Glastonbury 2013: father and son reunited – The Guardian
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Source Article from http://www.guardian.co.uk/music/video/2013/jun/29/glastonbury-2013-father-son-reunited
Britten's War Requiem; Music in the Space Time Continuum – review – The Guardian
Posted by Google News | Industry News | domingo 30 junio 2013 5:18 am
A silence as tangible as grief hung in the air at St Paul's Cathedral last week – for nearly two minutes at the close of Benjamin Britten's War Requiem the audience sat mute, stunned by the bleak grandeur of it all. Conductor Edward Gardner kept his hands raised, willing the packed building to hold its applause, but he need not have troubled; no one wanted to break their own silent meditation.
«My subject is war, and the pity of war. The poetry is in the pity … All a poet can do today is warn,» wrote Wilfred Owen, killed just days before the 1918 armistice. His words chimed perfectly with Britten's pacifist stance and when in 1962 the chance came to mark the inauguration of Coventry's new cathedral the composer produced this masterpiece, an interweaving of the traditional Latin requiem mass with nine of Owen's poems.
Coventry's 14th-century cathedral had been destroyed in November 1940. Out of its ashes arose a building dedicated to a ministry of reconciliation. Britten seized upon this theme, scoring the solo parts for British, Russian and German singers, an ambition realised again at St Paul's last week: the admirable German-born baritone Russell Braun was joined by the Russian soprano Evelina Dobraceva (replacing an indisposed Albina Shagimuratova), and the quintessentially English tenor Toby Spence.
The piece presents several problems of direction and balance for the conductor. It's scored for chorus and huge orchestra, a separate chamber ensemble accompanying the soloists, two organs and a boys' choir, required to sing at an ethereal distance. In the cavernous acoustic of St Paul's, the potential for disaster was significant but Gardner triumphed, displaying total command of his massive forces.
He was aided by Andrew Carwood, director of music at the cathedral, who conducted the tremendous boys' choir, hidden away behind the platform, their crisp, clear interjections rising above the clamour to thrilling effect. Carwood was Graeme Knowles's inspired appointment when he arrived as dean in 2007. Knowles couldn't have known then that his tenure would be cruelly cut short as a result of the Occupy protest in 2011 but he can be proud that Carwood's magnificent choir is his lasting legacy.
At the whispered opening it seemed the CBSO Chorus might be in danger of being overwhelmed, but when Spence rose to sing the first Owen setting, What Passing-Bells For These Who Die As Cattle?, we knew we were about to witness an extraordinary evening, more an act of remembrance than a mere concert. His admirable diction sent those haunting words out under the great dome like a clarion call across a battlefield. Back came the chorus with a wonderfully controlled, unaccompanied pianissimo Kyrie, before terrifying us in the explosive Dies Irae, the thrilling brass and percussion of the CBSO reminding us that this was their own piece – their 1960s counterparts played at the Coventry premiere.
Braun was equally intense in Be Slowly Lifted Up, while Dobraceva found her feet in the Lacrimosa, floating angel-like over the chorus before Spence shattered our hearts with Move Him Into the Sun, which brilliantly injects the senseless brutality of war directly into the comforting balm of the Latin mass. Gardner whipped up the Libera Me into a frenzy with Dobraceva fighting to be heard above a thundering bombardment of percussion, brass and chorus that gives way to the ultimate Owen poem, It Seemed That Out of Battle I Escaped. A dead British Tommy (Spence) meets a dead German soldier (Braun) who tells him: «I am the enemy you killed, my friend.»
Braun and Spence caressed the senseless pity of it all, lullabied to endless sleep by the In Paradisum of the chorus and boys' choir. No wonder there was total silence at the end. Tears were never far away.
There was more poetry at Kings Place the following evening. Isobel Dixon read passages from her collection Dark Matters, an elegant supplement to an invigorating evening of new music exploring the concepts of space and time, presented by the Austrian contemporary music group Klangforum Wien.
If, like me, you struggle with particle physics, you should hear Roberto Rusconi's De materia nigro et obscura, written to mark the confirmation of the Higgs boson in our understanding of the fundamental structure of matter. Rusconi takes a single block of sound (a particle) and spins from it a set of variations for piano quintet. Each has its own special character, stretching and extending the possibility of sound. There are moments of hesitation, of suggestion, of approach and withdrawal, making tremendous demands on the players. Gradually, Rusconi's original block of sound reassembles itself after being subjected to his forensic dissection.
There was more ferocious playing in Bernhard Gander's Khul, a simple anagram of Hulk, the Marvel Comics character, the alter ego of genius scientist Bruce Banner. Gander's Hulk thrashes around in a tumult of double-stopped strings, screeching and wailing in a highly disciplined, carefully structured torment.
Fierce discipline is key to this music. Beat Furrer's Spur sounds totally random but it requires the virtuosic talents of Klangforum Wien to make it work. Jagged fragments of sound gradually coalesce into patterns that suggest traces of 19th-century chamber music, but reinvented and reformed to offer a totally new experience. Let's hope Klangforum Wien return to London soon and continue to open our ears to the future.
Source Article from http://www.guardian.co.uk/music/2013/jun/30/britten-war-requiem-music-space-time-continuum
Pusha T, Stan Tracey, Pissed Jeans: this week's new live music – The Guardian
Posted by Google News | Industry News | sábado 29 junio 2013 2:14 pm
Pusha T, London
Pusha T is an MC who proves that entering midlife with a mid-level hip-hop career can still place one in a rewarding position. One half of the rated Virginia hip-hop duo Clipse – alongside his brother No Malice – Pusha T has been at it since the mid-90s. A man of slightly squeaky voice but impressive lyrical intelligence, he's landed high-profile guest spots (chiefly with Kanye West, to whose GOOD Music imprint he is signed) and always aced them. West isn't his only patron. Pharrell Williams has produced tracks for him since the Clipse days and recently offered him the superb Raid, just one among his many tracks to offer an unflinching but supremely versatile take on street life. His recent Numbers On The Board, in which he does his stuff against a spartan and compelling beat from Don Cannon and Kanye suggests that his forthcoming Marlo Stanfield-quoting My Name Is My Name album could be his best work yet.
XOYO, EC2, Tue
Hypnotic Brass Ensemble, On tour
Brass band by name, by nature Hypnotic Brass Ensemble are festival gold. An eight-piece comprised of the sons of jazz musician Phil Cohran, the group have some party pieces, including covers of Jay-Z, OutKast and the Art Of Noise, but comedy covers aren't solely what they're about. There's something incredibly stirring about brass bands tapping into the familiar, and HBE work profitably with that notion as well as devising their own music from the traditions of jazz, funk and hip-hop.
King Tut's, Glasgow, Mon; Brudenell, Leeds, Wed; The Fleece, Bristol, Thu; Mostly Jazz Funk & Soul festival, Birmingham, Fri
Pissed Jeans, Leeds & London
It takes a lot for a hardcore punk/noise band to escape its genre, and (as Black Flag had it) to rise above. There's certainly much to commend in Pissed Jeans' raw intensity and furious velocity, which hasn't diminished in any way since being signed to Sub Pop for the recent albums King Of Jeans (2009) or this year's Honeys. But what truly elevates the band above their peers is their frontman Matt Kosloff. A man who seems to be growing in intensity the further his hairline recedes, this is a singer who radiates a humour and intelligence while performing a series of supremely unintelligent acts as part of his work fronting a punk/noise band. It's athletic, it's absurd, but best of all it's supremely unselfconscious.
Brudenell Social Club, Leeds, Thu; Electric Ballroom, NW1, Fri
Stan Tracey, London & Glasgow
Since hitting his 80s, the stock of world-class UK jazz pianist Stan Tracey has risen ever higher. In 2007, he was handed a CBE for services to music-making, to which he'd been applying his particular laconic inspiration for six decades. The following year saw a raft of reissues of recordings made with everyone from Duke Ellington saxist Ben Webster to free-improv pianist Keith Tippett. He's rightly a headline star at the Glasgow jazz festival (appearing there with his poetic long-term saxophone partner Bobby Wellins), and also plays his regular gig at London's Bull's Head, a venue he treats more or less as a second home.
Bull's Head, SW13, Sat; Old Fruitmarket, Glasgow, Sun
Sarah Gillespie, On tour
When the half-Brit, half-American singer-songwriter Sarah Gillespie began to hit her stride around 2009, she didn't sound like a clone of anyone in the folk, pop or jazz worlds to which her music seemed connected. Funky sax riffs added clout to her album debut, Stalking Juliet, but her singing moved between a punkish ferocity or rap-like grooving, a little Tom Waits or Dylan-esque abrasiveness, and moments when she sounded like a bluegrass artist crossed with Edith Piaf. Gillespie has constructed powerful narratives on the personal impact of post-9/11 paranoia, and her characteristic mix of an unsentimentally emotional agenda and a pungently socio-political one has rarely sounded in such creative balance as it does on Glory Days, the new album this tour launches.
Swindon Arts Centre, Sat; Dulwich Books, SE21, Mon; Bikeshed Theatre, Exeter, Fri
David Sawer: The Lighthouse Keepers, Cheltenham
In 2009, Birmingham Contemporary Music Group introduced David Sawer's Rumpelstiltskin, a music-theatre piece based upon the Grimm brothers' fairytale. Sawer (pictured) described it as a ballet, though it contained no dancing, and it could equally as well have been called an opera, even though there was no singing in it either. Now Rumpelstiltskin has a sibling, intended as the other half of a double bill, and equally likely to defy easy categorisation. Sawer calls The Lighthouse Keepers a «play for radio». It is scored for two actors, tape and ensemble and it's based on a grand guignol play from the turn of the 20th century, involving a rabid dog, a father and son confined in a remote lighthouse and a ship about to hit the rocks below them. BCMG gives the premiere at the Cheltenham festival in tandem with another teasingly genre-hopping piece, Morton Feldman and Samuel Beckett's Words And Music.
Parabola Arts Centre, Thu
Source Article from http://www.guardian.co.uk/music/2013/jun/29/this-weeks-new-live-music
Rivers of babble on: how word became the servant to music – The Guardian
Posted by Google News | Industry News | viernes 28 junio 2013 10:52 pm
All music aspires to the condition of song; just check iTunes where everything – a symphonic movement, a cue from a film soundtrack, a pop single – is sold as a «song». It has always been like this. In the 17th century, English composers wrote music «apt for voices and viols»; if you were short of voices you could replace them with instruments, or vice versa. In the 19th century, Mendelssohn wrote collections of short piano pieces, more for the parlour than the concert hall; «Songs without words» he called them, as if purely instrumental music required an apology.
But music's relationship with song isn't as secure as it may seem. In some musical forms – opera, for example – there have to be words, but it doesn't always appear to matter whether we can make sense of them. When John Gay created his Beggar's Opera in the 1720s, he put new words to popular tunes of the day, stealing melodies from contemporary operas with an abandon that, these days, would make a copyright lawyer's heart skip several beats. Music history describes The Beggar's Opera as a satire on the early 18th-century London fashion for Italian opera, the joke being that here was an opera with words that audiences could actually understand.
The Beggar's Opera was a huge success, regularly revived ever since, and operas sung in English have also remained popular. In London in 1900, Lilian Baylis began promoting opera in English, first at the Old Vic, later at Sadler's Wells, and it was the Sadler's Wells company that would give the 1945 premiere of Benjamin Britten's first operatic masterpiece, Peter Grimes. Baylis's vision of opera, sung in English for the people of the capital, continues to be realised at the English National Opera company. For them, Le Nozze di Figaro becomes The Marriage of Figaro, and the rhythmic succession of Italian vowels and consonants around which Mozart imagined his melodies is replaced by the very different sound patterns of English – sound sacrificed for sense is a very English trade-off.
Today we can use technology to solve the same problem: singers sing in Italian and above the stage we read a translation of what they're singing. Opera singers struggle to be understood at the best of times, a struggle made harder by orchestras who make too much noise. Composers don't help, either; they tend to be more interested in the shape of a vocal phrase than in the fact that vowel sounds become distorted beyond recognition if they are too loud, too long or too high. As the surtitles scroll over their heads, singers must wonder why they go on struggling to enunciate words when the audience can read them anyway. English National Opera use surtitles, too – they first appeared above the Coliseum stage in 2005. It's a huge theatre and few voices can reach all 2,500 seats, but if the singers can't be heard properly, what's the point of singing in English?
In pop, just as in opera, intelligibility can be a problem. In 1969, the keyboard player Jim Dickinson watched Mick Jagger scribble down lyrics for «Brown Sugar»; «Skyhigh slaver» is what he wrote, but «scarred old slaver» is how internet lyric sites publish it now. At the end of the first verse of «Purple Haze», Jimi Hendrix sings «kiss the sky», but it could be mistaken for «kiss this guy» and the Kissthisguy website is full of similar «mondegreens», phrases in songs that are frequently misheard. The term «mondegreen» is itself the product of a misheard Scottish folksong: «They have slain the Earl of Moray and laid him on the green» became, «They have slain the Earl of Moray and Lady Mondegreen.»
For the last two years, I've been working on a Wellcome Trust-funded project with singers and speech scientists to investigate how we make sense of what we hear, particularly when there are many competing voices, the so-called «cocktail party problem». The result is Tales from Babel, a 40 minute music-drama for six voices which The Clerks will premiere in the Cheltenham festival. In the process, we've tested sections of the work on audiences and have gradually reached the conclusion that almost any distraction will reduce the intelligibility of sung words: an unfamiliar verbal image, a wide melodic interval, any sort of sound heard in counterpoint. But we've also discovered that he human brain is remarkably good at filling in the unintelligible gaps, making sense, even if it's only mondegreen-sense, out of just a scatter of words.
Of course, sometimes the words aren't worth hearing. «I wish it were in a foreign language in an opera,» says Stephen Sondheim of «I have a love», one of the songs he wrote for West Side Story. Nobody understands the art of marrying words and music in the theatre better than Sondheim, but his book on the subject, Finishing the Hat, is full of similarly self-deprecating examples of how he got things wrong. Normally he writes both music and lyrics, but, for West Side Story, his words had to partner Leonard Bernstein's tunes. «Somewhere» was a particular Bernstein favourite, a tune he had already tried unsuccessfully to shoehorn into a number of other shows, and for Sondheim, the song's opening upward leap was «hell», since «the most unimportant word in the opening line ('a') is the one that gets the most important note». One of the show's biggest hits, «America», is another Sondheim disappointment. «Everything free in America – for a small fee in America» reads well but, as Sondheim says, «melts in the mouth as gracelessly as peanut butter … it smashes the 'l's and the 'f's together, making it sound like 'for a smafee'.» He concedes: «I had underestimated the speed of the music, which turned the collision of consonants into major crashes.»
So why would any self-respecting writer want to waste good words on musical theatre? One twist of a melodic inflection, one overemphatic orchestral stab, and those carefully constructed verbal nuances have been obliterated. Paul Kildea's recent book on Benjamin Britten describes many a tussle between the composer and his various librettists – a verse cut here, a verb changed there – but the most telling exchange is between Britten and Myfanwy Piper. Piper is just beginning the work of transforming The Turn of the Screw from a novella into a stage work and Kildea reports Britten as telling her: «Don't worry about having the characters … say spooky things … leave all that to the music.»
Piper had never written for the stage before so perhaps Britten was trying to put her at ease, or perhaps he really did think character and atmosphere could be left to the music alone. Whatever his motive, it's a telling insight into Britten's view of the balance of power between words and music, a view that might well have troubled a more experienced writer than Piper. WB Yeats would not have been surprised. In one of the stories in his 1893 collection, The Celtic Twilight, Yeats recalls listening as an old woman «sang a poem … every word … audible and expressive, as the words in a song were always, as I think, before music grew too proud to be the garment of words». Other poets have felt the same. When AE Housman heard Vaughan Williams's lovely setting of his poem «On Wenlock Edge» for the first time, his «face flushed with torment … as though in an extremity of … pain or anger, or both». Presumably, what distressed Housman was the realisation that Vaughan Williams's music was not just a setting of his words, but a new work with its own distinct identity, a parallel text that not only pointed up the sense of the poetry, but sometimes counterpointed it, too.
Songwriters are probably closer to Yeats's ideal. For them, a verbal image arrives already tinged with musical colour, a chord change or the kick of a riff making the choice of words seem inevitable. As Keith Richards says in his autobiography: «it's not like writing poetry … it's got to fit what has already been created.» In a recent David Bowie documentary, the record producer Tony Visconti talked about the recording of «Heroes» at the Hansa Studios in West Berlin in 1977. Bowie asked Visconti to leave him alone in the studio so that he could sort out some lyrics. Visconti took advantage of the break to go outside with his girlfriend. Bowie watched them kiss in the shadow of the section of the Berlin Wall which ran near the studio and wrote: «I, I can remember/(I remember)/ Standing by the wall/ (By the wall)/ And the guns, shot above our heads/ (Over our heads)/ And we kissed, as though nothing could fall/(Nothing could fall).»
Poetry it's not, but the immediate connection between words and music – words written as the music takes shape, words written by the person who will sing them – generates a special expressive power. Bowie's «wall/fall» rhyme is contrived, and the conjunction of lines almost meaningless – sound often prevails over sense in pop music – but the intensity of his vocal delivery and the ambiguity of that first mention of the wall is enough to sustain the momentum of the verse.
As a composer rather than a songwriter, I look for writers to give me words when I create music for voices, and for Tales from Babel my collaborator is The Clerks founder and director, Edward Wickham. History, experience and science all suggest that much of his effort is in vain; in clothing the words with music, I will inevitably conceal them. Yet we carry on, not just because intelligibility is our subject, but because the relationship between music and words is so compelling. At worst, the words are like a lucky charm, barely glimpsed but nonetheless reassuring by their presence; at best, they create a unique synthesis of sound and sense. In the recent Guardian review of Songs from the Same Earth, Harrison Birtwistle's setting of new poems by David Harsent, premiered at this year's Aldeburgh festival, it was suggested that these new songs were «a powerful reminder as to how art song, at its best, can provide both poet and composer with their highest calling». I'd go further: not just art song, but all song. We live our lives in words, but music can transform them – think of the reiteration of «yesterday» in the Beatles' song, falling as it begins, rising as it finishes – making something extraordinary out of the everyday.
Source Article from http://www.guardian.co.uk/music/2013/jun/28/tales-from-babel-word-servant-music
SFX Entertainment To Take Electronic Dance Music To Wall Street With IPO – Forbes
Crowd members dance at the 2013 Electric Daisy Carnival in Las Vegas. (Taylor Soppe/Forbes)
Last year, media mogul Robert F.X. Sillerman made a commitment to the future of electronic dance music. Sillerman had then just formed SFX Entertainment, underlying his faith in the industry's fastest-growing market by publicly stating that his new company would spend $1 billion to acquire electronic music ventures and promoters from around the globe.
Now, the 65-year-old businessman is expecting the public markets to share his belief.
On Tuesday, SFX Entertainment filed an S-1 with the Securities and Exchange Commission to hold an initial public offering that hopes to capitalize on the growth of electronic dance music, or EDM, culture and events. In a long-anticipated move, SFX plans to raise up to $175 million with its IPO as it scales and becomes a more formidable opponent to established promoters like Live Nation Entertainment and AEG in the electronic music space.
In its company overview, SFX, which will trade on the Nasdaq with the symbol SFXE, stated: "We view [electronic music culture] as a global generational movement driven by a rapidly developing community of avid followers among the millennial generation."
Within that millennial generation are the 330,000 people that attended Miami's Ultra Music Festival in March and the more than 100,000 teenagers and young adults that crowded into the Las Vegas Motor Speedway to attend the three-day Electric Daisy Carnival this past weekend. For SFX, the sheer size of these events illustrates just how popular electronic music has become in an industry that could be worth more than $4.5 billion annually according to a report from this year's International Music Summit in Ibiza, Spain.
"I dont think it's a fad the way this generation consumes this music," said Albert Fried & Company analyst Rich Tullo. "The kids go to the festival for the social experience first, then the music. It's not really based on dance music, as much as the event."
SFX has spent about half of its proposed $1 billion to buy up promoters and related dance music companies, according to sources familiar with the company. Among its already acquired assets include full ownership stakes in North American promoter Disco Donnie Presents and Beatport, an online music store that caters to DJs and EDM aficionados. Sillerman told FORBES last year that he expected SFX to complete 30 to 40 acquisitions.
The company's SEC filing said the proceeds from SFX's IPO will go directly toward "fund[ing] the cash portion of several" planned, but uncompleted acquisitions of some of the world's biggest EDM brands. Among those deals–which are contingent on a successful offering–include moves for majority control over Dutch company ID&T, the promoter behind festivals Tomorrowland and Sensation; Made Event, creator of the Electric Zoo festival in New York; i-Motion, owner of Germany's Nature One event; and Totem Onelove Group, the producer of Australia's Stereosonic festival.
In grouping together its already existing assets with those it plans to acquire, SFX reported a combined $242 million revenue last year with a net loss of about $47.9 million in its prospectus. The New York City-based company currently carries $64.5 million in debt.
Speaking last year to FORBES, Sillerman coyly avoided discussions on the profitability of the electronic music business.
"The last thing we'll be thinking about is margins," he said last July. "You know if you make cars or washing machines or something like that, I guess you have to focus on margins. That's not the way I view the entertainment business–I view it as an art not as a science."
The SFX chairman is currently unable to address the media as his company has entered an SEC-mandated quiet period following its IPO filing.
As a man who created the precursor to Live Nation, Sillerman is hoping that he can develop a business that will directly rival the United States' largest concert promoter in the dance music space. In 2000, he sold his first business, a conglomerate of regional rock promoters also called SFX, to Clear Channel for $4.4 billion. That merger later led to the formation Live Nation, which today serves as Sillerman's biggest rival in the arms race for electronic music promotion and production companies.
In one of the companies' most heated battles, the two squared off in negotiations with Insomniac Events, the producer of Electric Daisy Carnival. Despite reports that SFX was willing to offer more money for the company, Insomniac eventually chose to partner with Live Nation in a deal announced last week. Earlier reports from the Wall Street Journal pegged that deal to be about $50 million from Live Nation for 50% of Insomniac, despite offers of at least $100 million from Sillerman's company.
While SFX may have missed on Insomniac and the EDC brand, its planned acquisitions will take the company's global reach to more than 2.8 million fans who attend events like Tomorrowland and Stereosonic. That number could grow even further if Sillerman's company continues on its acquisition warpath as suggested by its IPO prospectus.
"If we do this with the right people," he said last year, "this will be bigger than the first SFX."
Follow me on Twitter at @RMac18.
Tiësto And The Evolution Of The Electronic Music Business
Ryan Mac
Skrillex: The $15 Million DJ
Zack O'Malley Greenburg
Source Article from http://www.forbes.com/sites/ryanmac/2013/06/28/sfx-entertainment-to-take-electronic-dance-music-to-wall-street-with-ipo/
Justin Diva! Bieber demands 'ban on Selena Gomez music and nobody speak to … – Daily Mail
Daily Mail Reporter
18:19 GMT, 28 June 2013
It wasn't so long ago that he was just a floppy-haired, cheesy-grinned teen who wouldn't say boo to a goose.
Of course these days Justin Bieber is quite the badboy – and a complete diva – judging by the list of demands he imposed on the set of a recent photoshoot.
Among the conditions; nobody on set could talk to him and no music by his ex-girlfriend Selena Gomez could be played, according to a rider obtained by TMZ.
High maintenance: Justin Bieber, seen here performing in San Jose, California, on Thursday night, apparently made a series of diva demands on the set to a recent photoshoot, including no Selena Gomez music
The celebrity website reported the shoot took place earlier this month, with other rules including no cell phones or requests for autographs.
There was also a long list of
requirements for herbal teas, a deli platter, vegetable platter, a large
packet of Swedish Fish, two large packets of Haribo cola bottles and
Ritz Bits.
Justin, 19,
insisted on multiple packs of white under shirts, tank tops and socks,
as well as a boombox which he could connect to an iPhone 5 (presumably
for his music of preference).
Before the split: Justin and Selena at the American Music Awards in 2011
Bieber, who was live in concert on Thursday night in San Jose, California, is frequently hitting the headline these days for his obnoxious behaviour.
Earlier this week it was reported the Girlfriend singer is being sued for allegedly kicking a photographer in the stomach last year.
Bieber has been accused of assaulting paparazzo Jose Osmin Hernandez in Los Angeles while on a date with his then-girlfriend Selena, who he split from earlier this year after two years of dating.
According to court documents, obtained TMZ, Jose claims that Justin got frustrated with him and several other photographers for taking pictures of the then couple at The Commons retail complex in Calabasas as he was trying to manoeuver his Mercedes out of a parking space.
He claims the Canadian star then jumped out of the car and 'delivered a martial arts-type kick… in the lower rib cage on the left side of his abdomen'.
According to the lawsuit, Jose claims that Justin then used his left fist to punch him on the right side of his face and pushed him against a parked car.
The alleged victim also said that Selena, 20, returned to the scene a few minutes later to search for her phone and apologised to him for Justin's behaviour.
Jose has not stated how much compensation he is seeking in the lawsuit.
Meanwhile Justin says he wants to marry young in a new interview.
The singer revealed his grandparents Bruce and Diane Dale are his relationship role models and he hopes to have a lasting and happy marriage like they have.
He told Us Weekly's Justin Bieber bookazine: 'I want to get married and start a family [while I'm still young]. My grandparents Bruce and Diane Dale are my relationship role models.
'They love each other so much, after so many years! When I'm their age, I want to be as in love with my wife as my grandfather is with his.'
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British and Irish Lions under siege from bikini wearing…
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Adorable: Beagle pushes little sister to their favorite park…
Doctors in Maryland perform most extensive face transplant…
First picture of British teenager left fighting for life…
'They did what they wanted with me – no matter how…
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'When I look in the mirror I see myself': Incredible…
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Savage dog tore tiny terrier Daisy to death in front of…
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Red, white and … bloopers! Photographs from 4th of July…
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Gone to seed? You cannot be serious: How age caught up with…
The picture of him in 2011….geek.com
sallybc1965
london, United Kingdom,
grow up.
London England,
We all need to stop reading this stuff including me. Then maybe it would go away?
Uswisc
Oconomowoc, United States,
How he's money is beyond me. When he sings, it sounds like he's whining. People are stupid enough to listen to his music, BUY his music and turn the dial to the radio stations that PLAY his music.
gemmaphant
«I'm a little teapot with a little spout. I'm a little diva on the way out.»
daddycat
peteroboro, United Kingdom,
really stretching those 15 mins
Awful little twerp, few years time he will be a nobody
Brighton, United Kingdom,
get lost mate… no one listens to you… idiot…
Jacob London Great
He just needs a good clip around the ear from his mum/dad… Learn some manners kid, you only have an average voice at best!
kalo88
Cardiff, United Kingdom,
These stories are so promising because with everyone one I can see that breakdown coming closer and closer and him fading farther and farther from the limelight. Thank God.
Source Article from http://www.dailymail.co.uk/tvshowbiz/article-2350932/Justin-Bieber-demands-ban-Selena-Gomez-music-speak-set-photoshoot.html?ito=feeds-newsxml
Glastonbury 2013: day one liveblog – The Guardian
The rain has now stopped, you can just about survive without wellies, and the music starts this morning, with headliners tonight including Arctic Monkeys and Portishead
Source Article from http://www.guardian.co.uk/music/musicblog/2013/jun/28/glastonbury-2013-day-one-liveblog
Glastonbury 2013 festivalgoers sing the Rolling Stones – video – The Guardian
Source Article from http://www.guardian.co.uk/music/video/2013/jun/28/glastonbury-sing-rolling-stones-video
A day in the life of Nick Cave – The Guardian
Posted by Google News | Industry News | viernes 28 junio 2013 7:42 am
I am sitting in a small estate car, which is tailing a black 1980s Jaguar XJ, in which Nick Cave is pretending to chauffeur Ray Winstone along Brighton seafront, eavesdropping on their conversation via a listening device. They are supposed to be discussing the transformative possibilities offered a rock star as opposed to those offered an actor – Cave has previously expressed the opinion that, unlike an actor, a rock star can never truly remove the mask they have created for themselves, even when offstage – but the conversation seems to have gone slightly off-piste. It has shifted from Cave's early career in Melbourne («You never wrote a song on the beach? But you're an Australian!» splutters an incredulous Winstone, not perhaps entirely au fait with the oeuvre of the Birthday Party, which was famously light on carefree paeans to the sunkissed sands and bikini-clad lovelies of St Kilda) and has now settled on the unlikely subject of fish and chips. Like so many things, Cave attests, they are of a superior quality in his homeland to those in Britain: «The fish and chips over here are fucking terrible,» he complains. This suggestion appears to sting Winstone's sense of national pride. «If the fish and chips are so fuckin' good in Australia,» he snaps, «why don't you fuckin' move back there?»
Eavesdropping on Cave and Winstone arguing about fish and chips while pretending to drive from Brighton to Rottingdean feels a deeply odd way to spend a wet Wednesday afternoon, but then an atmosphere of strangeness seems to have attached itself to 20,000 Days on Earth, artists Iain Forsyth and Jane Pollard's feature documentary about Cave. For one thing, it has thus far been shot in secrecy. It was already long underway when Cave released his 15th album with the Bad Seeds, Push the Sky Away. The pair, who first worked with Cave on the video for his 2008 single Dig! Lazarus Dig!, began shooting at the singer's invitation during the writing sessions for the album. «They filmed everything,» he says. «They had a camera set up in my office when I'm just writing the first lines of things, picking out the first melodies on the piano. That's kind of why I let this go in the first place because you just don't have cameras on bands doing the actual thing. In the past, I've let cameras into the studio, but we've basically already finished the record. So you get shots of people sitting around in the control booth, listening to music.»
Pollard, Forsyth, Cave and his wife Susie Bick look at the rushes to 20,000 Days on Earth.
Nevertheless, Cave made no mention of the film in the interviews he gave to promote its release earlier this year. «I think one of the reasons why we didn't talk to anybody about this is because we didn't know exactly what it was going to be before we started making it,» says Pollard, sheltering from the rain in a Winnebago parked by Brighton marina. «We had an ambition, and we said to Nick: 'Just trust us.' And it's only now through actually beginning to shoot it and see what's happening that I think he's beginning to see what we meant. Every time we show him rushes, it's like: 'Good, I get it now, all right, that makes sense.'»
It seems surprising that Cave agreed to a documentary at all. It's de rigueur for journalists who meet him to note what a charming and funny interviewee he is, largely because there was a significant proportion of his career when he was anything but. Nevertheless, there's no mistaking that he's also a guarded interviewee, keen to protect his privacy, weary of having the details of his past raked over and fond of telling journalists to «Google it» rather than retell old stories. What made him think a documentary was a good idea? There's a very long pause. «I don't really know if it is a good idea,» he says. «I'm extremely reluctant to be filmed. But I trusted Iain and Jane enough to give them complete access to the studio and they've just expanded the idea into a feature-length, cinematic-style documentary. The thing is, they presented something that wasn't just telling the Nick Cave story we do or do not know. It's their idea. I'm just sort of being blindly told what to do.»
20,000 Days on Earth certainly takes an unconventional approach. «The thing that seems so kind of prevalent in contemporary music docs is that they're all about getting behind something, revealing something, taking away the mask, taking away the myth,» says Forsyth. «The important thing for us was not breaking the mythology,» which fits with the duo's work as visual artists: they have in the past restaged both David Bowie's final performance as Ziggy Stardust and the Cramps' 1978 gig at Napa Mental Institute, and made two films about the emotional potency of mixtapes. 20,000 Days on Earth was influenced, they say, by One Plus One – in which Jean-Luc Godard intercut film of the Rolling Stones recording Sympathy for the Devil with staged footage involving black power militants and an actor purporting to be the personification of democracy – and The Song Remains the Same, the oft-derided Led Zeppelin movie featuring lengthy fantasy sequences in which the band members rode to the rescue of fair maidens and climbed mountains on quests for self-enlightenment. «A kind of odd failure of a film,» laughs Pollard. «But its strangeness is brilliant, its ambition is just glorious. There's a kind of drive, or at least a push, to just create a new language for how you might consider rock music, or the rock star. I mean,» she adds quickly, «it's not going to be Nick on a white horse with, you know, a sword. Although he'd love that.»
Iain Forsyth and Jane Pollard's File Under Sacred Music, 2003.
Photograph: Alison Wonderland
Inspired by an unused line in Cave's songwriting notebook, in which the singer had worked out that he was precisely 20,000 days old when work on Push the Sky Away commenced, the film tells the story of a fictionalised day in his life, filled with scenes devised by Forsyth and Pollard «as kind of constructed real situations in which Nick can improvise, we don't script at all»: writing in his office, having lunch with his main songwriting collaborator Warren Ellis, and visiting the Nick Cave Archive, which exists – alongside those of Barry Humphries and Dame Nelly Melba – at the Melbourne Arts Centre, but was shipped to Brighton for filming. «There's some incredible photographs, a series of slides of a Birthday Party gig in Germany where a guy jumped onstage and actually pissed on the bass player Tracey Pew,» says Forsyth. «And Tracey Pew punched him offstage. Nick talks it through, almost like a football commentary.» Driving between his various destinations, Cave explains: «The car becomes this place of imaginings, I guess, where the thoughts I'm having materialise in the forms of people that have played some part in my story.» Hence Ray Winstone, who starred in The Proposition, for which Cave wrote the screenplay: another passenger turns out to be his one-time duet partner Kylie Minogue.
For all the talk of artifice, the film seems remarkably intimate. The rushes I see contain a scene of Cave eating toast in front of the television with his 12-year-old sons Arthur and Earl, the cosy domesticity only slightly undercut by the fact they're watching the bloodsoaked closing scenes of Scarface: «Say hello to my leedle friend,» they chorus together. Another scene features Cave visiting a psychoanalyst: not, he swiftly points out, a regular occurrence in his everyday life. «The interview went on for two days,» says Pollard. «We thought it might take a day for him to settle in. How wrong we were. Within minutes, it was completely guard down, doors open.» Cave describes the experience, a little surprisingly, as «a pleasure»: «You know, I haven't done much of that sort of thing, but he was a very clever guy. I have absolutely no idea what they got. I mean, I have a vague recollection of what I said, but what it looked like, I don't know. There's certain things within this film that I have no idea how they're going to go. But you've got to take risks. I mean, there's so many documentaries out there about people working in the arts that you just kind of sleep through. You know, what I don't want is a documentary that gives …» His voice trails off. «You know, I want the whole thing to be imaginative and interesting and … I don't know. Fuck, I don't know what my hopes are, to be perfectly honest.
Nick Cave writing lyrics.
«I really like the idea behind the documentary, even though some of the scenes are kind of terrifying. There's a lovely balance between what's set up and what's ad-libbed. Scenarios are set up and then allowed to run in a free, unrehearsed way. There's something about the way they go about things, you don't really notice the cameras.» Plus, he adds, «they make you look good. Which is really the main thing, right?» And he heads back to the Jaguar to prepare for driving Kylie Minogue from Brighton to Shoreham.
Source Article from http://www.guardian.co.uk/music/2013/jun/27/day-in-the-life-nick-cave
Five acts taking on the Rolling Stones at Glastonbury – The Guardian
Posted by Google News | Industry News | jueves 27 junio 2013 9:34 pm
Andre Barreau, George Harrison in the Bootleg Beatles
Acoustic tent
I did get the feeling that somebody would be a bit mischievous and put the Beatles up against the Stones. We're back again! The truth is the two bands complemented each other. The Beatles were more rock'n'roll-based and the Stones were more blues-based, but they fuelled each other as they went along. Together they helped make the landscape a better place. We might play I Wanna Be Your Man because that's the song that they recorded for the second album that Ringo sang, and then Paul McCartney gave it to the Stones and of course that was a single that really helped them. So we could do that as our nod to the Stones.
We're very good friends with a group called the Counterfeit Stones. I've known them for many years and they're a great band. I've also weirdly played in a «proper» band with the Charlie Watts in the 90s, so you had George and Charlie in the same band! This will be the sixth or seventh time we've done Glastonbury. The festival means a lot to us because the first time we played was in '94 and many of the Britpop bands came to watch us on the Acoustic stage. Oasis came, Blur came, Cast came … and we were very nervous because it was crossing into what to us was real music. To be accepted by that crowd was amazing for us.
I do hope the Stones pull it off. I don't know if it's a last hurrah for them, but I hope it's fantastic and I hope lots of people want to come and see us too! We have had the experience where we played against the Who about four years ago at Glastonbury. Dressing up while hearing Baba O'Riley starting up on the zephyr breeze … that was really strange!
Theo Hutchcraft, Hurts
John Peel stage
Theo Hutchcraft of Hurts.
I was actually a bit gutted that I couldn't go and see the Stones. I did contemplate leaving five-minute gaps between each tune, and telling everyone to be quiet so I could catch their set. But I think I've just got to accept that I'll miss it. We did talk the other day about whether we would do a cover, but if people have come to see us it means they don't want to see the Stones, so what would be the point? What's good about this year is having the Arctic Monkeys and Mumfords headlining. It always seems to be heritage acts that are big enough to headline these days and it's quite daunting as a new band to see that. You wonder if it will ever be possible to headline a festival if you've been going less than 20 years, so in that sense it's a really good lineup. If I had to predict what our crowd will be like on the night, I would probably say the tent will just be full of eastern Europeans … We'll be like the meeting point for eastern Europeans at Glastonbury!
Benjamin John Power, Fuck Buttons
Benjamin John Power of Fuck Buttons. Photograph: Gary Wolstenholme/Redferns
When we've finished we'll probably leg over and catch some of their set if they're still playing, a few miles away! They're one of those bands that you need to go and see even if you're not the biggest fan. I'm not worried that our crowd is going to be split; there should be enough people who want to see what we're doing. We're just excited about playing it in the first place because we've never been, so we're as excited as everybody else. I know for a fact some of our friends want to go and see the Rolling Stones but they're obligated to come and watch our set first!
Jonny Woo
The NYC Downlow
Performer Jonny Woo. Photograph: Andy Sheppard/Redferns
We kick off at 10pm, right opposite them. Saturday is our alien invasion night, so we'll be having an Alien Ball! It will be complete tranny madness. We've got our head door tranny Amber Swallow doing one of her topless raps. Our dance troupe of femmes with beards will be doing one of their dance routines to Donna Summer. In honour of the Stones we'll probably have a Jerry Hall lookalike competition. And of course Mick Jagger was very androgynous in his younger days. There's actually a rumour that he might wend his way over to the late-night field, so maybe he'll pop into the Downlow.
Heavenly Jukebox
Stonebridge bar
We don't really field candidates against the big hitters because you're fighting the Main Stage and the DB levels go through the roof, and everyone's off watching that anyway. So we'll just be putting on a playlist … and watching the Stones!
Source Article from http://www.guardian.co.uk/music/2013/jun/27/five-acts-taking-on-rolling-stones-glastonbury