Prisoners Dilemma

   
Artist: Prisoners Dilemma

   Genre(s): 
Rock
   

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Discography:


   
 Handshakes, Hello and Goodbye

   Year: 2004   
Tracks: 8

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I�m no Simon, insists reality judge JC Chasez

Daniel "Harry Potter" Radcliffe to be a presenter at Tonys

NEW YORK — Daniel Radcliffe, who stars as the boy wizard in the "Harry Potter" movies and Richard Griffiths, also of "Potter" fame, will be among the actors announcing winners at the 62nd annual Tony Awards.

The two star in next season's hotly anticipated revival of Peter Shaffer's "Equus."

Also among the presenters who will be on stage at Radio City Music Hall on June 15: Alec Baldwin, Kristin Chenoweth, Glenn Close, Laura Linney, John Lithgow, Liza Minnelli, Mary-Louise Parker, Brooke Shields and Marisa Tomei.

The show, presented by the American Theatre Wing and The Broadway League, will honor the best of the Broadway season. It will be broadcast live by CBS from Radio City from 8-11 p.m.

Besides production numbers from best-musical and best-musical revival nominees, the show will feature performances by the casts of such long-running shows as "Rent" and "The Lion King."

Radcliffe will make his Broadway debut in September in the Tony-winning drama in which he plays a disturbed stable boy. Griffiths, who plays Harry's mean Uncle Vernon in the "Potter" films, co-stars as a psychiatrist who treats the lad. Both actors starred in the recent London revival.

"Equus" was a big Broadway hit in the 1970s, featuring Anthony Hopkins as the psychiatrist and Peter Firth as the stable boy.

See Also

• Little Green Man
• Claude Vonstroke
• Christian Bale - Bales Interview Lies Blur Fact Fiction
• Top 10 Man Candy!

Funckarma Headline Highpoint Lowlife Showcase

Dutch IDM destroyers, Funckarma, have scheduled two rare live appearences in the UK is support of forthcoming 12" release "Dubstoned EP1" due out on Highpoint Lowlife -- which is the first in a series of Dubstep influenced releases by the Funcken brothers. These releases follow previous outings on the both n5MD and Skam imprints.

Support for the two shows comes in the shape of Highpoint comrade Fisk Industries and rising Hyperdub star, Ikonika

The dates are as follows:

June 25th - Plastic People, London

June 27th - The Cube Microplex Cinema, Bristol

See Also

• Lightspeed Champion, Archie Bronson Outfit for Green Man festival
• Ed McMahon may lose home
• T.O. — Hissy Fit on Three! Ready? Break!
• Saving Jane

Casey Jones

   
Artist: Casey Jones

   Genre(s): 
Hardcore
   

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Discography:


   
 The Messenger

   Year: 2006   
Tracks: 12

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Long recognized as one of the Chicago circuit's pM drummers, magnetic Casey Jones has stirred out in front of his isthmus o'er the net decade rather of concealment behind his outfit. Casey discovered that trouncing his direction through the globe was playfulness patch oil production with his high school marching band back in Greenville. He stirred to Chicago in 1956. Before the end of the year, he was drumming professionally with an outfit called Otis Luke & the Rhythm Bombers (for a humongous five bucks a night). One auspicious 1959 night, Jones was forced to sing alive for the number 1 time when the pianist leading his isthmus was tossed in poky. He establish screaming like Little Richard was pretty gratifying excessively. Early '60s session work behind Earl Hooker, A.C. Reed, McKinley Mitchell, and Muddy Waters (1962's "You Need Love") unbroken Jones busy, as did performing on the South and West sides with the likes of Otis Rush and Freddy King. His profile rosiness markedly in 1978 when he slid into the drum chair with Albert Collins's hand-picked jazz group, the Icebreakers. His immaculate timekeeping powered the isthmus for six-and-a-half eld, and he played on Collins's first six Alligator albums (notably Icing Pickin' and the '85 tip meeting Confrontation! with Robert Cray and Johnny Copeland).


Casey Jones has been keeping down Sunday nights at Chicago's democratic Kingston Mines cabaret for intimately a decennary -- a menstruum that's seen his possess discography grow steadily. 1987's Solid Blue for Rooster Blues preceded the formation of his have label, Airwax Records (reservoir of his terminal few CDs, including 1993's The Crowd Pleaser and [I-94] On My Way to Chicago in 1995).

Mocky

   
Artist: Mocky

   Genre(s): 
Dance
   Rap: Hip-Hop
   Other
   

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Discography:


   
 In Mesopotania - JD Slazenger Edition

   Year: 2007   
Tracks: 16


   
 Navy Brown Blues

   Year: 2006   
Tracks: 13


   
 Extended Vacation [12 VINYL]

   Year: 2006   
Tracks: 4


   
 Are + Be

   Year: 2004   
Tracks: 15

---

 

Le Scrawl

   
Artist: Le Scrawl

   Genre(s): 
Metal: Grindcore
   

---

Discography:


   
 Eager To Please (EP)

   Year: 2004   
Tracks: 13

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Paulo Moura

   
Artist: Paulo Moura

   Genre(s): 
Jazz
   

---

Discography:


   
 Pixinguinha

   Year: 2002   
Tracks: 16

---

One of Brazil's best proponents and keepers of the gafieira tradition (popular ballrooms historically coupled to the Carioca folklore tradition of highly artistic and swing dancing and playing) and one of the topper choro players, Paulo Moura is an internationally awarded musician whose high standards make it easy for him to cross boundaries between classical and popular music, both acting and arranging in small ensembles or large symphonic orchestras. As a music director, orchestrator, and adapter for celebrated Brazilian singers, he includes in his resumé works for Elis Regina, Fagner, Taiguara, Milton Nascimento, and Marisa Monte.


Moura was born in a musical family. His male parent, Pedro Moura, was an amateur bandleader and clarinetist himself, but was a carpenter by profession. Paulo's brothers, José and Alberico, are trumpet players and Valdemar, a trombonist. At nina from Carolina, Paulo started to study the pianissimo and at 13, was already playing in his father's band at parties and balls. Moving to Rio with his household, at 18 he began his studies at the National College of Music. Completing the seven-year course in only deuce geezerhood, he continued his studies of theory, concordance, and counterpoint with the famed master Paulo Silva. He too studied harmony, counterpoint, and fugue with fundamental Brazilian Guerra Peixe. On the popular side, he took placement lessons with internationally acclaimed Brazilian Moacir Santos and with Maestro Cipó. In 1951, Moura joined Osvaldo Borba's orchestra. Later, he too linked Zacarias e Sua Orquestra. His first recording gig, the birdcall "Palhaço" (Lord Nelson Cavaquinho), was as sideman for the highly pop vocalizer Dalva de Oliveira. At 19, he debuted as a soloist, performing Weber's "Concertino for Clarinet and Orchestra," accompanied by the Orquestra Sinfônica Nacional. Hired by the Orquestra Ary Barroso, he toured Mexico in 1953. Soon after, he linked the group of smashing trombonist Maciel. Hired by Rádio Tupi, he played thither with the Orquestra Cipó. In 1954, he joined the Conjunto Guio de Morais, which was a even playact at the noted Régine's cabaret. His number 1 record album as soloist (a 78 revolutions per minute for Columbia) was recorded in 1956: Paganini's Moto Perpetuo. In 1957, he organized his first-class honours degree gafieira orchestra, performing with it at the gafieira Brasil Danças. In that same twelvemonth, he recorded Paulo Moura e Sua Orquestra Para Bailes (Sinter). In 1958, Moura was leased by Rádio Nacional as an orchestrator and organiser, working there for deuce long time. Also in 1958, he recorded the LP Paulo Moura Interpreta Radamés Gnatalli (Continental), accompanied by the Radamés Gnatalli Quartet, and became the musical theater director for Brazilian all-stars Dolores Durán, Nora Ney, Jorge Goulart, Maria Helena Raposo, and the Conjunto Farroupilha. Touring through and through Soviet Union and other countries, he conducted the Symphonic Orchestra of Moscow. In 1959, he was leased as first-class honours degree clarinetist for the Orquestra do Teatro Nacional, working for 17 age in that position. In 1960, he linked popular conductor Severino Araújo's orchestra, touring Argentina, and recorded for Chantecler the LP Tangos e Boleros. In 1962, he recorded with Brazilian violão master Baden Powell, performed at the historic jazz/bossa nova nightclubs of Rio's Beco hyrax Garrafas and, as an altoist, he united Sérgio Mendes' Conjunto Bossa-Rio, performing at the historical Carnegie Hall Bossa Nova Festival. In 1964, Moura attended as saxist the great drummer Edson Machado's LP for CBS, Edson Machado é Samba Novo. In 1968, he recorded for Equipe the LP Paulo Moura Hepteto; the side by side twelvemonth, Paulo Moura Quarteto; and in 1971, Fibra, besides for Equipe. In that year, Moura toured Greece with his quartette. In 1975, he recorded in the U.S. with Brazilian guitar player Tiago de Melo. In the side by side twelvemonth, he recorded his definitive masterpiece Confusão Urbana, Suburbana e Rural, which granted him an extremely popular two-month circuit passim Japan with full fight coverage. In the '80s, he recorded his classic album Mistura e Manda (Kuarup) and with the Brazilian violão master Raphael Rabello, he recorded the record album Dois Irmãos, which was hang toward the choro side spell besides including Raphael's flamenco-influenced guitar style and bossa nova themes. He besides recorded respective new erudite albums with Brazilian classical piano player Clara Sverner. In 1981 came some other classic LP, ConSertão, an oecumenical production with internationally awarded classical pianist Artur Moreira Lima, Brazilian jazz guitar player Heraldo do Monte, and folksinger/composer Elomar. Following this, he formed a trio with internationally renowned classical violonista (acoustic guitar player) Turíbio Santos and Artur Moreira Lima. As a soloist, he performed at New York's Lincoln Center, appeared at the Music Festival of Guadalupe in Mexico, and created the number 1 saxophone orchestra. He besides soloed concerts with the Orquestra Sinfônica Brasileira and Orquestra Sinfônica do Estado de São Paulo. In 1985, his choro trinity performed at the Brazil Festival, at Juan-les-Pins (Antibes, France), and his gafieira orchestra opened the France-Brazil Cultural Interchange at the Zenith Theatre, in Paris, France. In 1988, Moura conducted the Orquestra Sinfônica de Brasília, performing his have piece for percussion and orchestra commemorative the centennial of the abolition of slavery in Brazil. Since then, he has been invitee conductor at a series of concerts in Porto Alegre, Salvador, and Espirito Santo. In 1992, he wrote the piece "Suíte Carioca" for jazz rhythm department, symphonious orchestra, and children's choir. Also in that year, he was awarded as Best Soloist at Moscow's Mozart Festival. In 1996, he arranged all of the music and performed the clarinet and saxes at the Os Batutas' show up Pixinguinha at Teatro Carlos Gomes (Rio). An all-star choro chemical group, Os Batutas takes his name from Pixinguinha's seminal radical and is formed by Jorge Simas (violão), Márcio (cavaquinho), Jorginho (pandeiro), Jovi (pleximetry), Marçal (pleximetry), Zé da Velha (trombone), and Joel do Nascimento (bandolim). The prove was recorded live and released the following year on the Velas CD Pixinguinha. It won Brazil's Prêmio Sharp for Best Instrumental CD and Best Instrumental Group in 1997. The CD presents 16 tracks of greco-Roman choro music by one of Brazil's almost authoritative composers of all time, Alfredo da Rocha Viana Júnior, Pixinguinha. In 1996, he was also awarded with the Prêmio Sharp as Best Popular Instrumentalist. Other awards received by him include Prêmio José Sarney, Villa-Lobos, Brahma Extra Prizes, and Honorary Citizenship in Rio de Janeiro. Four years later, he was awarded a Grammy for Best Brazilian Roots/Regional Album for Pixinguinha at the starting time Latin Grammy Awards and the sizzling album Tempos Felizes was released in other 2001.

Tennessee's Bonnaroo fest opens amid summer festival revival

When the tens of thousands of music-crazy fans gather in the Tennessee countryside this weekend for Bonnaroo, they'll be part of not just one of the summer's biggest music festival, but a nationwide revival.

Just 10 years ago, after the disastrous 1999 Woodstock and the temporary petering out of Lollapalooza, festivals appeared dead. But in recent years, they've emerged as one of the music industry's few cash cows in an otherwise tumultuous environment.

Of course, braving heat, rain storms and traffic can make most any festival a tumultuous experience. But the rejuvenation of the summer festival is best understood as a reflection of changed music-listening habits.

"I don't think it's a coincidence that as people started having more access to music, it meant that people were looking for a live experience that reflected that ability to consume," said Rick Farman, a founder of the Bonnaroo Music & Arts Festival, which launched in 2002. "When you look at people's iPods, it's really diverse what people are listening to."

Like hitting 'shuffle,' fans can toggle through genres at a large festival with multiple stages. This year's four-day Bonnaroo, which starts Thursday, has more than 100 acts. It's held each year on a 283-hectare site in Manchester, Tenn.

Though the festival, produced by Superfly Productions and AC Entertainment, began primarily as a jam-band event, its identity has broadened considerably. This year's fest will welcome Pearl Jam, Kanye West, Metallica and Chris Rock.

It's hardly the only gig this summer. The season kicked off with the Coachella Valley Music and Arts Festival in Indio, Calif., a nine-year old summer behemoth that in many ways originated the festival revival.

Still to come is the seven-year-old Austin City Limits Music Festival in Texas and the now Chicago-based Lollapalooza. Each has a giant lineup of dozens of acts. Lollapalooza will feature Radiohead, Rage Against the Machine and West; Austin City Limits will include Beck, Foo Fighters, Gnarls Barkley and David Byrne.

That still leaves the third-annual Pitchfork Music Festival, put on by the influential website; the first All Points West Music & Arts Festival in New Jersey (created by Coachella producer Goldenvoice); Seattle's decades-old Bumbershoot; the launch of Michigan's jam band-centric Rothbury Music Festival; the sponsored Virgin Festival in Baltimore; and San Francisco's new Outside Lands Festival.

There are many more, too, including the traveling Warped Tour featuring mainly punk acts, and the 10-city Rock the Bells hip-hop tour.

Older festivals are also adjusting to the new landscape. In its 49th year, Rhode Island's Newport Folk Festival will be produced by the Festival Network, which has diversified the historic Newport's lineup. Jimmy Buffett, Trey Anastasio, the Black Crowes and Cat Power will play where Bob Dylan famously plugged in his electric guitar in 1965.

Jay Sweet, one of three producers of the Newport, says this is now "a festival country."

"That's the business model right now," said Sweet. "If you can't do it live, get out of the way."

He believes that for a festival to thrive, it can't be limited by genre distinctions.

"We live in a genre-less musical paradigm," said Sweet. "We are musical omnivores."

The land rush for big summer stages has been a lucrative one. According to concert industry trade Pollstar, Coachella grossed $16.3 million last year, Lollapalooza $9.8 million and Austin City Limits $11.3 million.

To make that kind of money, ticket prices aren't cheap. Four-day passes to Bonnaroo, which include parking and camping, run from $209 to $244, not including surcharges. Like many festivals, Bonnaroo also offers VIP treatment; $1,169.50 buys a pair of tickets with special facilities and snacks. (For $4,000 at Coachella, you can get a posh tent with air conditioning and candles.)

Farman believes providing more amenities to fans is central to the new festival experience. At Bonnaroo, even yoga classes can be had for a price.

"We sort of had this concept that we could buck a lot of the negative trends in the industry, whether that was high ticket pricing, whether that was over-sponsorship, whether that was just not a lot of care being taken for the fans."

Though terrific headaches can still be found - maddening traffic and heat stroke among them - the organization is clearly better than it used to be.

"Some of the festivals of the '90s were more about $5 waters or $8 waters and five port-a-johns per 2,000 people," said Sweat. "I don't think I've stood in line at a port-a-john at any festival I've been to in the last two years."

Bands are also profiting. Fees can range into the millions for the big headliners or still supply tens of thousands for less mainstream acts.

"For most bands, to be honest, if it's a good paycheque, you want to go there," said Stephen Malkmus, the former Pavement frontman whose tour with the Jicks included a stop at Coachella. "It can be an anchor for your tour, make it so you didn't lose money."

Whether audience demand will match the increased supply of festivals is one of the big questions of the summer. Ever-rising gas prices also could keep fans at home - or at least at their local venue.

But anyone who truly wants to hit 'shuffle' this summer will have to pick a festival and hop in the car.

-

On the Net:

http://www.bonnaroo.com

See Also

• Jan Garbarek Quartet
• Russell Watson
• Jimmy Eat World chases ‘Light’ on summer trek
• Nobuo Uematsu

4 Strings Ft. Tina Cousins

   
Artist: 4 Strings Ft. Tina Cousins

   Genre(s): 
Trance
   

---

Discography:


   
 Curious (Promo)

   Year: 2006   
Tracks: 5

---

 





Barack Obama Projected To Win North Carolina Primary; Indiana Too Close to Call

Journey's 'Revelation' takes No. 5 via Wal-Mart

The lesson for Journey: Don't stop believin', especially if you have Wal-Mart on your side.

The classic-rock band's new album, "Revelation," debuts this week at No. 5 on the national sales chart with 105,000 copies sold, all of them through Wal-Mart or Sam's Club or the band's website. The deal with Wal-Mart is another example of a veteran music act partnering with a retailer to reconnect with its fan base.

"This is all new to me," Journey guitarist Neal Schon said Wednesday from Germany, where the band was touring. "We finally found a way to get the word out there about our new music and that's been the problem in the past. Wal-Mart is creating a buzz for the album using the store itself."

The first-week sales of "Revelation" were a 1,600% increase over their last album, "Generations" in 2005.

In addition to in-store promotion, the release is getting ink in the retailer's advertising circular, which reaches 85 million households in the U.S.

The album is a three-disc package with new music, new recordings of old hits and a concert DVD. It retails for $11.88.

Also new on the chart this week: Disturbed scores its third No. 1 album with "Indestructible" (282,000 copies sold); Weezer's third self-titled album is at No. 3 (126,000 copies); "The Declaration," the newest from Long Island, N.Y., native Ashanti, is at No. 6 (86,000 copies); and "Perfectly Clear," the career excursion into country by Jewel, is at No. 8 (48,000).

geoff.boucher@latimes.com

Ain't It Funky Now: James Brown items for sale

NEW YORK (Reuters) - Fans of James Brown will have a chance to own some of the legendary soul singer's funky stuff when Christie's puts hundreds of items up for sale on July 17.


The auction house said on Tuesday it will sell some of his instruments, hand-written lyrics, awards and grooming artifacts among 320 lots to be offered at "The James Brown Collection," estimated to take in about $1 million.


A leather belt with a red-and-silver rhinestone buckle reading "Sex Machine" and tooled "We Love You James, Blue Express" is seen fetching $2,000 to $3,000.


The figures are just estimates. The personal effects of the late "Godfather of Soul" have commanded prices two, three and even 10 times expectations.


Among the highlights are Brown's Kennedy Center Honor from 2003 ($10,000 to $15,000) and his 1986 Grammy Award for "Living in America" ($15,000 to $20,000). His jumpsuits, many priced around $5,000, are grouped with other clothing in the sale catalogue by color.


Brown's Yamaha baby grand piano and his Hammond B-3 electric organ with Leslie speakers are each expected to fetch $15,000 to $20,000.


Fans with more modest budgets can consider some photos, hand-written notes and letters estimated at only a few hundred dollars. Other lots such as an engraved silver plate, or sets of cufflinks and studs, are similarly priced.


Brown collected presidential paraphernalia, and the sale will include photos and letters from Presidents Reagan and Bush, as well as a Republican Presidential Task Force Card priced at $200 to $300.