Click to visit the GRAMMYs website

For anyone whose known me for the past seven years or so, it is pretty apparent that I am sort of a walking, talking encyclopedia of award show knowledge. If someone were to ask me to name off the last ten Best Actor Oscar winners, with the occasional pause, I probably would be able to do it in less than two minutes. I know…it’s that bad!

In hindsight, the GRAMMY Awards is sort of to blame for this infatuation of mine. Ever since Lauryn Hill swept the kudos-fest back in 1998 (winning five trophies including Album of the Year for The Miseducation of Lauryn Hill), I have spent each following year coming up with my own predictions for nominations and winners.

Before the 52nd Annual Grammy Award nominations are announced this coming December, The Hit Music Academy will be giving our readers an in-depth look at the possible outcome of various categories.

For those of you who don’t follow them closely, the GRAMMYs are presented every year by the National Academy of Recording Arts and Sciences (NARAS). In order for an artist or band to be considered for any of the prizes, they must have released albums and/or singles during the eligibility period (from the beginning of October to the close of the following September).

In an effort to acknowledge all types of music, categories are broken down by genre including pop, rock, R&B and even comedy. While genre category nominees are chosen by the general membership of NARAS, those in the “Big Four” (Record, Album, Song of the Year and Best New Artist) are selected by a group of randomly selected members called the Blue Ribbon Panel.

For anyone looking to forecast GRAMMY results accurately, the entry lists of all albums, singles and music videos submitted becomes your best friend. For the past couple of years, they have somehow been leaked online shortly after the eligibility period has ended (before being yanked off by the higher ups at NARAS). If you are unable to catch a sneak at the entry lists, then paying attention to various happenings in music throughout the year becomes ultra important.

In 2008, Lil Wayne’s critically-acclaimed Tha Carter III was so huge that it sold over one million copies in its first week of release. Also, let us not forget the sheer number of guest appearances he made on other artists’ singles coupled with his own. Simply put, his buzz was TOO big to ignore and it was no surprise that he led the pack with eight nominations.

For more GRAMMY Award madness, be on the lookout for my forthcoming analysis of the pop category.

Article produced by Brian B.
Powered by DbryJ Music Media Group.

Brian Buchana is an aspiring singer/songwriter from Fort Lauderdale, FL. A recent graduate of Florida State University with a degree in Media/Communications Studies, Brian hopes to begin a career in the entertainment industry while working on his music. Outside of his passion for the arts, he also enjoys bowling, trivia games and all things health and fitness related.

De acordo com matéria de Vitor Moreno para a Folha Online, o disco “Jazz Samba”, no qual os músicos Stan Getz e Charlie Byrd interpretam diversas canções da bossa nova, entrou para o Hall da Fama do Grammy:

O anúncio foi feito ontem nos Estados Unidos. O álbum foi classificado na categoria jazz.

Lançado em 1962, “Jazz Samba” tem sete músicas, das quais seis são de compositores brasileiros. São elas: “Desafinado” e “Samba de uma Nota Só”, ambas de Antônio Carlos Jobim e Newton Mendonça; “O Pato”, de Jayme Silva e Neuza Teixeira; “Samba Triste”, de Baden Powell e Billy Blanco; “É Luxo Só” e “Bahia”, ambas de Ary Barroso. Completa o disco, a música “Samba Dees Days”, composta por Charlie Byrd.

Leia mais clicando aqui.

The 2009 music award show season is drawing to a close.  The most recent event, the American Music Awards, started quite the conversation within industry circles and fans bases with everyone discussing the definition of entertainment and how far is too far.  Along with that, the traditional debate of the purpose of award shows still stands.  The business of producing a show like this has many levels and fronts.  You have the network that airs it, the advertising that is run during the show, and the crew that it requires to pull it all off just to name a few.  Not to mention the red carpet time and the publicity that will come from an artist appearing on the show as a presenter, performer, or award winning nominee.  Are award shows a pat on the backs of record label, musicians, and other industry professionals?  Or are these opportunities for the participants in the music industry to receive their “just deserts”*?

People are hard-wired to expect rewards for their efforts.  Starting back in kindergarten, you learned a good grade would warrant a scratch-n-sniff sticker from the teacher and a hug when you got home.  Even before that, children learned that good behavior pleases their parents and inappropriate behavior leads to bad consequences.  People are conditioned to show off the results of their hard labor in hopes of some sort of recognition, whether it be an external reward or internal gratification.  As we graduate from the educational system and move on from receiving report cards and stickers, we settle down in the workforce.  Now as an employee, the most basic of all rewards is your salary.  Add to that benefits and you have yourself the best scratch-n-sniff sticker.  We don’t stop there.  Some industries encourage perks, bonuses, and various awards to mark the outstanding efforts of the power players within their industry.

Recognition and awards reveal to their recipients what is important and what is valued by leaders  and decision makers of their industry in question.  An artist needs to know how their performance and music fits into the industry’s operation and what their impact is on the fans and buyers of the music.  Recognition builds self-esteem in an individual, reinforces desired behaviors, and helps to create an atmosphere of appreciation and trust.  Effective recognition contributes to satisfaction and pride in one’s work, promotes empowerment and involvement, and creates loyalty to the industry.  If an artist did not get nominated – it could spark them to try harder and push themselves to greater heights.  If they were , it reassured their efforts.  At the center of all award shows is the need for art and effort to be recognized and we learned that in elementary school.

Award shows go wrong then they become business deals, when votes are bought, and it becomes more about the business of making money than recognizing true talent and effort.  There are always rumors of artists bribing fans to win their vote and offering free tickets and back stage passes.  The free swag that is given out to award show participants seems to push the nights over the top.  The Hollywood, money making glitz that accompanies any event pushes the envelope, yes.  But to say they are ego-centric self-congratulatory love fests would be to go too far.  Anyone of us would want to be on the stage being recognized for our talents and efforts.  Be slow to judge and quick to understand the broad picture; one day it could be you up there receiving your “just deserts”.

*The expression just desserts is a common misspelling of the actual idiom just deserts, which simply means to receive what one deserves. It is one of the more commonly misspelled idiomatic expressions, because it uses an archaic word most people are no longer familiar with. This type of spelling error based on a mishearing of a word, or misunderstanding of its context, is often referred to as an “eggcorn”.  full explanation (including word origin).

Il nuovo singolo di Norah Jones – vedere sotto – è entrato nella classifica 50 Songs di una radio ed una televisione nazionale. Forse potrete ascoltarla oggi pomeriggio, martedì ventiquattro novembre, dopo le quattro del pomeriggio. E chissà cosa si inventerà – dopo  – il programma rock previsto, alle sei del pomeriggio ed a mezzanotte e mezza.

Su un’altra emittente c’è il Trl da Roma e finora sono stati interessanti i Broken Heart College. E dovrebbe esserci anche una certa Ariel. Passando al cinema, dovrebbero esserci anche i protagonisti del film Meno male che ci sei, le cui musiche dovrebbero essere di un certo Antonio Barba. Ed in questo film  si dovrebbe sentire anche «Io camminerò» di Umberto Tozzi. Replica del programma dopo le sette di sera.

21.11.09 Come vi sono sembrati The Fall (L’autunno) e «Chasing Pirates» («Cacciando i pirati»), rispettivamente il nuovo album ed il nuovo singolo di Norah Jones? Se non sbaglio, la Jones dovrebbe avere ottenuto otto Grammy e credo siano davvero meritati. Cosa ne pensate, inoltre, della Blue Note Records, con cui ha inciso il nuovo lavoro? Un suggerimento: potreste votare qualche suo brano di oggi o del passato (come «Sunrise») qui sotto, per il mio blog, magari aggiungendolo.

Infine, questi pirati mi ricordano i pirati del filosofo Gianni Vattimo…

- Vattimo ed una discussione dell’Infedele di La7. Le donne, le prostitute e le escort. Mi scusi Norah Jones per questi dibattiti italiani…

04.11.09 – Bearzatti. Beh, il suo nome è abbastanza noto fra i musicisti ed il pubblico della musica jazz. Francesco Bearzatti mercoledì quattro novembre alla «Maison musique» di Rivoli, in provincia di Torino. E non mi sembrano molti cinque euro…

21.11.08 - Jane Bunnett ed il «Toronto Jazz Festival». Vivete in Canada, conoscete la lingua italiana e siete interessati al jazz?  La sassofonista Jane Bunnett di Toronto (quindi canadese) non suonerà stasera il suo ultimo album, Embracing Voices, al Toronto Jazz Festival, una rassegna della musica afro-americana della sua città. Secondo una newsletter, l’album della suonatrice – che è anche flautista – sarebbe stato cantato in studio in inglese, creolo e spagnolo e sarebbe lontano dal’abituale mix dell’interprete di musica cubana e jazz. Inoltre, le cantanti Molly Johnson e Kellylee Evans sarebbero state ospiti del suo album.

- Località turistiche straniere (Vota)

- Quale di questi monumenti italiani vi piace di più? (Vota)

- La musica. Quale il vostro brano preferito? (Vota)

Un browser europeo – Opera – e Mozilla o i sistemi operativi di Linux ed Apple. Neomedia

- Crema al cacao con nocciole ed anacardi, cioccolato fondente con nocciole o gianduia con nocciole intere oppure al latte con nocciole e nocciole intere

Spreadthesign, dizionario e linguaggio dei segni. Commissione europea – Istruzione e formazione

21 novembre ‘08 – aggiornato 24 novembre ‘09

calogeromira.wordpress.com – e-mail

Risparmio energetico (forse)?

The day of the mighty fall from grace for Milli Vanilli. 3 US number ones, an album entitled The Hits that Shook the World, and a Grammy for Best Newcomers. They were as big as Banaramama, Mel and Kim, Bros, all those greats of the late 80s. What a time.

Turned out- on all their hits, those cultural milestones- they hadn’t written the music, didn’t play any instruments, they didn’t even sing. And they were found out live in concert. Watch below.

The Grammy was taken back on the 19th November 1990. Yet the decision of the judges didn’t stop talentless people making money from others’ music. The 90s was a decade dominated by lip-synced, manufactured pop. What’s the difference between this and some glamorous puppet of the noughties, mincing their way through someone else’s lyrics and an auto-cue? Its still ‘fake’.

Anyway, music is about the pleasurable experience of listening, not the talent that has gone into the making of it. Better to judge Milli Vanilli for their shit-piss music they agreed to mime along to, than the fact that they were miming.

MATI – MATICHON PUBLIC COMPANY LIMITED
新聞社大手マティチョン取締役会は、印刷工場建屋、輪転機、土地をピカネート氏より1億バーツで買収を決定。

SAMART – SAMART CORPORATION PUBLIC COMPANY LIMITED
タイと、カンボジアの接続航空管制管理についてCanbodia Air traffic Services社(CATS)から、一時移管を受ける。

CNS – CAPITAL NOMURA SECURITIES PUBLIC COMPANY LIMITED
マーケティング要員30名を新規採用へ。現在の100名体制のマーケティングチームの自然減の補充。新体制を構築へ。

CGS – COUNTRY GROUP SECURITIES PUBLIC COMPANY LIMITED
香港のブローカー買収交渉は終結。支払いは本年度末頃と見込まれる。

TRT – TIRATHAI PUBLIC COMPANY LIMITED
2010年度の売り上げ目標は本年と同様な25億バーツで、当初予想利益は27.5%程度。

CPN – CENTRAL PATTANA PUBLIC COMPANY LIMITED
ルンピニ・ナイトバザールの土地使用委託契約は、無期限延期へ。また2010年度中盤には中国への投資を計画。

QLT – QUALITECH PUBLIC COMPANY LIMITED
本年度の売上、利益ともに15%の成長。来年度は10-15%の成長を計画。

SMC – SMC MOTORS PUBLIC COMPANY LIMITED
ビジネスラインを、現在の不動産業よりあと2~3増やして多角化する調査を開始。

CPF – CHAROEN POKPHAND FOODS PUBLIC COMPANY LIMITED
タイの格付け会社トリスレーティング社は、CPFの新規発行社債84億バーツについてA+、安定の評価。

STAR – STAR SANITARYWARE PUBLIC COMPANY LIMITED
昨年よりも本年のほうが好調。2010年は新商品4-5品目を追加へ。

BCP – THE BANGCHAK PETROLEUM PUBLIC COMPANY LIMITED
本年度末は中国からの需要に押されて、原油価格はバーレル当たり85ドルと予想。来年も利益が続伸と予想。

KIAT – KIATTANA TRANSPORT PUBLIC COMPANY LIMITED
2009年第4四半期も成長を継続。利益は4億8千万バーツで昨年度を超えた。

CI – CHARN ISSARA DEVELOPMENT PUBLIC COMPANY LIMITED
本年Q4、及び通年でも利益は伸びる。2010年度の通期成長は10%を見込み、来年度初頭には不動産ファンドからのエキジットを計画。

AI – ASIAN INSULATORS PUBLIC COMPANY LIMITED
本年度は利益は昨年と同程度であったが売り上げは昨年より落ちた。来年度は利益30億バーツ越えを目指す。

GRAMMY – GMM GRAMMY PUBLIC COMPANY LIMITED
本年2009年度は純利益は20%の減益であると認める。が、来年度は経済の回復と、広告によって売り上げは伸びると予測。（Info Quest 11月19日配信）

にほんブログ村

The nominations for next year’s Grammy Awards will be announced on December 2 and one of the year’s biggest stars is not eligible for one of the ceremony’s top honors.

The ubiquitous rookie Lady GaGa — who plastered airwaves with her singles “Just Dance,” “Poker Face,” “LoveGame” and “Paparazzi” — can’t be nominated because “Just Dance” was a contender at last year’s Grammys in the “Best Dance Recording” category, losing out to Daft Punk’s “Harder Better Faster Stronger.”

That leaves the field wide open for other newcomers to swoop in and claim the award. One of the frontrunners of this race is Keri Hilson. The R&B songstress might not bring instant recognition, but she’s this year’s “artist you don’t know, but have definitely heard.”

Need further convincing? Her partners on wax include Lil Wayne (on “Turnin’ Me On”), Timbaland (“The Way I Are”), and Kanye West and Ne-Yo (“Knock You Down”). She’s written songs for Ciara and Britney Spears. She’s even appeared as the object of desire in videos by Usher (“Love in This Club”) and Ne-Yo (“Miss Independent”).

Having already taken home an award for “Breakthrough Artist” from the BET Awards, can a nomination for “Best New Artist” at the Grammys be far behind? According to 68% of voting Predicto Mobile members, the odds are in the Decatur, Ga., native’s favor!

“Hilson has [an] incredible voice and [I] would not be surprised if she wins a Grammy,” says member “vau4252.”

“Ms. Hilson is very passionate about her career and holding her ground,” says “dnty4149.”

With such passionate praise, how can Grammy voters say no?

Will Keri get an earful when she hears her name announced as a nominee in the category? There’s one fun way to find out … make sure you visit Predicto.com and registering for the text message-based mobile game that has everyone predicting the outcome of sports, pop culture, news and entertainment events. Along with being able to vote on surveys, including this one, you’ll get updates when the answers are revealed.

Sign up today — and get more Predicto by becoming a fan on Facebook!

Miércoles 18 de noviembre del 2009.- Con nuevo nombre e imagen, el Festival de México (FMX) nos da un adelanto sobre algunos de los eventos que tendrá programados para el próximo año. Entre estos eventos están conciertos, presentaciones de danza y obras teatrales. En conferencia de prensa, el Director general del FMX, José Wolffer, explicó que el cambio de imagen se debe porque “deseamos refrescar la imagen del festival, actualizar la presencia y aspiraciones del festival, además de que sea más fácil de recordar” apuntó al tiempo que destacó que la sede del FMX no será cambiada, es decir, que el festival seguirá teniendo su sede en el Centro Histórico.

Entre los primeros eventos que se presentaron están: la presentación, del pianista de jazz Brad Mehldau quien ha sido nominado tres veces al Grammy; los grupos musicales “La 33” y “Bomba Estéreo” que son grupos colombianos de música fusión; el colectivo mexicano “Fat Mariachi” y la banda japonesa “Boredoms”; asimismo, se contará con la presencia del espectáculo “Bare Suondz” el cual es presentado por el bailarín de tap Savion Glover; asimismo se presentará la obra “Hey Girl!” que dirige el italiano Romeo Castellucci y que reflexiona sobre la condición de la mujer contemporánea y los estereotipos femeninos; la obra “Horas de Gracia” que dirige el mexicano José Caballero y que es una de las presentaciones en donde se abordan las últimas horas del único emperador en México, Agustín de Iturbide.

Estos son sólo algunos de los eventos que se presentaron como anticipo al festival…y para que no te quedes fuera, los boletos los podrás adquirir vía telefónica o en las taquillas del festival a partir del 12 de noviembre al 30 de enero de 2010 contando con un 20% de descuento, pues del 1 de febrero al 10 de marzo los boletos contarán con un 10% de descuento. Para mayor información entra a www.festival.org.mx

Title: เพียงพอ / Piang Por (Just Enough)
Artist: Potato
Album: Sense
Year: 2007

ชีวิตบางคนดิ้นรนจนเกินคำว่าพอดี
chee-wit baang kon din ron jon gern kam waa por dee
In some people’s lives, they struggle for more than enough
ที่มีก็ดูว่าน้อยอะไรได้มาก็ยังไม่ค่อยพอใจ
tee mee gor doo waa noi a-rai daai maa gor yang mai koi por jai
What they have seems too little, what they get is still not very satisfying

(*)ฉันอาจจะเป็นอย่างนั้นกำลังแข่งขัน แก่งแย่งชิงกันไป
chan aat ja bpen yaang nan gam-lang kaeng kan gaeng yaeng ching gan bpai
I might be like that, struggling and fighting with you
แต่เหตุที่ฉันไม่เป็นอย่างใคร
dtae het tee chan mai bpen yaang krai
But my reason is different than anyone else’s

(**)บังเอิญว่าฉันมีเธอ ก็เลยไม่เคยต้องการไขว่ขว้าอะไร
bang-ern waa chan mee ter gor loie mai koie dtong gaan kwai kwaa a-rai
Supposing I had you, I would never need to reach for anything else
ไม่ดิ้นให้ทรมานหวั่นไหวแค่หยุด และมั่นคงกว่าเดิม
mai din hai tor-ra-maan wan wai kae yoot lae man-kong gwaa derm
It wouldn’t stir up troubles, anxieties just stopped, and I’m more confident than before
ตั้งแต่ที่ฉันมีเธอ ก็รู้ว่าความต้องการหมดแล้วไม่มี
dtang dtae tee chan mee ter gor roo waa kwaam dtong gaan mot laew mai mee
Since I had you, I know my needs have ended
ไม่ต้องทะเยอทะยานแค่นี้ก็สุข
mai dtong ta-yer-ta-yaan kae nee gor sook
No need to aspire for anything more, just this is enough
ทุกวันแค่มีเธอ ฉันยังไงก็เพียงพอ
took wan kae mee ter chan yang ngai gor piang por
Every day, to just have you, regardless of anything, I’d be satisfied

ชีวิตบางคนวิ่งวนไม่เจอคำว่าพอดี
chee-wit baang kon wing won mai jer kam waa por dee
The lives of some people run in circles, never finding the word enough
เพราะมัวแต่มองที่หมายไกลๆ
pror mua dtae mong tee maai glai-glai
Because they’re just blindly looking for a distant target
ไม่เคยจะลองค้นหาข้างกาย
mai-koie ja long kon haa kaang gaai
Never trying to look next to them

(*, **, **)

Die US-Pop-Rock-Band „OneRepublic“ wurde schon vor fünf Jahre gegründet und es dauerte nicht lange bis sie international durchstarten konnte. Mit dem Mega-Hit „Apologize“ (produziert von Timbaland) stürmte die 5-köpfige Band die Charts und veröffentlichte letzte Woche nun das langersehnte zweite Studioalbum „Waking Up“!

© Universal

Die angesagte Rockband aus Colorado konnte mit ihrem Debütalbum “Dreaming Out Loud” überzeugen, wurde  im letzten Jahr als die Newcomer Band schlecht hin gefeiert und ihre MySpace-Seite wurde millionenfach angeklickt. Für diesen unbeschreiblichen Erfolg ist vor allem Frontmann Ryan Tedder verantwortlich. Er gehört im Moment zu den gefragtesten Songwritern. Sein Talent sensible, exzellente Songs zu komponieren stellte er bei diesen aus seiner Feder stammenden Hits unter Beweis:
- “Bleeding Love” und “Happy” für Leona Lewis
- “Halo” für Beyoncé
- “Already Gone” für Kelly Clarkson
- “Please Don’t Stop The Rain” für James Morrison

Seit dem 13.11. ist nun die zweite CD von “OneRepublic” mit dem Titel “Waking Up” endlich veröffentlicht worden. Die erste Single aus diesem Album heißt “Secrets”. Der Song wurde von Til Schweiger für den Soundtrack seines neuen Films „Zweiohrküken“(Kinostart: 17.12.2009) ausgewählt, denn Til gehört zu den “OneRepublic”-Fans der ersten Stunde und äußert sich zu der neuen Single folgendermaßen: “Ich liebe dieses Lied! Für mich ist es der legitime Nachfolger von ‘Apologize’. Mehr geht nicht! Wahnsinnig schön!”. Hier ist das Musikvideo zu dem Song:

In diesem interessanten Interview spricht “OneRepublic” über ihren Bandnamen, Bandgeschichte, ihre Zusammenarbeit mit Timbaland, usw.:

Ob “OneRepublic” im nächsten Jahr wieder auf Tour geht ist noch nicht bekannt, aber wenn wer von euch einen Wochenendtrip nach England oder Irland plant, kann die Rockband noch in diesem Jahr live erleben. Ich bin auf jeden Fall schon ganz gespannt, welche Hits “OneRepublic” in Zukunft  noch liefern wird und ob sie es wieder schaffen, wochenlang die Charts zu besetzen – wie gefällt euch diese einzigartige US-Band eigentlich?

EG Kight on left, with her great friend and mentor Koko Taylor, who passed away June 3, 2009.

EG Kight on Koko Taylor

Interview by Stoney Dennis

EG Kight, known as the “Georgia Songbird,” writes music that encompasses blues, jazz, country, southern rock, gospel, and funk. Early in her blues career, she was the only independent artist to have songs included on two Get the Blues! albums, both of which remained on the Billboard charts for over a year (Let the Healing Begin – Get the Blues! released September 18, 2001/ Narm Records; Sad Sad Sunday – Get the Blues! Vol. 2 released July 8, 2003/ Narm Records). Other artists on these albums included Delbert McClinton, Stevie Ray Vaughn, Keb’ Mo’, Robert Cray, Muddy Waters, and Koko Taylor.

Kight has been nominated for six Blues Music Awards, two of which were for Song of the Year. Her songs “Fuel to Burn” and “Bad Rooster” were included on Koko Taylor’s Grammy nominated albums Royal Blue (Alligator Records, 2000) and Old School (Alligator Records, 2007), respectively. Kight’s newest release “It’s Hot in Here” was ranked #1 on the Blues Roots Chart as well as on Sirius/XM Satellite Radio’s Bluesville Channel. Kight considers herself a singer first and foremost, though she began playing guitar as a child, and her song lyrics are based on personal experience as well. She is always on the move, touring and teaching songwriting workshops both in the United States and overseas.

Kight recently finished a three-week tour of Germany and Norway with her European band Blue Alley.  She performed at venues in Dusseldorf, Hamburg, Detmold, Lippstadt, and Kristiansand, Norway. At one concert, she played with the popular Norwegian band “Rita’s Lolitas.”  Fans fell in love with Kight almost immediately as she wooed them with her southern hospitality.

In addition to performing with her full band, she plays acoustic solo shows, such as her recent act at the Rock Café in Paderborn, Germany. The tour came to a close with Kight headlining a concert called “Blues Meets Gospel” where she performed her original song “Through the Eyes of a Child” with a full gospel choir for the first time. This song has been nominated as one of the top ten selections in the Peace Song Challenge conducted by Bring Peace Not Pain, a multi-faceted grassroots organization that strives to promote peace throughout the world. “Through the Eyes of a Child” is one of the most real life songs I have ever heard. The musical arrangement is powerful and Kight speaks words that surpass the barriers of class, race, or cultural background. Everyone in the world can relate to this song. She taps into peoples’ emotions with masterful, smooth vocals and heart-warming lyrics.

I was invited by my friend, producer Paul Hornsby, to sit in on Kight’s latest recording session at Muscadine Studios in Macon, Ga. She and Hornsby are co-producing “Koko’s Song,” which will be included on Kight’s upcoming album. I had the privilege of listening to her record the lead vocal track for the song. Her vocals were full of energy and passion. She was so meticulous with every syllable and every note. When I listened to her sing I felt like time was standing still for just an instant and I had witnessed the birth of a song that many will cherish.

As a singer/songwriter myself it was amazing for me to talk music with her. I told her I covered  “Stormy Monday,” (originally recorded by T-Bone Walker) and she was thrilled that I was so interested in the blues. When I shared my songs with her she responded by saying, “I enjoyed listening to your music. Great blues.”

Kight spoke masterful words to me and it was a great privilege. I was intrigued by her desire to write songs dedicated to the memory of Koko Taylor, and asked if I could schedule an interview. She graciously agreed to answer my questions.

Dennis: What does EG stand for?

Kight: Eugenia Gail. I was named after my father Eugene who was named after Eugene Talmadge, governor of Georgia in the 1930’s and 40’s.

Dennis: What do you remember most about when you first started out in music?

Kight: Music was always a part of my life. My mother sang in a gospel band with my uncle. I grew up singing in the church. Music came naturally to me. I couldn’t ever imagine doing anything else. When I was 16 I got my heart broken and wrote my first song about love.

Dennis: Can you tell me a little about your family life?

Kight: I’m from Dublin, Ga. and I still live here. I live on the same land that belonged to my great grandfather. I never had any children because I never got married. I came close to being married a few times, but if I had done that I would have had to quit my music. I guess you could say that no one supported my music the way I wanted. I’ve never really talked about this much. I had always been an only child, but when I was 23 my parents adopted a baby – Scotty, who is now 31 years old. I remember bringing him home from the hospital and I helped raise him. For this reason, I had a hard time distinguishing him as my brother or as my child.

Dennis: You started out in country music. Can you give me some information on that part of your career?

Kight: I started opening for country shows. I opened for George Jones, Conway Twitty, and Brenda Lee, and also performed with Ray Price and Jerry Lee Lewis. I appeared several times on Nashville Now, a variety television series that focused on musical performances and interviews with guests. I was doing Top 40 country songs back then and some blues and popular stuff too. When I was in my early 20s I performed for the Macon Elks Club. Actor Patrick O’Neal saw me sing there and told me that he was directing a made-for-TV movie called “Mr. Griffith and Me” starring Burgess Meredith and Gloria Graham. I got a job as Meredith’s vocal instructor for that movie.

Back in the early days I played over 300 dates a year. I performed in resort areas like Jekyll Island and St. Simons Island. I had a really big fan base in Tulsa, Okla. especially. I played both country and blues in my act at that time. See, what I would do – I would play country music, then when I switched to blues I would put on my sunglasses so the crowd would know it. Well, it got to the point where people liked the blues more and they would say, “Put your glasses on” during my show and things like that. So I was on the fence about what to do and I eventually favored the blues.

Dennis: What made you want to switch to blues?

Kight: I was playing a gig one night in Warner Robins, Ga. and a waitress asked me if I had ever considered singing blues. She told me that I should listen to an album by Koko Taylor. I picked up a cassette tape by Koko called Queen of the Blues. From the first moment I heard her music, it sparked a new emotion in me. It felt real. I remember listening to it in my car and thinking “I have to put this in my act.” I bought all her CDs and covered her songs. I enjoyed playing the blues more, it was well received by my fans, and I was making more money.

Dennis:What was it about Koko Taylor that made her so special?

Kight: It was just the way she made me feel when she sang her songs. She conveyed the message to her audience in such a way that they could tell that her music was straight from the heart. Listeners could connect with her on a deeper level. She was my mentor but more importantly my friend.

Dennis: When did you meet Koko?

Kight: On March 13, 1995 at 10 p.m. I met her in Chattanooga, Tenn. She was playing at a place called The Sandbar.  I begged the owner to let me meet her. When I met Koko I didn’t give her much room to say anything. See, I only had a limited time to talk with her. I was trying to say everything I wanted to tell her as fast as I could. I thought, “She is going to think I’m a nut.” But it ended up turning out okay. Koko just smiled a lot as I talked. I think she was in awe that I knew so much about her. I knew every time she had been sick or gotten in a car accident for example, more personal things that most people wouldn’t know. I think that made an impression on her. Anyway she ended up calling me on the phone and that’s when we started to develop a relationship.

Dennis: Koko’s Grammy nominated albums featured two of your original songs. Can you elaborate on the creative process involved in working with her?

Kight: I feel privileged to have been able to work with such a remarkable musician. It was a surreal experience. I would send the song to Koko. She would call me back and sing it over the phone to me. Koko would sing it how she wanted it to go, and would ask me “Are you sure you like it this way?” I remember thinking “I would like it any way you did it.” But I told her to do whatever she wanted with my song. I told her to make it her own and she did. Koko would sing it for Bruce Iglauer, president of Alligator Records, the largest and oldest blues label to date. She would sing my song to Bruce and then he and I would spend a lot of time editing the track and things like that. It was such an honor to work with both Koko and Bruce.

Dennis: What gave you the idea to write a song about Koko?

Kight: I wanted to write a song that explained not only who she was as a performer, but also who she was as a person. After I wrote the song “The Queen” about her in 2000, she would always say, “Sing that song about me.” Sadly, she passed away June 3, 2009. Her passing was heavy on my heart during the time I wrote “Koko’s Song.” She was sweet and good-natured, a kind and generous woman. One could realize her love of life and people when listening to her songs.

Dennis: Have any of your songs been featured in a way that was especially rewarding for you?

Kight: My performance of the song “Through the Eyes of A Child” was broadcast during the 2007 and 2008 Children’s Miracle Network Telethons. That was a rewarding experience because that song is very meaningful to me. I had the opportunity to perform this song with a full gospel choir in Schlangen, Germany. I was honored to work with a choir for the first time because my songs had never been presented in that way. When I heard the rehearsal it brought tears to my eyes.

Dennis:Where are you currently touring/performing?

Kight: I’ve been in Europe for three weeks in Germany and Norway. I’ve been through Dusseldorf, Hamburg, and other little towns in Germany. This is my third year playing overseas with my German band Blue Alley.

Dennis: What’s coming up for you?

Kight: I’m playing at Calvin’s Live Jazz and Blues in Warner Robins, Ga., and at the Rookery in Macon, Ga. Since I am from Dublin it is like playing at home to me.

Dennis: I know you were the headliner for the National Women in Blues” festival in Wilmington, North Carolina in 2007.  How did you get involved?

Kight: Michele Seidman, director of the National Women in Blues festival, heard me playing at The Blues Music Awards in Memphis, Tenn., and invited me to sing at the festival. I feel like women have always had a harder struggle in the music business than men. I don’t know exactly why that is. Someone like Michele who promotes women in the arts, that means a lot to me. The event was good because it brought so many women in the arts together to perform. I got most everybody up on stage with me – Michele, Big Red, Laura Chavez, and Robin Rogers to name a few. We had ourselves a large time. I really enjoyed it and I know everyone there enjoyed it also.

Dennis:What women do you see as up and coming blues artists?

Kight: Shemekia Copeland, Nora Jean Bruso, Robin Rogers, Reba Russell, and Dorothy Moore.  I especially like Moore’s song “Misty Blue.”

For more information about EG Kight, visit www.egkight.com or www.myspace.com/egkight. For more information about Stoney Dennis, visit www.myspace.com/stoneydennis.

Thanks to Stoney Dennis and EG Kight! Interview ©2009 Stoney Dennis.

When I was five years old, I distinctly remember going to the mall with my mom to see a movie. I wouldn’t stop raving about Flashdance, and was broken-hearted when she said, “No.” (Back then, I didn’t know it was a rated-R film inspired by the true story of a female welder/stripper in Toronto.)

Interestingly, I never saw Flashdance until I was a college sophomore. Wow, what a corny plot: Alex Owens (Jennifer Beals), an 18-year-old who lives alone in a converted warehouse, is a welder at a steel mill by day and a bar dancer at night. She shacks up with Nick Hurley-her boss at the steel mill (who happens to have connections at the esteemed dance academy she wants to attend)-trains with her mentor/coach (who ironically dies a couple days before her audition), nails her audition, and apparently gets accepted (though I’m not exactly sure because the ending scene just show her running out of the building, with a smile, into Nick’s loving arms). No wonder this opened to poor reviews. Yet and still, it was a box office smash and grossed $100+ million worldwide.

I also remember hearing Michael Sembello’s Grammy Award-winning song, “Maniac,” on the radio. (Back then, I didn’t know it was originally written about a serial killer and the lyrics were adjusted for the film.) But what I really love is its music video. Sure, Irene Cara’s “Flashdance…What a Feeling” won a slew of awards-including an Oscar and a Golden Globe-but nothing beats the scenes of Alex’s body double running in place during dance practice, those ridiculous closeups of the side of her butt cheek, or that glorious slowmo leap through the air.

As an adult, I can appreciate what the film accomplished but yep, it definitely wasn’t suitable for me as a young child.

Did you know:

The role of Alex was turned down by Melanie Griffith, and Beals beat out two other finalists (including Demi Moore) for the lead. Gene Simmons (yes, of KISS) rejected the role of Alex’s boss/boyfriend Nick, which was secured by Michael Nouri. Kevin Costner was the runner-up for this part.

Irene Cara penned the “Flashdance…What a Feeling” lyrics en route to the studio the day she recorded the track.

The music video for “Maniac” was a trailblazer, as it was the first to use only movie scenes.

Alex’s off-the-shoulder sweatshirt actually came about when Beals accidentally shrunk the shirt in the wash, and subsequently cut off the collar so it could fit over her head.

Pra você que acha que eu só me interesso por cinema e televisão, saiba que você está muito enganado. Tudo bem que o blog é focado nesses dois assuntos, mas tem vezes que sinto que tenho que honrar o blablabá do título, então estou aqui para falar do Grammy Awards. É meio óbvio que sou maníaco por premiações e, principalmente, por previsões. No meu computador tenho listas de previsões do Grammy, do VMA, do SAG, do Oscar, do Globo de Ouro e de muitas outras. Eu começo o esboço da lista no começo do ano logo, assim no final vai ter um balanço do que foi lançado no ano e não só perto do período das indicações. Vamos falar sobre a edição do ano que vem então.

A premiação acontece dia 31 de Janeiro lá nos EUA e os trabalhos elegíveis para essa edição foram os lançados entre os dias 01 de outubro de 2008 a 31 de agosto de 2009, um mês a menos, saibam. O ano de 2009 não foi um dos melhores para a indústria fonográfica, não tivemos grandes êxitos mundiais, nem grandes revelações. Digo em quantidade, pois tivemos um bocado de coisa boa lançada sim. Quando falamos em revelação as duas palavras que vem a mente são “Lady Gaga”, é unânime, ela foi realmente a revelação de 2009. Se não tivesse sido indicada ano passado a Gravação de Dança por “Just Dance” ela seria a aposta certa em indicação e vitória do prêmio. Como não temos Gaga, a categoria esse ano é um complexo enigma, ninguém sabe quem será indicado e muito menos que irá vencer. Minhas apostas são: Diane Birch (Pop/Cult/Adele do ano), Zac Brown Band (vaga Country garantida), Keri Hilson (R&B de sucesso e qualidade), Demi Lovato (na ausência de Miley Cyrus na lista de submissões…) e The Ting Tings (dessa vez vai); outros nomes que podem marcar presença são Laura Izibor, MGMT, Melanie Fiona e Jessie James. É, as mulheres estão dominando essa categoria.

Álbum do Ano é a categoria mais importante da premiação e assim como em Revelação tem suas vagas cativas, mas esse ano as coisas podem ser um pouco diferente. Na vaga de Rock temos Green Day e seu 21st Century Breakdown, e U2 com seu No Line On The Horizon, dois álbuns que dividiram opiniões, mas que devem acabar indicados juntamente na categoria máxima. A queridinha da América (e minha), Taylor Swift, deve conseguir uma indicação aqui também, com seu 2º álbum, Fearless; ela faz uma mistura de country e pop, com letras sinceras e muito bonitinhas. Taylor deve fazer a festa nesse Grammy, o único receio que eu tinha era nas categorias Country, mas nessa semana Taylor faturou 4 prêmios na Associação de Música Country (Cantora do Ano, Videoclipe do Ano, Álbum do Ano e Artista do Ano), Taylor Swift vem forte demais esse ano. Podem falar que estou viajando, mas eu acredito que Lady Gaga consegue uma indicação aqui também, The Fame é um dos álbuns mais vendidos do ano e é uma fábrica de hits, a moça emplacou 4 singles nos EUA (Just Dance, Poker Face, Love Game e Paparazzi) e como o ano está bem mainstream, eu acho que não faz mal Gaga marcar presença aqui não. Pra fechar a categoria sobrou a vaga R&B, ano passado ocupada – erroneamente – por Ne-Yo e seu genérico Year Of The Genttleman, esse ano eu acho que a indicação vai para o tão esperado comeback de Whitney Houston, I Look to You que tem todo um apelo sentimental e deve conquistar os corações do votantes no painel azul. Não podemos deixar de fora da disputa: Beyoncé e o arrasante I Am… Sasha Fierce e Maxwell e seu BLACKsummers’night, um outro comeback, diga-se.

Fechando as categorias gerais temos as minhas categorias favoritas da premiação: Gravação e Canção do Ano, esse ano mais pop que nunca. Em gravação eu aposto em “I Gotta Feeling”, o super-hiper-mega hit do Black Eyed Peas; “Use Somebody” do Kings Of Leon, uma das melhores faixas do ano; “Poker Face”, o hit do ano para a minha pessoa, da Lady Gaga; “Halo”, mais uma faixa da Beyoncé marcando presença na categoria (já é a 3ª, sem contar as das Destiny’s Child) e pra finalizar “21 Guns” do Green Day, a balada rock do ano, muito boa por sinal. Em Canção do Ano, minhas escolhas podem ser um pouco diferente das maiorias, mas é o que eu realmente acredito que vai acontecer, so here we go. “Use Someboy” e “21 Guns” devem fazer a dobradinha, Adele deve conseguir mais uma indicação por “Hometown Glory” (a mesma coisa que aconteceu com Corine Bailey Rae em 2008), Maxwell vai ser recompensado com uma indicação à “Pretty Wings” e fechando a categoria, Carrie Underwood recebe a sua 3ª indicação com “Just A Dream”, vale lembrar que Carrie não é compositora de “Just A Dream” e de nenhuma das outras duas músicas indicadas (“Jesus Take The Wheel” e “Before He Cheats”), só a usei como referência por ser quem canta as músicas. Nessas duas categorias, fiquem de olho também em Diane Birch com sua viciante faixa “Nothing But A Miracle” e em Taylor Swift e sua balada pop-country “You Belong With Me”, as duas são sérias candidatas às duas categorias, na minha humilde opinião.

Bom, por hoje é só, mas em breve eu estarei falando de mais categorias do Grammy aqui!

See you guys!

When I was five years old, I distinctly remember going to the mall with my mom to see a movie.  I wouldn’t stop raving about Flashdance, and was broken-hearted when she said, “No.”  (Back then, I didn’t know it was a rated-R film inspired by the true story of a female welder/stripper in Toronto.)

Interestingly, I never saw Flashdance until I was a college sophomore.  Wow, what a corny plot: Alex Owens (Jennifer Beals), an 18-year-old who lives alone in a converted warehouse, is a welder at a steel mill by day and a bar dancer at night.  She shacks up with Nick Hurley-her boss at the steel mill (who happens to have connections at the esteemed dance academy she wants to attend)-trains with her mentor/coach (who ironically dies a couple days before her audition), nails her audition, and apparently gets accepted (though I’m not exactly sure because the ending scene just show her running out of the building, with a smile, into Nick’s loving arms).  No wonder this opened to poor reviews.  Yet and still, it was a box office smash and grossed $100+ million worldwide.

I also remember hearing Michael Sembello’s Grammy Award-winning song, “Maniac,” on the radio.  (Back then, I didn’t know it was originally written about a serial killer and the lyrics were adjusted for the film.)  But what I really love is its music video.  Sure, Irene Cara’s “Flashdance…What a Feeling” won a slew of awards-including an Oscar and a Golden Globe-but nothing beats the scenes of Alex’s body double running in place during dance practice, those ridiculous closeups of the side of her butt cheek, or that glorious slowmo leap through the air.

As an adult, I can appreciate what the film accomplished but yep, it definitely wasn’t suitable for me as a young child.

“Maniac” music video

Did you know:

The role of Alex was turned down by Melanie Griffith, and Beals beat out two other finalists (including Demi Moore) for the lead.  Gene Simmons (yes, of KISS) rejected the role of Alex’s boss/boyfriend Nick, which was secured by Michael Nouri.  Kevin Costner was the runner-up for this part.

Irene Cara penned the “Flashdance…What a Feeling” lyrics en route to the studio the day she recorded the track.

The music video for “Maniac” was a trailblazer, as it was the first to use only movie scenes.

Alex’s off-the-shoulder sweatshirt actually came about when Beals accidentally shrunk the shirt in the wash, and subsequently cut off the collar so it could fit over her head.

Luar Biasa ! mungkin itulah ungkapan yang bisa kita utarakan melihat jadwal Tur yang akan dijalani oleh BB King ( 84 tahun)  sampai bulan Februari  2010 yang akan datang, begitu padat untuk ukuran orang seusia dirinya bahkan juga bagi orang yang jauh lebih muda dari dirinya, tapi toh BB King sudah siap menjalani.  Tur yang sekaligus diupayakan sebagai penunjang promo album terakhir  BB King  ONE KIND PAVOR yang dirilis pada bulan Agustus 2008 dan meraih Grammy pada tahun ini juga akan diramaikan oleh kehadiran Buddy Guy, yang tentu saja akan menambah greget dan menjadi suatu event yang bakal di nanti oleh para pecinta blues.

Namun meskipun tur ini dikatakan sebagai penunjang promo album One Kind Favor, hampir dipastikan penampilan BB King tidak menjadi “genit”  dengan melakukan promo “kasar”.  Ia tetap akan tampil standar dengan membawakan lagu-lagu saktinya yang lain seperti “Everyday I have The Blues,”  “Sweet Little Angel,” “Thrill Is Gone” dll.  Dan sekedar informasi album One Kind Pavor adalah album yang dibuat dengan konsep  merekam dengan gaya lama, artinya soundnya dibuat seperti BB King merekam pada tahun 1950 an, dan lagu-lagunya adalah lagu-lagu karya orang lain yang belum pernah disentuh untuk dibawakan oleh BB King, sepanjang hampir 69 tahun karirnya dalam dunia musik, seperti lagu dari idola BB King Lonny Johnson  ( Tomorrow Night,  Backwater Blues,  My Love Is Down), dan pemusik blues legendaris  lainnya seperti BLIND LEMON JEFFERSON ( See that my grave Is Clean), Missippi Sheiks (  Sitting On Top The World) dan beberapa nama lain.

Lalu seberapa ketat jadwal Tur BB KING itu ? Inilah jadwal lengkapnya :

Nov. 13 @ Peppermill Wendover Casino, Wendover NV
Nov. 14 @ Silver Legacy Resort Casino, Reno NV
Nov. 15 @ Heritage Theater, Campbell CA
Nov. 17 @ Cal State Chico, Chico CA
Nov. 19 @ Coussoulis Arena, San Bernardino CA
Nov. 20 @ Centennial Hall, Tucson AZ
Nov. 21 @ Celebrity Theatre, Phoenix AZ
Nov. 22 @ Belly Up Tavern, Solana Beach CA
Dec. 26 @ Star of the Desert Arena, Primm NV
Dec. 28 @ Belly Up Aspen, Aspen CO
Dec. 31 @ Mabee Center Arena, Tulsa OK
Jan. 3, 2010 @ Nokia Theatre, Grand Prairie TX
Feb. 4 @ King Center for the Performing ArtsMelbourne FL *
Feb. 5 @ Ruth Eckerd Hall, Clearwater FL *
Feb. 6 @ Fox Theatre, Atlanta GA *
Feb. 9 @ Ryman Auditorium, Nashville TN *
Feb. 11 @ DAR Constitution Hall, Washington D.C. *
Feb. 12 @ United Palace, New York NY *
Feb. 13 @ Caesars Circus Maximus Theatre, Atlantic City NJ *
Feb. 14 @ MGM Grand at Foxwoods, Mashantucket CT *
Feb. 16 @ Fox Theatre, Detroit MI *
Feb. 18 @ Family Arena, Saint Charles MO *
Feb. 19 @ The Midland by AMC, Kansas City MO *
Feb. 20 @ The Orpheum Theatre, Minneapolis MN *
Feb. 22 @ Mid America Center, Council Bluffs IA *

* Bersama  Buddy Guy

Terlepas dari padatnya jadwal main BB King di Amerika, berita baik bagi para penggemar BB KING di tanah air :  BB KING  kemungkinan akan main awal Maret nanti di Jakarta, tepatnya di ajang Jakarta International Java Jazz Festival http://www.javajazzfestival.com/2010/      , BB King sudah dimasukan ke dalam line-up  pengisi acara ajang Jazz International yang akan diselenggarakan pada tanggal 5/6/7 Maret itu. Mudah-mudahan saja ini menjadi kenyataan.

]]> http://meanspeed.com/2009/11/24/were-never-gonna-survive-unless-we-get-a-little-crazy-seal-klum-determined-that-britney-will-be-theirs-linearradar-maps-of-song-2/ Tue, 24 Nov 2009 07:26:13 +0000 Ian Andrew Schneider http://meanspeed.com/2009/11/24/were-never-gonna-survive-unless-we-get-a-little-crazy-seal-klum-determined-that-britney-will-be-theirs-linearradar-maps-of-song-2/ http://meanspeed.com/2009/11/23/afterglow-genesis-tempo-analysis-in-beat-groups-of-10-live-versus-three-sides-lives-versions-by-the-meanspeed-music-company-april-27-2007/ Mon, 23 Nov 2009 18:42:49 +0000 Ian Andrew Schneider http://meanspeed.com/2009/11/23/afterglow-genesis-tempo-analysis-in-beat-groups-of-10-live-versus-three-sides-lives-versions-by-the-meanspeed-music-company-april-27-2007/ http://deungdutjai.wordpress.com/2009/11/23/%e0%b9%83%e0%b8%88%e0%b8%8a%e0%b9%89%e0%b8%b3%e0%b9%86-jai-chum-chum-ice-sarunyu/ Mon, 23 Nov 2009 06:35:32 +0000 Tahmnong http://deungdutjai.wordpress.com/2009/11/23/%e0%b9%83%e0%b8%88%e0%b8%8a%e0%b9%89%e0%b8%b3%e0%b9%86-jai-chum-chum-ice-sarunyu/

Title: ใจช้ำๆ / Jai Chum Chum (Bruised Heart)
Artist: Ice Sarunyu
Album: Party on Ice
Year: 2007

ได้แต่มอง
Dai dtae mong
I can only look
ได้แต่คอยห้ามใจ
Dai dtae koy hahm jai
Can only keep forbidding myself
เหงาเหงาเดียวดาย
Ngao ngao diao dai
So lonesome
ไปตามประสาคนอย่างฉัน
Pbai dtahm pbrasah kon yahng chun
I have to go in the direction of someone like me
ไม่มีทาง ให้เธอมารักกัน
mai mee tahng hai tur mah ruk gun
There’s no way that you’ll love me
ฉันรู้ตัวดีว่าคนอย่างฉัน
Chun roo dtua dee wah kon yahng chun
I fully realize that a guy like me
ยังอีกไกล
Yung eek glai
Is still a long ways away

(*)ก่อนจะนอนท่องไว้เสมอ
Gorn ja norn tong wai samur
Before I sleep, I always remind myself
ว่าฉันกับเธอเรามันต่างกัน
Wah chun gup tur rao mun dtahng gun
That you and I are too different
ไม่ต้องฝันต้องเพ้อ
Mai dtong fun dtong pur
I don’t have to dream myself crazy
ละเมอหลอกตัวเอง
Lamur lork dtua eng
Or fantasize, tricking myself

(**)ฉันมันเป็นแค่เพียง คนใจช้ำช้ำ
Chun mun pben kae piang kon jai chum chum
I’m just a guy with a bruised heart
มีแต่ใจดวงเดียวช้ำช้ำ เท่านั้น
Mee dtae jai duang diao chum chum tao nun
I’ve only got a bruised heart, that’s all
จะไปสำคัญอะไร
Ja pbai sumkun arai
What’ll be important?
ใครจะมารักฉัน
Krai ja mah ruk chun
Who’ll come love me?
ต้องข่มใจตัวเองซ้ำซ้ำ เอาไว้
Dtong kom jai dtua eng chum chum ao wai
I have to control myself repeatedly
ไม่มีค่าใดเพียงพอกับเธอ
Mai mee kah dai piang por gup tur
I’m not worth enough for you

ทั้งที่รู้ แต่ก็ยังเผลอใจ
Tung tee roo dtae gor yung plur jai
Though I know, but I’m still careless
ไม่รู้ทำไมไม่มีเหตุผล
Mai roo tummai mai mee het pon
I don’t know why, there’s no reason
ไม่เข้าใจ
Mai kao jai
I don’t understand
ต้องแอบรัก
Dtong aep ruk
I have to secretly love you
แอบมีเธอเรื่อยไป
Aep mee tur reuay pbai
Secretly have you continuously
ไม่กล้าระบายความจริงที่ฉัน มีต่อเธอ
Mai glah rabai kwahm jing tee chun mee dtor tur
I’m not brave enough to express the truth I have towards you

(*, **)

อย่าไปสำคัญตัวเองผิด
Yah pbai sumkun dtua eng pit
Don’t give myself false importance

ถึงฉันทำดีสักเท่าไร
Teung chun tum dee suk tao rai
However good I try to do
ก็ไม่โดนใจอยู่อย่างนั้น
Gor mai dohn jai yoo yahng nun
It doesn’t impress you like that
ไม่มีวัน จะมีความหมาย
Mai mee wun ja mee kwahm mai
There’ll never be a day when it will mean anything

(**)

Title: รักแท้ ดูแลไม่ได้ / Ruk Tae Doo Lae Mai Dai (The True Love I Couldn’t Take Care Of)
Artist: Potato
Album: Life
Year: 2005

ความรักของเธอ เสียงที่บอกฉันว่าเธอห่วงใย
kwaam rak kong ter siang tee bok chan waa ter huang yai
Your love… the voice that tells me you’re worried
มือนั้นของเธอ ที่แตะหน้าผากฉัน วันที่ฉันไม่สบาย
meu nan kong ter tee dtae naa paak chan wan tee chan mai sa-baai
Your hand that touches my forehead the days I’m sick

* ทุกๆ ฉากทุกตอนไม่เคยจางหาย แม้จะผ่านเนิ่นนานเท่าไร
* took-took chaak took dton mai koie jaang haai mae ja paan nern-naan tao-rai
Every scene, every episode never fades however long ago they occurred
และทุกฉากทุกตอน นั้นคอยตอกย้ำสิ่งที่ฉันเป็น ตั้งแต่เสียเธอไป
lae took chaak took dton nan koi dtok yam sing tee chan bpen dtang dtae sia ter bpai
And every scene, every episode keep on emphasizing the thing that I’ve become since I lost you

** ว่าฉันเป็นคนโง่เหนือใครๆ มีรักแท้อยู่ ดูแลไม่ได้
** waa chan bpen kon ngoh neua krai-krai mee rak tae yoo doo lae mai daai
That I’m an idiot, more than anyone else, having true love, but I couldn’t take care of it
จะรู้ค่ามันก็สายเกินไป ปวดร้าวคิดอยากย้อนเรื่องราวแค่ไหน ได้แต่ฝัน
ja roo kaa man gor saai gern bpai bpuat raao kit yaak yon reuang raao kae nai daai dtae fan
I realize its value, but it’s too late, hurt, however much I thought of reversing the story, I can only dream

ต่อจนเหมือนเดิม รูปเมื่อก่อนนั้นที่มันขาดไป
dtor jon meuan derm roop meua gon nan tee man kaat bpai
I put back together the old picture that was once torn apart
แต่ทางของเรา จะต่อได้อีกไหม หรือว่าฉันต้องทำใจ
dtae taang kong rao ja dtor daai eek mai reu waa chan dtong tam jai
But will our paths cross again? Or should I accept it?
เพราะทุกฉากทุกตอนไม่เคยจางหาย แม้จะผ่านเนิ่นนานเท่าไร
pror took chaak took dton mai koie jaang haai mae ja paan nern-naan tao-rai
Because every scene, every episode, never fades however long ago they occurred
และทุกฉากทุกตอน นั้นคอยตอกย้ำสิ่งที่ฉันเป็น ตั้งแต่เสียเธอไป
lae took chaak took dton nan koi dtok yam sing tee chan bpen dtang dtae sia ter bpai
And every scene, every episode keep on emphasizing the thing that I’ve become since I lost you.

(**)

“And I know you hate me and you’ve got the right
To kill me now I wouldn’t blame you if you do
But you oughta thank me before I die
For the gravel in your guts and the spit in your eye
For I’m the son of a bitch that named you Sue”

Take notice of the songwriter’s name.

It’s none other than Shel Silverstein, the late, renown children’s author and playwright. Apparently, Silverstein was quite an accomplished songwriter as well.

While I’m no “fan” of Wikipedia, there is an interesting, if not enlightening article on him there. Sorry… no link. You can look it up. That’s my form of protest.

BUT! As a service to you, kind reader, I will provide a link to ShelSilverstein.com – his his official site.

Lyric excerpt from:
“Boy Named Sue“
(legal title)
Songwriter/Composer – Shel Silverstein
Affilitation – BMI
CAE/IPI # – 28738853
Publishers – Evil Eye Music, Inc.
Affiliation – BMI
CAE/IPI # – 53070412

Phone: (212) 594-9795
Fax: (212) 594-9782
Contact:
Evil Eye Music, Inc.
c/o The Richmond Organization
266 West 37th Street
17th Floor
New York, NY 10018
DLEITNER@GOLENBOCK.COM

Me he permitido el lujo de seleccionar los más populares y representativos compositores cinematográficos de todos los tiempos. Desde los más antiguos hasta los más actuales, todos tienen una gran importancia, pero quizá los diferentes premios obtenidos o la asimilación de las diferentes melodías en las mentes de los espectadores, marquen diferencias entre ellos. En general, todos y cada uno de los compositores han hecho posible que a través de una melodía, una película sea para siempre única y espectacular en nuestra memoria.

MIKLOS ROZSAEste húngaro nacido en 1907 hizo de su vida una melodía. El estallido de La II Guerra Mundial en Europa fue la culpable de que Rozsa se instalara en Hollywood de por vida. Sus primeras composiciones para la compañía de Alexander Korda fueron “El ladrón de Bagdad” (1940) y el “Libro de la Selva” (1942), ambas nominadas por la Academia. Tras ser expulsado de la Paramount por introducir ciertas asperezas de ritmo y armonía que causaron consternación en ciertos sectores de Hollywood, la Metro-Goldwyn Mayer se interesó en su trabajo. Para esta productora escribió grandes epopeyas históricas como “Quo Vadis” (1951), “Ivanhoe” (1952), “Julio César” (1953), “Ben-Hur” (1959), “Rey de reyes” (1961) o “El Cid” (1961). Fue nominado al Premio Óscar en 17 ocasiones, obteniéndolo en 3 ocasiones por “Recuerda” (1945), “Doble vida” (1947) y “Ben-Hur” (1959).
Tras su muerte en el año 2004 Miklos Rozsa descansa bajo las colinas de Hollywood, pero su legado musical ha ido trascendiendo más y más con el paso de los años. Nuevas generaciones de amantes de la música pueden hoy día descubrir las creaciones de aquel gran maestro del lirismo que se destacó, sobre todo, por la elegancia y sofisticación de sus melodías.

ENNIO MORRICONE
Su larga carrera artística incluye una amplia gama de géneros de composición, trabajando como orquestador y director de orquesta en el campo de la grabación, y luego como compositor para teatro, cine y radio.
La carrera como compositor de música de película comenzó en 1961 con la película “Il Federale”, dirigida por Luciano Salce, pero se hizo famoso en todo el mundo con los westerns de Sergio Leone: “A Fistful Of Dollars” (1964), “Por unos dólares más” (1965), “El bueno, El Feo y El Malo” (1966), “Once Upon A Time In The West” (1968) y “A Fistful Of Dynamite” (1971).
Desde 1960, Morricone ha marcado más de 400 películas de las cuales las más famosas son: “La batalla de Argel”, “Sacco y Vanzetti”, “Cinema Paradiso”, “La Leyenda de 1900”, “Malena”, “Los intocables”, “Érase una vez en América”, “La Misión” y “U-Turn”.
En su larga carrera, Ennio Morricone ha recibido el León de Oro y en 2006 el Oscar de Honor en reconocimiento a su magnifica y multifacética contribución al arte de la música en el cine. Pero también ha obtenido: 8 Nastri d’argento, 5 Bafta, 5 nominaciones al Oscar, 7 David di Donatello, 3 Globos de Oro, 1 Premio Grammy y 1 European Film Award.

BERNARD HERRMANN
En 1911 nació en EE.UU un genio creativo, un musicólogo indiscutible, que a pesar de su muerte en 1975 recibió nominaciones póstumas de mano de la Academia en 1976 por “Taxi Driver” y “Obsesión”.
Tan complejo como cualquier personaje de las películas ningún compositor ha contribuido más a las películas que Bernard Herrmann, que en más de cuarenta Films ha enriquecido el trabajo de directores como Orson Welles, Alfred Hitchcock, François Truffaut, y Martin Scorsese. Desde su primera película “All that Money Can Buy”, galardonada con un Oscar, hasta su pasado con “Taxi Driver”, Herrmann fue un maestro en la evocación de los matices psicológicos y la tensión dramática a través de la música, a menudo utilizando inaudita combinaciones de instrumentos para adaptarse a las necesidades dramáticas de una película.
Sus partituras se encuentran entre las más distinguidas que se han escrito en la historia de la música cinematográfica, que van desde lo fantástico (“Fahrenheit 451″, “El Día de la Tierra se detuvo”) A la romántica (“Ciudadano Kane”, “Obsesión”, “El fantasma y la señora Muir”) A la terrible (“Psycho”). Además dirigió la orquesta de la CBS en varias ocasiones promocionando melodías de jóvenes músicos.

ALEX NORTH
Alex North nació en Chester, Pennsylvania, el 10 de diciembre de 1910 y el 8 de septiembre de 1991 murió conocido como un gran innovador musical. Compositor polifacético, escribió para televisión, cine, teatro, orquesta, incluso para documentales de guerra.
La versión de la película de Tennessee Williams “Un tranvía llamado deseo” (1951) marcó por primera vez en la historia la integración plena de una melodía de jazz en un film. Es probablemente el compositor más complejo y más original de la historia, el cual revoluciono todo el panorama musical. Tuvo la oportunidad de demostrarlo en sus películas mas destacadas como “Espartaco” (1960) o “Cleopatra” (1963), o con la creación de canciones entrañables como “Unchained melody” bastante recordada y utilizada como fue en la película “Ghost”.
A pesar de crear más de 50 películas, de las cuales 15 fueron nominadas por la Academia, Alex North nunca recibió ningún premio en activo. No fue hasta 1985 cuando recibió su primera estatuilla a modo de Premio Honorífico, en reconocimiento de su arte brillante en la creación de música memorable para una serie de imágenes en movimiento distinguido.

JERRY GOLDSMITHCuando la vida del legendario compositor de radio, televisión y cine, Jerry Goldsmith, se “apagó”, en 2004 dejó un vacío enorme en el mundo de la música de la película, pero su legado de más de 50 años de música nos ha dejado un huequito en nuestros corazones.
Gracias a las enseñanzas de Miklos Rozsa y Alfred Newman su vida ha sido un ir y venir entre la pequeña y gran pantalla. Ejemplo de ello es citar que ha sido nominado nueve veces en los Globos de Oro y dieciocho veces por la Academia de los Oscars, pero sólo en 1976 con la música original de “The Omen” ha obtenido la codiciada estatuilla. También obtuvo cinco nominaciones a los Grammy, y las diecisiete nominaciones por los Saturn Awards, en los cuales ganó uno por Star Trek: The Motion Picture en 1980. Su contratación en la 20th Century-Fox le sirvieron para hacer producciones cómo “Freud”, “Un retazo de azul”, “The Sand Pebbles”, “El Planeta de los Simios”, “Patton”, “Papillon”, “Chinatown”, “El viento y el león”, “Logan’s Run”, “Islands in the Stream”, “Capricornio Uno”, “Alien”, “Star Trek: The Motion Picture”, “Gremlims”, “Under Fire”, “Poltergeist”, “L.A. Confidential”, “Basic Instinct”, “Mulán” y “La Momia”.
Bajo la tutela de la CBS o de la Revue Studios consiguió 4 premios Emmy con producciones musicales para la televisión cómo “Star Trek: Voyager”, “QB VIII” (1974), “Babe” (1975), “Masada” (1981).

JOHN WILLIAMS
En la ciudad de Nueva York, un 8 de febrero de 1932 nació una estrella condenada al éxito. Aunque en la actualidad es uno de los compositores cinematográficos mas prestigiosos, su carrera profesional comenzó en series televisivas como “La Isla de Gilligan” o “Perdidos en el Espacio” para la Fox. Pero el salto a la gran pantalla, tras varias nominaciones, le proporciono su primera estatuilla en 1971 en la 44ª edición de los Oscars por la adaptación original de “El violinista en el Tejado”.
No es un error decir que gran parte de su música ha traspasado la pantalla para asentarse en la cultura popular en el cine de los últimos 35 años y es que cinco premios de la Academia, 17 Grammys, tres Globos de Oro, dos Emmys y cinco Premios BAFTA de la Academia Británica de Cine y Artes de la Televisión confirman su talento. Grandioso compositor y director de orquesta, John Williams es el motivo de que muchos teman meterse en el mar tras ver “Tiburón” (mejor banda sonora original en la 48ª Edición de los premios Oscars en 1975) o de hacernos llorar amargamente viendo “La lista de Schindler” (mejor banda sonora original en la 66ª Edición de los Oscars en 1993 y un Grammy). Es el responsable de la inolvidable y casi perfecta partitura para el más famoso extraterrestre del séptimo arte “E.T” (mejor banda sonora original en la 55ª Edición de los Oscars en 1982), o sin ir más lejos de la composición más paradigmática de la profesión, alzada por el American Film Institute como la mejor en la historia del cine: “La Guerra de las Galaxias” (mejor banda sonora original en la 50ª Edición de los Oscars en 1977).
Hay que destacar que Williams ha hecho recurrente el uso del leitmotiv identificando a personajes tales como Superman, Indiana Jones o a Darth Vader con la “Marcha Imperial”. Pero también son destacables composiciones para películas como “Jurassic Park”, “Solo en casa” o “Salvar al Soldado Ryan” que siempre tendrán un hueco en nuestros corazones.

HANS ZIMMER
Hoy día es considerado uno de los compositores más sobresalientes e innovadores de Hollywood, apodado por gran parte de la crítica como “el omnipresente Zimmer” por sus numerosas apariciones, ya sea como compositor principal o como colaborador con uno de sus múltiples discípulos.
Este compositor alemán nacido en el 57, es el padre de la integración de la música electrónica con arreglos orquestales tradicionales en el género cinematográfico.
El punto de inflexión en la carrera de Zimmer llego cuando en 1988 “Rain Man” ganó el Oscar a la Mejor Película del Año y Zimmer ganó su primera nominación al Oscar como Mejor Banda Sonora Original. Pero sin duda la obra maestra del compositor fue la banda sonora de “El Rey León” en 1994, ya que ha vendido alrededor de 15 millones de copias hasta la fecha, un Oscar por Mejor Música Original, un Globo de Oro, un premio American Music Award, un Tony y dos premios Grammy. En total, el trabajo de Zimmer ha sido nominado a 7 Globos de Oro, 7 Grammys y siete premios Oscar por “Rain Man”, “Gladiator”, “El Rey León”, “As Good As It Gets”, “La mujer del Predicador”, “La Delgada Línea Roja”,” El Príncipe de Egipto” y “El Último Samurai”.
Entre otras composiciones también nos ha emocionado con “Pearl Harbor”, asustado con “The Ring”, divertido con “Piratas del Caribe y “Madagascar” o ensimismado con “Matchstick Men”, “Hannibal”, “Black Hawk Down” o “Thelma y Louise”, estas cuatro dirigidas por Ridley Scott.

JAMES HORNER
Este californiano de cincuenta y seis años es actualmente uno de los compositores más populares de la música clásica.
Su primer proyecto de gran dimensión fue la música para Star Trek: The Wrath of Khan (1982), que daría lugar a numerosas ofertas cinematográficas y las oportunidades de trabajar con artistas de clase mundial tales como la Orquesta Sinfónica de Londres, George Lucas, Steven Spielberg, James Cameron, Oliver Stone, Y Ron Howard.
La sinfonía, es de lo que se nutre su estilo, al igual que Jerry Goldsmith y John Williams, pero también se atreve con el sintetizador, siendo un gran virtuoso en este estilo e integrándolo perfectamente en la gran orquesta.
Obviamente ha sido nominado al Óscar en el apartado a la mejor Banda Sonora en 7 ocasiones, como también lo fue en los Grammy o en los Globos de Oro, con películas como “Aliens: el regreso” (1986), “Campo de sueños” (1989), “Braveheart” (1995), “Apolo 13″ (1995), “Titanic” (1997), “Una mente maravillosa” (2001), “Casa de arena y niebla” (2003), consiguiéndolo doblemente con “Titanic” tanto en el apartado a la mejor música como a la mejor canción. “La leyenda del zorro”, “Gloria” o “El nombre de la rosa” fueron también grandes composiciones de Horner.

Análise: Novo single da Janet Jackson vindo do seu novo álbum “Number Ones” (Jackson²), que foi lançado apenas em formato digital em 22 de Setembro. Primeira música que a Janet lançou depois da morte de seu irmão Michael.

“Don’t it, baby! Don’t Stop ‘Til You Get Enough” (Jackson²)

———————————————–

Bem, inicialmente, havia um papo que a parte em que Janet canta “don’t stop ’til you get enough” (Jackson ²) era uma homenagem ao seu irmão e sua música vencedora de um Grammy, “Don’t Stop ‘Til You Get Enough”. Mas parece que Janet negou o fato numa entrevista para a TV. Bem, se é homenagem ou não, é passível de discussão, cada um pode interpretar como quer.

O fato é que a canção é assinada como ”Nu Disco”, o que quer que isso signifique (na verdade, isso seria uma espécie de reinvenção da Disco Music. Mas vamos lembrar que a Disco Music não acabou à toa. Era um tipo de música bom e divertido, mas descartável como muita coisa do pop atual. E claro que dificilmente alguém vai criar algo inovador ou relevante neste estilo!). Tem uma batida interessante criada pelo Dark Child (Rodney Jerkins) e inclusive um fato interessante que acredito que tenha passado despercebido: parte da música sampleia (além da “homenagem [Jackson ²]) a canção “Disco Night” do grupo GQ, que fez sucesso com essa canção nos anos 70, a era da Disco Music (mais uma vez referência à Disco Music presente). O clipe da canção é uma mistura de “Rhythm Nation” (de 1989, #2US) com “Scream” (de 1995, #3UK e #5US, dueto com seu irmão Michael para o álbum duplo HIStory [Jackson²]), com uma fotografia bonita e Janet em forma.

Michael Jackson agora está morto. Vamos ver o que pode sair do que ficou do seu reinado do pop com seus suditos… e Janet é mais um deles…

PS: A quem possa interessar, aqui está um vídeo da canção sampleada “Disco Night”, do GQ, de 1979 (#12US).

Bruno

De volta aqui pra falar um pouco mais sobre a premiação mais importante do mundo da música. Nessa 2ª parte vou falar um pouco dos diversos fields, dando mais destaque para os artistas do que para as categorias em si. O Grammy tem muitas categorias e fica meio impossível falar de cada uma sem ser chato e monótono, so here we go!

Começando com o field mais importante, pelo menos pra mim: Pop! Esse ano mais diversificado que nunca, pois ultimamente todo mundo submete seus trabalhos aqui, de Miley Cyrus à Kanye West. E nem tudo que é submetido é o que eu realmente acho que é pop, como por exemplo Amy Winehouse que ganhou 2 Grammys em 2007 nesse field. Come on! Ela é R&B! Esse ano parece estar sendo dominado pelas mulheres, eu vejo duas delas fazendo a dobradinha de Melhor Performance Vocal Pop Feminina e Melhor Álbum Vocal Pop, são elas Kelly Clarkson e Diane Birch com as faixas “Already Gone” e “Nothing But A Miracle” e os álbuns All I Ever Wanted e Bible Belt, respectivamente. Taylor Swift deve marcar presença aqui, visto que a moça submeteu o hit “You Belong With Me” aqui, fechando a categoria das performances eu vejo Miley Cyrus com “The Climb” e Beyoncé com “Halo”. E nos álbuns P!nk, Lily Allen e The Black Eyed Peas devem fechar a categoria. A categoria de Melhor Performance Pop de Grupo ou Duo deve ser a mais diversificada de todas, com a presença pra lá de confirmada dos Peas com o hit do ano “I Gotta Feeling”, um Dance/R&B e aí temos The All-American Rejects com “Gives You Hell”, The Fray com “Never Say Never” e 3OH!3 com “Don’t Trust Me”, os dois primeiros tem uma pegada mais rock e o último é uma mistura de Hip Hop com música eletrônica, e completando a categoria as The Pussycat Dolls com “I Hate This Part”.

Eu gosto de rock, mas não entendo nada e nem conheço tantos representantes do meio. Minhas previsões nesse field são na maioria chutes, mas tem umas indicações que são meio óbvias. Kings Of Leon vem forte com o “Use Somebody” e eu torço por uma vitória consecutiva deles na categoria de Mehor Performance Rock de Grupo ou Duo. Mas dominando as indicados do field eu vejo três nomes: U2, Green Day e Bruce Springsteen. Os três são indicados “obrigatórios” e sempre que fazem algo novo, marcam presença aqui. Marcando presença devem estar também Bob Dylan, Nickleback, The Killers e AC/DC.

Chegamos ao field mais dispustado do ano: o R&B. É muita gente boa com chance de indicação e acredito que essas serão uma surpresa. Quem vai dominar o field? Não é novidade para ninguém, a rainha dos palcos Beyoncé! Ela não vem pra brincadeira não, a moça se submeteu em todas as categorias possíveis e imagináveis. O máximo de indicações que ela pode conseguir aqui são 5 e eu aposto nas 5 indicações, são elas: Melhor Performance Vocal R&B Feminina por “Single Ladies (Put A Ring On It)”, Melhor Performance Tradicional por “At Last”, Melhor Performance Urban/Alternativa por “Scared Of Lonely”, Melhor Canção R&B por “Single Ladies (Put A Ring On It)” e Melhor Álbum de R&B Contemporâneo pelo I Am… Sasha Fierce. Quem deve fazer a festa aqui é a rainha Whitney Houston e o seu comeback, que deve lhe garantir 3 indicações. O comeback do Maxwell deve conseguí-lo o mesmo número de indicações que Whitney. Completando o field: Chrisette Michele, Keyshia Cole, India.Arie, Musiq Soulchild, Solange (sim, a irmã da Beyoncé), Jamie Foxx, Raphael Saadiq e muitos outros.

No field Country o nome a ser batido é Taylor Swift. Mesmo não tendo submetido seu hit, a moça vem com uma de suas melhores música: “White Horse”, podendo concorrer à Melhor Canção Country e Melhor Performance Vocal Country Feminina e o álbum mais vendido do ano nos EUA, Fearless. Quem vem forte na categoria é a queridinha do Grammy (pelo menos nas categorias Country) Carrie Underwood, a moça deve faturar mais um Grammy pela colaboração com Randy Travis em “I Told You So”, além de conseguir mais duas indicações com “Just A Dream”, uma de suas melhores músicas. Quem vem forte, ainda mais depois do CMA, é o Lady Antebellum com um dos melhores singles do ano “I Run To You”. Brad Paisley e Keith Urban vêm forte entre os homens, principalmente por causa do dueto “Start A Band” dos dois, que vai bater de frente com o dueto de Carrie e Randy. Entre os indicados também teremos: Martina McBride (torcendo por “I Just Call You Mine”), Reba McIntire, Miranda Lambert, Zac Brown Band, Kenny Chesney e Rascal Flatts.

Por hoje é só, no próximo, e último, post sobre os Grammys eu pretendo falar sobre o que eu gostarie que tivesse indicado, descartando as listas de submissões. Até lá!

See you guys!