger.com,1999:blog-8487632407460916457.post-90175661655605817842014-12-09T01:06:00.000-08:002014-12-09T01:06:04.203-08:00 A Legitimately Magical Prince Album<div dir="ltr" style="text-align: left;" trbidi="on">
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In 2010, Prince released an album, called “20Ten,” that ushered in the
longest silence of his thirty-five-year career as a recording artist.
For most of Prince’s creative existence, he’s put out an album a year,
sometimes double and triple sets. After “20Ten,” though, came nothing.
Well, nothing by Prince’s standards: plenty of singles trickled out,
along with rumors about upcoming projects, but there was no major
release. Then, earlier this year, he announced a return to Warner Bros.
records, at first for the purpose of assembling a thirtieth-anniversary
edition of “Purple Rain,” which would include outtakes and rare demos.
This has not yet materialized. What has emerged is his first album of
new material since “20Ten,” and the second: this week, Prince resurfaces
with “Art Official Age,” a solo album, and “PlectrumElectrum,” a
long-delayed collaboration with his all-female backing group, 3rd Eye
Girl.</div>
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“PlectrumElectrum” is easier to understand and easier to dispense with,
which doesn’t mean that it’s subpar, exactly. It’s a short rock record
with plenty of guitar, and includes meditations on sex, self-empowerment
treatises, and energetic songs about energy. The more ambitious songs
often spotlight someone other than Prince. Hannah Ford, the band’s
drummer, sings the plaintive ballad “Whitecaps,” and “Boy Trouble” is a
strange flower of a song with an out-of-left-field speed rap.</div>
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The so-called solo record, “Art Official Age,” is considerably more
interesting. For starters, Prince has dispensed with his typical
“Produced, Arranged, Composed, and Performed by Prince” credit, the one
on which much of his mystique as a one-man band and all-around genius
was founded, and has shared production credit with Joshua Welton, who
also happens to be Hannah Ford’s husband. Was this an admission by
Prince that he needed another pair of ears? Was he in search of a more
contemporary sound? The quasi-title track that opens the album (“Art
Official Cage”) seems to suggest so. It’s a strange welter of E.D.M.
clichés and Europop, with some gnomic lyrics, some grinding guitar, and
some rapping. It’s a mess, provocative but not exactly successful; it
sounds like a track that was left off Prince’s 1989 “Batman” soundtrack,
updated for 20Fourteen.</div>
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</div>
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But the rest of the album is easily Prince’s most coherent and
satisfying record in more than a decade. In the past few years, the
Prince songs that leaked online seemed to be less about paving the way
for a new album and more about trolling the Internet. “Breakfast Can
Wait,” a lithe and light funk number, was released with a cover photo of
Dave Chappelle as Prince. Only a snippet of “This Could Be Us” leaked,
but it was enough to confirm that Prince had written a song about a
popular Internet meme that used a picture of him from his “Purple Rain”
days. As proper singles started appearing, though, the album came into
sharper focus. Songs like “Clouds” and “U Know,” slower and more
repetitive than the kaleidoscopic funk-rock we’ve come to expect from
Prince, suggested a new direction—a kind of gelatinous, futuristic R.
& B.</div>
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</div>
<div style="text-align: justify;">
These tracks worked in concert with the other singles to sketch out a
theme: that technology separates us from those we’re close to, and even
from ourselves; and that the lack of integration may well result in
disintegration. “Clouds,” the second track on the album, which opens
with the sound of a radio tuning, critiques the way the computer age
offloads experiences to distant servers (that’s what the clouds are);
the song instead prioritizes romance and human connection (“You should
never underestimate the power of a kiss on the neck when she doesn’t
expect a kiss on the neck”). It also folds in a well-constructed
argument about the way the Internet era has encouraged empty exhibition
and a half-baked argument about violence and bullying, before ending
with a sci-fi monologue delivered by a British female voice that seems
to suggest that Prince has been placed in some sort of centuries-long
suspended animation.</div>
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</div>
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“Clouds” is a kind of manifesto: “When life’s a stage in this brand new
age / How do we engage?” Prince’s answer is to do a version of what he’s
always done, which is absorb nearly every kind of music available and,
via alchemic wizardry, turn it into something that produces thoughts and
emotions. That’s even more evident on “U Know,” which is built on a
sample of the singer Mila J’s “Blinded” and alternates wordy half-rapped
verses about romantic misunderstanding and spiritual crisis with an
irresistibly seductive chorus. The songs seem like R. & B., but
they’re statements of deep unrest. Then the album hits a lull, with
tracks that declare the power of music rather than demonstrate it, and
insist on the superiority of the past. It’s grumpy-old-man music, done
with plenty of panache. None of this, though, is sufficient preparation
for the homestretch of “Art Official Age,” which is where Prince stops
worrying about the future or the past and truly inhabits the present.
Beginning with “What It Feels Like,” a duet with the singer Andy Allo,
Prince delivers a series of ballads, broken up by interludes and a
red-meat dance song, that are like nothing he’s done before.</div>
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</div>
<div style="text-align: justify;">
It’s worth thinking about what it means for Prince to step into new
territory. He has spent years trying to recapture pieces of his old
self: the provocateur in black lingerie who got booed as an opening act
for the Rolling Stones, the New Wave-inflected keyboard freak of “1999,”
the motorcycle-riding rock god who ruled the world after “Purple Rain,”
the tortured psychedelic introvert of “Around the World in a Day,” the
jazzy genius of “Parade,” the pop polymath of “Sign O the Times,” the
deeply divided spiritual pilgrim of “Lovesexy.” These old selves then
became albatrosses. His albums of the late nineties and the past decade
found Prince making gestures toward those personas without ever really
inhabiting them again. And how could he? Here, for the first time, he
suggests an alternative: maybe there’s an entirely new Prince music,
possibly aided and abetted by Joshua Welton, that harnesses his talents
and his vision. Maybe he’s not condemned to auto-pastiche.</div>
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</div>
<div style="text-align: justify;">
The closing songs are hard to absorb at first. “Way Back Home” sounds
sluggish for a while and then, suddenly, it sounds revelatory. It’s a
self-portrait painted in the strangest and most accurate colors
imaginable, a melancholy confession and bruised boast in which Prince
cops to the fact that he’s out of place, out of sorts, pushed forward at
times by desperation but “born alive” in a world where most people are
“born dead.” And “Time,” which runs for nearly seven minutes, is a love
song, briefly lickerish, that’s mostly about the loneliness of the road.
In both cases, Prince brings the tempo way down, focusses on the
nuances of his melodies, shares the spotlight with female vocalists,
weaves in motifs from earlier songs from the album, and adds a steady
supply of surprising touches (such as the superbly funky, if subdued,
horn outro to “Time”).</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
The ballads are broken up by “FunkNRoll,” a straightforwardly exciting
party song that also appears on “PlectrumElectrum,” but the version here
serves the album’s over-all message—it’s knotty, both playful and
eerie, with sonar-like sound effects that create a sense of distance and
mediation. The closing track, “Affirmation III,” is a haunting reprise
of “Way Back Home.” And while it’s abstract (the clipped, angelic
backing chorus, which seems to be on loan from Laurie Anderson, is even
more prominent), it’s also concrete. For the first time in years, Prince
seems not just carnal but corporeal. Way back on “Controversy,” he
challenged categories: “Am I black or white? Am I straight or gay?” By
the time of “I Would Die 4 U,” the challenge had turned to taunting:
“I’m not a woman / I’m not a man / I am something you can never
understand,” and then, messianically, “I’m not a human.” Here, he
presents himself as something understandable and fully human. In
“Breakfast Can Wait,” he pleads with his lover that she can’t “leave a
black man in this state.” But that black man is in this state: he’s in
his fifties, grappling with loneliness, aging, creative inspiration,
self-doubt, a shifting cultural landscape, and love. As luck would have
it, he’s also Prince.</div>
</div>
</div>
news updaterhttp://www.blogger.com/profile/11161223555497729499noreply@blogger.com0tag:blogger.com,1999:blog-8487632407460916457.post-53812064384011183382014-12-09T01:05:00.002-08:002014-12-09T01:05:27.390-08:00 Concert to bring back memories of female vocalists of yesteryear<div dir="ltr" style="text-align: left;" trbidi="on">
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Imagine a jazz club with the voices of Ella Fitzgerald, Billie Holliday,
Etta James, Lena Horne, Rosemary Clooney and others. Jaimee Paul and
her jazz combo, led by husband Leif Shires, on trumpet, delivers just
that.</div>
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“At Last” is a tribute to those fabulous female vocalists of the glory days of yesteryear. For Paul, “At Last” is very personal.</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
“All the great lady singers saluted were inspirations to me, and the
songs selected are among my innermost personal favorites,” she said.
“Some of them I have a long history with: My grandfather was a World War
II veteran and his favorite song was ‘Sentimental Journey,’ and we used
to listen to it together. ‘What A Difference A Day Makes’ always gets
me thinking about my wonderful husband, Leif, and the incredible day
that we first met. On the other hand, ‘Stormy Weather’ never fails to
start me thinking about all the lousy relationships I’ve been through,
that we’ve all been through.”</div>
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</div>
<div style="text-align: justify;">
Paul sings of love, loss and the blues at Clover School District Auditorium on Oct. 7.</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
Raised in Southern Illinois, steeped in church choir, Paul was
influenced by gospel and blues, cultivating a special place in her heart
for Jazz.</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
“I was always involved with music,” Paul said. At the age of five she
began studying classical piano for almost 10 years, and from the third
grade on, she also played the French horn in school bands. She also sang
in both church and school choirs. Her parents are both musical: Her mom
taught music and piano in the public school system for 30 years, and
her dad studied music in college before deciding on a career in
engineering. “</div>
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</div>
news updaterhttp://www.blogger.com/profile/11161223555497729499noreply@blogger.com0tag:blogger.com,1999:blog-8487632407460916457.post-51014038825926017232012-03-29T22:57:00.001-07:002015-04-15T22:42:04.188-07:00Welcome<div dir="ltr" style="text-align: left;" trbidi="on">
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