Tour; Oh hello. Jonas Brothers help spread the awareness of diabetes
August 15, 2003
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Jonas Brothers Spread Awareness About Diabetes With New Single, ‘A
Little Bit Longer’
Nick, the youngest brother, suffers from the disease.
By Jocelyn Vena
*NEW YORK* - It’s no surprise that the Jonas Brothers’ new single, the
title track from their forthcoming LP, /A Little Bit Longer,/ rocketed
to the top of the iTunes singles chart in just 24 hours. What might be a
bit more surprising is that the song is intended to spread awareness
about diabetes and offer encouragement to those who - like 15-year-old
Nick Jonas - suffer from it.
Nick explained his motivations for writing the “life song” about his
battle with type 1 diabetes at a press conference Wednesday morning
(August 6). “I had a day when my sugar was out of range, and I sat down
at the piano and wrote it in 20 minutes,” he said. “And it was because I
had this strong inspiration. A lot of people have told me it’s inspiring.”
Nick, along with his brothers Kevin and Joe, announced that that they
are teaming up with Bayer Diabetes Care to help spread awareness about
the disease, in conjunction with the Jonas’ Change for the Children
Foundation,
programs that motivate and inspire children facing adversity. “For me,
my vision has always been to be a positive light,” Nick said. “A simple
win is being able to inspire.”
The campaign’s goal is to help inspire young people with the disease
achieve daily victories when it comes to controlling their disorder,
Nick said. “At the end of the day, the things that stick out are when
kids say, ‘Thank you.’ Those are my simple wins.”
Nick said that when he learned he had the disease, there was no famous
face he could feel connected with, and he hopes he can fulfill that role
for fans who find themselves in his shoes. “My advice is that it’s OK to
rely on other people and be positive, because it will be OK,” he said.
The biggest challenge for Nick to overcome is maintaining his glucose
levels before he gets onstage to perform, he said. But if he finds
himself in a high or low while performing, his brothers are ready to
cover for him.
“Just recently at a concert, Nick had a low onstage,” Kevin Jonas said.
“Nick said, ‘I need a few seconds to stall,’ so I just kept talking. I
kept looking for a sign, and so they ended up making fun of me. It went
on for like five minutes. But really, I think it’s great that we have
that support system onstage.”
Despite the seriousness of the disease, Nick and his brothers are still
able to about their situation. When it was suggested that Nick team up
with Bret Michaels or Halle Berry, both of whom have diabetes, Kevin
responded, “A collaboration with Bret Michaels would be different for
us.” Nick added, “I haven’t met Halle Berry yet, but I’m open for a
meeting anytime.”
http://www.mtv.ca/news/article.jhtml?id=10250
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Review; The Boredoms play one of those shows
August 15, 2003
The Japanese art-punk ensemble rolls out the percussion for the L.A.
premiere of the avant-garde ‘88 BoaDrum.’
By August Brown, Los Angeles Times Staff Writer
August 11, 2008
Boredoms’ free Friday night concert at the La Brea Tar Pits was probably
the second-most impressive percussion-centric event in the world that
evening. But it’s a testament to the wild ambitions of Boredoms’
founder, Yamatsuka Eye, and the 88 drummers who joined him for a new
avant-garde symphony, “88 BoaDrum,” that it took the opening ceremonies
of the Beijing Olympics to overshadow the Japanese art-punk ensemble.
“88 BoaDrum” arrived on the numerologically auspicious heels of last
year’s “77 BoaDrum,” held in New York’s Empire-Fulton Ferry State Park
on July 7, 2007, where Eye and Boredoms’ three full-time drummers
recruited 73 local percussionists, many in popular experimental rock
bands, to accompany a similar, 77-minute new work. This year’s version
upped the degree of difficulty and the length of the sprawling new piece
by 11 minutes.
Eye and his band led the Los Angeles debut of “88 BoaDrum,” while the
New York-based experimental quartet Gang Gang Dance led the identical
piece in New York on the same night.
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L.A. has not been a town for unhinged concert behavior lately, but the
unchecked giddiness of the thousands splayed across the hills of the
lawn outside the Page Museum couldn’t have been due only to the copious
joints being passed through the audience.
Boredoms’ task of enlisting 85 competent drummers to play a largely
unrehearsed work proved easier than it sounds, involving something
almost akin to a series of sleeper cells for percussionists. A central
group of Boredoms’ associates (spearheaded by “BoaDrum” coordinator,
Japanese-speaking liaison drummer Hisham Akira Bharoocha of the band
Soft Circle) each recruited subgroups of drummers who are based in L.A.
or who could travel that day, then arranged them in a spiral around
Boredoms’ members on the lawn at the Tar Pits.
Dan Rowan, of the L.A.-based all-drum quartet Foot Village, was one who
made the cut.
“We knew Warren [Huegel] from [the San Francisco band] Tussle, and he’s
in the inner circle of this,” he said. “I heard stories about losers
with managers calling up Boredoms and saying, ‘You have to let us be in
this.’ ”
Fans of Modest Mouse, Hella, Jawbreaker and Hole would have recognized
those bands’ percussionists in the throng, along with at least one
representative from nearly every local indie rock outfit of note. The
lineup was also notably gender-integrated, with drummers from Mika Miko,
Unwound and Erase Errata, plus many other women in prominent section
spots. The sub-group leaders had a few days to practice the piece, but
most drummers had only that day to sharpen their chops for the evening.
“It was a little chaotic, but they wanted chaos,” said Aaron Sperske, of
the recently reunited L.A. psych-country group Beachwood Sparks. “It was
about one-third drummers and two-thirds people who knew how to play
drums. If this were a summer camp, you could already see who would hang
and who would be left out. It’d be like ‘Meatballs.’ ”
There was something deeply appropriate about hosting the concert at the
Tar Pits, as there’s a primeval, almost geologic power to that much
percussion. The show began promptly at 8:08 p.m., with a minutes-long
cymbal swell beginning on Boredoms’ central stage and spilling out into
the spiral. The swell soon built into a cacophonous free-for-all of
fills that surely sent the residents of the nearby Park La Brea
Apartments scrambling to their windows to see if J.J. Abrams was filming
a ” Cloverfield
” sequel nearby.
The rest of the piece moved with surprising synchronicity through
passages reminiscent of everything from Led Zeppelin to Indian ragas,
’90s drum-and-bass and Neu!-esque krautrock. At the center of the stage,
Eye howled and conducted with unhinged vigor, cuing the “BoaDrum”
equivalent of page turns with an enormous wand that doubled as a
drumstick for triggering samples on a giant bank of synthesizers.
Fans were free to wander, as the audience was arranged in the round. One
elderly man led a gaggle of scruffy twentysomethings in a full-body
convulsion dance, while across the field, a lone woman hula-hooped with
singular commitment and a man hawked his silk-screen art prints. True to
the hippie-ish nature of any drum circle, one hot rumor going around
“BoaDrum” suggested that the end of the L.A. spiral connected in a
straight line with the end of the New York spiral to form — yes — the
number 8.
“88 BoaDrum” was divided into three movements, and each of the groups’
transitional points was like watching a tank make a U-turn: a bit
cumbersome and unwieldy, but fearsome once it got rolling. Instead of a
bombastic finale, “88 BoaDrum” ended much as it started, with the
ensemble’s marital rhythms dissolving inward until the three Boredoms
drummers ceased after a final cymbal trill.
Although the “BoaDrum” arrangement was exhilarating and exhausting even
for the audience, most of the drummers greeted friends on the lawn with
huge smiles, as if the heavens (and numbers) had aligned just for them
on this night.
“I feel totally fine,” Bharoocha said immediately after the show, as he
fielded a dozen well-wishing handshakes in both English and Japanese.
“The piece feels smaller than you think after all the planning.”
http://www.latimes.com/entertainment/news/music/la-et-boredoms11-2008aug11,0,4383033.story
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The Verve try to explain this reunion fest stuff
August 15, 2003
*The Verve’s frontman Richard Ashcroft has admitted his band decided to
reform because they had unfinished business.*
The singer told Radio 1’s Zane Lowe show they signed up for so many
summer festivals so fans could hear songs from their back catalogue.
He said: “Half the reason for getting the band together was so we could
play some of the old songs.”
The band only appeared for one major festival performance at V in 1998
before they split the following April.
Ashcroft said he felt it was important to come back and headline the
festivals they had missed at the height of their career when their third
album Urban Hymns topped the album charts in September 1997.
*’Bungee jump*
He added: “We did Slane Castle in Ireland and the V Festival before we
split in ‘99 but that was pretty much it.
Listen to The Verve’s Maida Vale set
“So it felt good to do Glastonbury. It felt right, it felt like if
anything has come out of all this then The Verve headlined Glastonbury.
“We did it well and there was probably more people there on a Sunday
night than there had been for a long, long time.”
Despite initially publicly criticising organiser Michael Eavis for
doubting the band’s headline status, the singer described the festival
as “the biggest bungee jump I’ve done for a long time.”
He added: “It was one of the concerts that gave me a longer buzz than
others definitely. It’s almost like doing extreme sports or something.
“I’ve never done a bungee jump because I don’t need to and that’s what
that performance was about, it was about jumping out of the aeroplane.
And that’s the biggest jump I’ve done in a long time, so the afterglow
was pretty long after Glastonbury.”
*Festival moments*
Following their Glastonbury performance the band have since headlined T
In The Park and Oxegen. They are also due to headline this year’s V
Festival in Chelmsford and Staffordshire on 16 and 17 August.
Richard Ashcroft
The Verve perform an intimate session at Maida Vale studios
“Reforming The Verve is the closest thing white lads have got to a band
since Led Zeppelin, to being that large,” Ashcroft said. “It’s as fat as
(funk musician) George Clinton.
“That was one of the motivations for me, to get to those points again
like when you have those brief moments onstage when you think, ‘Wow this
is great’.”
The singer also revealed that the band have no long term commitments and
that he will continue recording solo material.
“We’re just taking it as it comes. We set ourselves a goal of being able
to fulfil our summer dates. We’re taking it to the album and we’ll see
how we do. We haven’t got any major plans,” he explained.
“I don’t understand why The Verve aren’t seen like the Wu Tang Clan,
keeping it alive as a satellite, no matter what is going on around you,
personally between each other.
*I certainly would never have started this and signed on a dotted line
if somebody had said you’re off now like Chris Martin for the next two
years*
Richard Ashcroft
“I certainly would never have started this and signed on a dotted line
if somebody had said you’re off now like Chris Martin for the next two
years.
“It’s just not where I’m at. I’m definitely up for coming together to
make some music and do some great concerts.
“But I don’t see why this thing should have to be dormant because I will
continue doing my solo stuff.
“I do buzz off doing stuff on my own, I have gained confidence with
that, I’ve beaten a lot of cynics down. I’m in a very comfortable, good
place in my mind about that.”
Ashcroft was speaking ahead of an intimate Radio 1 session The Verve
played at Maida Vale which saw the band perform a series of new tracks
including single Love Is Noise from their forthcoming album Forth, which
is due out on 25 August.
http://news.bbc.co.uk/newsbeat/hi/music/newsid_7544000/7544925.stm
.
Will Radiohead ever gate crash some ladies nite at a club?
August 15, 2003
A clutch of young female singer-songwriters take emerged at the cutting
edge of nominations to bring home the bacon the 2008 Nationwide Mercury
Prize, traditionally the most seriously regarded of trophies in the
music industry’s back-slapping calendar.
In fact, such is the abundance of feminine talent they might wish to
rename this year’s “Mercurys” as the “New Amys”, after the turbulent
songstress wHO some of the tabloids are anxious to exchange, or level
the “Dustys”, after the vocalist wHO appears to have elysian a fresh
generation of performers.
But the 2008 prize will sadly non be remembered as the “Duffys”, granted
that the album Rockferry, the highly acclaimed debut from the
24-year-old Welsh warbler Duffy, right, was a surprising omission from
the 12-album shortlist.
Among those world Health Organization made the cut were Adele, the
20-year-old union Londoner, world Health Organization underlined her
youth by last year naming her first album 19, and Laura Marling, a sandy
haired waif from Reading who is barely 18 but is already a highly
realised performer, as she demonstrated to a music diligence crowd at
the unveiling of the shortlist yesterday in London’s Covent Garden.
Beside them on the range call of nominees was Estelle, 28, the benjamin
West London-born doorknocker and singer, and Rachel Unthank, the
Northumbrian folk singer world Health Organization also performs with
her cello and feet and who at 29 is the veteran of this wave of women
artists.
Estelle’s album Shine includes the single “American Boy”, which featured
the rapper Kanye West and reached No 1 in March. Adele’s 19 has barely
been released in the United States and has won her an appearance on The
Late Show with David Letterman.
According to Simon Frith, the chairman of the Mercury judges, the list
of nominations just reflected the growing muscle of female artists in
terms of album gross revenue. “All this says is that in that location
are a lot of women making interesting music. If you look at the charts
there ar a draw of women there and they ar crossing genres.”
None of this cut much ice with the bookies yesterday, as William Hill
promptly installed Radiohead as joint favourites to lift the prize for
their seventh album, In Rainbows, a release that shocked the music
manufacture last year when it was offered to fans as a digital download
at a price of their choosing. Although they have dominated the British
music scene for more than a decade, Radiohead have never won the Mercury
Prize, despite having been shortlisted three times before for OK
Computer (1997), Amnesiac (2001), and Hail to the Thief (2003).
In Rainbows ? described by the judges yesterday as “a engrossing new
chapter in the remarkable Radiohead story” ? was offered at fifty-one
alongside Alex Turner’s new project, The Last Shadow Puppets, which in
April released The Age of the Understatement.
As lead singer of the Arctic Monkeys, Turner won the Mercury in 2006
with Whatever People Say I Am, That’s What I’m Not.
The achiever of this year’s prize will be announced at a London-based
ceremony broadcast live on BBC2 on 9 September.
http://sn0185.blogspot.com/2008/08/will-radiohead-gatecrash-ladies-night.html
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Dave Matthews will debut new music at upcoming Bricktown show
August 15, 2003
Concertgoers will be the first to hear the latest material from the Dave
Matthews Band
as the group debuts songs from its forthcoming record Wednesday night at
Bricktown Ballpark
The band has been working in the studio with producer Rob Cavallo
(Green Day
My Chemical Romance
Alanis Morissette
on the yet-to-be-titled album. It is the follow-up to 2005’s “Stand Up,?
the fourth consecutive Dave Matthews Band
studio record to debut at No. 1 on the Billboard 200
Guitarist
and longtime friend Tim Reynolds
is playing on the album in his first recording with the band since
1998’s “Before These Crowded Streets.?
Dave Matthews Band
? comprised of Carter Beauford
(drums), Stefan Lessard
(bass), Dave Matthews
(vocals, guitar), LeRoi Moore
(saxophone) and Boyd Tinsley
(violin) ? has sold 35 million units since the 1994 release of its major
label debut, “Under the Table and Dreaming.?
“Grand Canyon
Adventure: River at Risk,? a documentary released in March dealing with
water conservation issues, features songs and music from the band.
Bassist Lessard
composed and arranged the film’s musical score with Steve Wood
and the pair recruited Beauford
Tinsley and Tim Reynolds
to play on the score.
Fans who use Ticketmaster.com to buy tickets will receive an exclusive,
free digital album with highlights from the 40-city tour. Each ticket
bought through ticketmaster.com will receive a unique code in
mid-September that can be redeemed for the digital album on the iTunes
Store
The country-rocking Eli Young
Band will open the show.
Ticketmaster
locations include Macy’s
and FYE, or charge by phone at 235-8288 or (918) 587-2322.
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Chaka Khan tour rescheduled for Toronto
August 15, 2003
*CHAKA KHAN*
*** RESCHEDULED ***
* *
*FRIDAY, AUGUST 15, 2008*
*KOOL HAUS - TORONTO***
*Doors 7:00pm Show 8:00pm *
* *
*_TICKETS ON SALE NOW!_*
*_ _*
*Tickets available at all Ticketmaster outlets, Rotate This, Sonic Temple*
*or call 416-870-8000 to charge by phone*
*_ _*
* or www.ticketmaster.ca***
* *
*Tickets (incl. GST) $42.50 **(plus FMF and service charges)*
The show originally scheduled for Thursday, August 7^th has been
rescheduled to
*Friday, August 15^th *. Tickets purchased for the original date will be
honoured on the rescheduled date.
.
Earth, Wind & Fire Will Be Live In Japan - On DVD August 26]
August 15, 2003
*AGLE ROCK ENTERTAINMENT TO RELEASE EARTH, WIND & FIRE /LIVE IN JAPAN/*
*/ */ /**ON SPECIALLY-PACKAGED TWO DISC?CD AND DVD?SET*/*
* ~AUGUST 26~*
*_ _*
New York, NY (August 11, 2008)?*Eagle Rock Entertainment* will release
*Earth, Wind & Fire* */Live In Japan/* in a specially-packaged two-disc
CD/DVD set on August 26.
Surely, one of the most successful, dynamic and creative funk bands ever
to come out of the 1970s, *Earth, Wind & Fire*, led by
singer/songwriter/producer *Maurice White*, is captured in this
double-disc set on CD and DVD in 1990 during *White?s* final tour with
the band after a sterling 19-year run as band leader where the former
drummer proved to be the incredible entertainer he ultimately became.
Touring in support of 1990?s /Heritage/ album, the show, in front of
thousands of adoring and unusually demonstrative Japanese fans, is a
tour-de-force of the power, the artistry, the elegance, and the soul of
this all-time great funk machine. Spectacularly staged, and beautifully
filmed, */Live In Japan/* stands as the ultimate testament to a band
whose music will never die.
Leader *Maurice White*, born in 1941, moved to Chicago as a teenager and
played drums on numerous early rock?n?roll and blues records at the
legendary Chess label. He formed *Earth Wind & Fire* in 1969 and hasn?t
looked back.
Other *Earth, Wind & Fire* funkfests on *Eagle DVD* include /Live At
Montreux 1997 & 1998/, /Shining Stars/ and /In Concert/. All of these
shows, filmed with abso-funkin?-lutely festive freedom, are solid hours
of exquisitely syncopated funk, dazzling choreography and mighty bigtime
horn blasts on jams of epic proportions.
Now, with the release of */Live In Japan/*, *Earth, Wind & Fire* has
come circle in hiphopping the globe, proof positive that the inherent
joy emanating from this ensemble, knows no cultural or geographic borders.
*_DVD Track Listing_*
1) Introduction
2) System Of Survival
3) Get Away
4) September
5) Fantasy
6) Shining Star
7) Kalimba Tree
After The Love Has Gone
9) For The Love Of You
10) Reasons
11) Brazilian Rhyme
12) Let?s Groove
13) That?s The Way Of The World
*_CD Track Listing_*
1) System Of Survival
2) Get Away
3) September
4) Fantasy
5) Shining Star
6) Kalimba Tree
7) After The Love Has Gone
For The Love Of You
9) Reasons
10) Philip Bailey Scat
11) Meet Earth, Wind & Fire
12) Let?s Groove
13) That?s The Way Of The World
*Eagle Rock Entertainment* develops, acquires and produces music
programming for a wide range of notable and high profile artists, which
the company distributes on a worldwide basis. *Eagle Rock
Entertainment*, *Eagle Vision* and *Eagle Eye Media* are wholly owned
divisions of *Eagle Rock Group, LTD.*
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