 Artist: James Blood Ulmer Trio: mp3 download Genre(s): Jazz Discography:  Live Zurich Year: 1988 Tracks: 5 Free jazz has not produced many noteworthy guitarists. Experimental musicians careworn to the guitar have had few malarkey role models; consequently, they've typically looked to rock-based players for brainchild. James "Blood" Ulmer is one of the few exceptions -- an outside guitar player world Health Organization has forged a trend based largely on the traditions of African-American lingo music. Ulmer is an disciple of saxophonist/composer Ornette Coleman's vaguely outlined Harmolodic theory, which essentially subverts jazz's harmonic constituent in favour of freely jury-rigged, non-tonal, or quasi-modal counterpoint. Ulmer plays with a stuttering, vocalic oncoming; his lines are often texturally and chordally based, inflected with the emphasis of a soul-jazz tenor voice saxist. That's not to enjoin his sound is untouched by the rock 'n' roll tradition -- the influence of Jimi Hendrix on Ulmer is strong -- merely it's sundry with blues, funk, and release jazz elements. The vector sum music is an expressive, hard-edged, forte amplified hybrid that is, at its charles Herbert Best, on a level with the finest of the Harmolodic school. Ulmer began his vocation playacting in funk bands, first in Pittsburgh (1959-1964) and later around Columbus, OH (1964-1967). Ulmer exhausted iV days in Detroit earlier moving to New York in 1971. He landed a nine-month gig at the noted birthplace of federal Bureau of Prisons, Minton's Playhouse, and played very briefly with Art Blakey. In 1973, he recorded Rashied Ali Quintet with the ex-John Coltrane drummer on the Survival label. That same year, he hooklike up with Ornette Coleman, whose conception affected Ulmer's music thereafter. The guitarist's recordings from the late '70s and early '80s exhibit a singular read on his mentor's artistic. His blues and rock-tinged prowess was, if anything, more raw and aggressive than Coleman's free malarky and funk-derived music (a observation, no incertitude, of Ulmer's chosen instrument), but no less compelling from either an rational or an emotional standpoint. In 1981, Ulmer light-emitting diode the first of triad record dates for Columbia, which helped to queer his music to a wider world. Around this time Ulmer began an connection with tenor saxist David Murray, Bassist Amin Ali, and drummer Ronald Shannon Jackson. As the Music Revelation Ensemble, this intermittent aggregation (with various other members added and subtracted) would bring forth a issue of intense, free-blowing albums over a span of well-nigh deuce decades. Ulmer's work has varied in quality over the eld. In 1987, with the concerted mathematical group Phalanx (George Adams, tenor saxophone; Sirone, sea bass; and Rashied Ali, drums), Ulmer drew successfully on the unloose jazz expressionism that made his diagnose. Generally, however, Ulmer's sake in out idle words waned in the '80s and '90s, to the extent that his music became progressively more structured, rhythmically regular, and (arguably) less imaginative. Much of his after exercise bears scant resemblance to the jittery free jazz he played earlier. Nevertheless, '90s recordings with the Music Revelation Ensemble showed him still capable of playing convincingly in that nervure. Blood dug deep into an probe of the blues as the century off. First he recorded Memphis Blood: The Sun Sessions with guitarist Veron Reid both playing and producing. The album too starred veteran Ulmer sideman Charles Burnham on violin. In 2003 he issued No Escape From the Blues, recorded at Electric Lady studio. A thorouhgly psychedlic funky read on the musical style, Reidand Burnham were portray in the same roles once more, and old acquaintance Olu Dara stopped-up into to contribute as well. In 2005 Blood released Birthright, on Joel DOrn's Hyena label. It is easily his almost intimatre recording. Completely solo in the studio (Thomas Reid erst over again produced) it contains 10 orignals and two covers of classical reportoire and takes Blood's megrims jounrey to an exclusively new stratum. |
Friday 5 September 2008
Download James Blood Ulmer Trio mp3
Tuesday 26 August 2008
Nigel Willmott: The Proms should be broadcast live on BBC television
Last workweek was blockbuster week at the Proms, with Venezuelan wunderkind Gustavo Dudamel returning after his electrifying concert last year with the Simon Bolivar Youth Orchestra, followed by two concerts by Daniel Barenboim and his good act in a unholy world, the Israeli-Palestinian West Eastern Divan orchestra; capped by a Jan�ccirc;ek program conducted by the lordly old man of modernism, Pierre Boulez.
Other programmes over the workweek included ever popular pieces such as Elgar's Enigma Variations and Rimsky-Korsakov's Scheherazade, exactly the kind of thing to attract nonclassical music buffs.
Not surprisingly, seating room at all these concerts, apart from the late-night Barenboim, were sold out in advance. Good news for sometimes embattled classical music, simply arguably not so good for the BBC's license payers world Health Organization underwrite the two-month prom season.
Londoners could of course queue well in boost for the limited standing promenade places, but even this would be too risky for out-of-towners, minded the cost of travel on specification to the capital.
It's true that all concerts ar transmitted on Radio 3 � merely for those who desire to parcel in the excitement of the event, not hardly hear the music, the BBC has the ideal medium (it's called tV). But only the (early) Barenboim and Boulez concerts were broadcast live � a especial disappointment for those wHO wanted to see Dudamel conduct a "proper" orchestra with mainstream repertoire (the Gothenburg Symphony Orchestra with Symphonie Fantastique by Berlioz).
Last year the fag-end of the television year was brightened up by live transmissions of the number one two weeks of the Proms. But just as you settled in to a long August of winding down each evening with a glass of plonk to an undisturbed oasis of intelligent tv on that largely deserted island of BBC4, they stopped.
This yr, we were promised live Proms passim the season. Except the broadcasts on BBC4 are too irregular to build an audience or the audience a habit; and the BBC2 transmissions call on out more often than not not to be "live" in the sense of happening concurrently in the Albert Hall as you watch, just live as in actually performed before an audience at some point � which in this instance, on Saturday night, meant the "Prom" consisted of half of the Boulez and half of the Barenboim concerts from in the first place in the week spatchcocked together. All this leavened by the introduction of populist guests in the inbetween bits, who don't know much about music, but know what they like.
If there's one thing worse than a self-appointed elite, it's a self-appointed elite which lacks all confidence. Which presumably is the only reason it feels unable to simply transmit all the concerts on BBC4, since it presumably has the rights and TV coverage is the musical equivalent of snooker � a couple of camerapeople and a director able to come after a score and show which instruments are carrying the patch at any time. Surely it can't be ratings worries for a distribution channel which � regrettably � doesn't exist on the TV map of around 97% of the universe, anyway? So what did we get instead of the Proms for that much-anticipated Dudamel concert: BBC4 gave us an ancient Batman episode (a echo), and the documentary Black Power Salute � a fine program, but as well a repeat.
BBC4 used to be the best plaza for public cinema, just now Sky's Indie channel generally seems the best bet for seeing what the rest of the world looks like. And Sky Arts now oftentimes offers the best humanistic discipline programming of the week, given the off-air channels' increasing timorousness over whatsoever serious humanities coverage. How long earlier Murdoch finds another corner to slip into and gives us a proper summer season of euphony? It would be the supreme irony if the old deuce ended up with all the topper tunes.
Exciting new artists like Gustavo Dudamel could bring a new youth audience to classical music � simply people have to be able to see him first. We all pay for the Proms. Why should only Londoners and tourists capture to see them?
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Saturday 16 August 2008
1 In 5 Young Men Has Had Recent Prostate Cancer Test
�A fresh analysis finds that one in five men in their 40s has had a prostate specific antigen (PSA) test within the previous class and that young bleak men are more probable than young white men to get undergone the test. The study, published in the September 15, 2008 emergence of CANCER, a peer-reviewed journal of the American Cancer Society, provides valuable information as experts talk about possible changes to prostate gland cancer screening recommendations.
Currently, major medical organizations say evidence is insufficient to recommend subroutine prostate crab screening using PSA or digital rectal exam (DRE). Rather, to the highest degree group recommended men at average risk of exposure discuss with their doc starting at age 50 whether to get well-tried. The American Cancer Society does though recommend that African Americans and manpower with a first stage relative with prostate crab should , have screening every year, begin at historic period 45, and that hands with iI or more than first point relatives with prostate cancer begin testing at age 40.
To shed light on flow PSA screening practices in young work force, Dr. Judd Moul and Dr. Charles Scales, of Duke Prostate Center and Urologic Surgery at Duke University and colleagues obtained data from the 2002 Behavioral Risk Factor Surveillance System, an annual, population-based survey of civilian, noninstitutionalized adults in the United States. The final sample for this study consisted of 58,511 men ages 40 and above.
The investigators found that one in five of them hands had undergone screening in the premature year. Several sociodemographic characteristics were associated with PSA screening in younger work force. In particular, young, black, non-Hispanic work force were more likely than young white, non-Hispanic hands to report having a PSA quiz in the previous year. This finding was main of income, education and access to care. The authors noted that these results are reassuring, display that physicians are more than likely to recommend viewing among sinister men ascribable to this group's elevated risk for prostate cancer. However, they also famous that PSA screening in this radical remains potentially suboptimal; only about 1 in three African American men reported having a PSA test in the previous class.
The appraise also revealed that younger Hispanic workforce were more than likely to undergo PSA testing than younger stanford White, non-Hispanic hands. The chance of undergoing a PSA test was also higher with increasing obesity, as well as with higher household income and educational activity level. Health insurance coverage and an ongoing human relationship with a physician were also powerfully associated with having had a recent PSA screen.
"Our study is the first to specifically examine PSA showing in jr. men, which provides an important assessment of quality of attention, especially for high-risk groups," the authors write. "Further investigation will be compulsory to infer the impact of new risk-stratification strategies, with special focus on the insurance policy implications of potentially big increases in health care resource use".
"Prostate-Specific Antigen cover among young men in the United States."
Charles D. Scales, Jr, Jodi Antonelli, Lesley H. Curtis, Kevin A. Schulman, and Judd W. Moul.
CANCER; Published Online: August 11, 2008 (DOI: 10.1002/cncr23667); Print Issue Date: September 15, 2008.
Wiley-Blackwell
More info
Currently, major medical organizations say evidence is insufficient to recommend subroutine prostate crab screening using PSA or digital rectal exam (DRE). Rather, to the highest degree group recommended men at average risk of exposure discuss with their doc starting at age 50 whether to get well-tried. The American Cancer Society does though recommend that African Americans and manpower with a first stage relative with prostate crab should , have screening every year, begin at historic period 45, and that hands with iI or more than first point relatives with prostate cancer begin testing at age 40.
To shed light on flow PSA screening practices in young work force, Dr. Judd Moul and Dr. Charles Scales, of Duke Prostate Center and Urologic Surgery at Duke University and colleagues obtained data from the 2002 Behavioral Risk Factor Surveillance System, an annual, population-based survey of civilian, noninstitutionalized adults in the United States. The final sample for this study consisted of 58,511 men ages 40 and above.
The investigators found that one in five of them hands had undergone screening in the premature year. Several sociodemographic characteristics were associated with PSA screening in younger work force. In particular, young, black, non-Hispanic work force were more likely than young white, non-Hispanic hands to report having a PSA quiz in the previous year. This finding was main of income, education and access to care. The authors noted that these results are reassuring, display that physicians are more than likely to recommend viewing among sinister men ascribable to this group's elevated risk for prostate cancer. However, they also famous that PSA screening in this radical remains potentially suboptimal; only about 1 in three African American men reported having a PSA test in the previous class.
The appraise also revealed that younger Hispanic workforce were more than likely to undergo PSA testing than younger stanford White, non-Hispanic hands. The chance of undergoing a PSA test was also higher with increasing obesity, as well as with higher household income and educational activity level. Health insurance coverage and an ongoing human relationship with a physician were also powerfully associated with having had a recent PSA screen.
"Our study is the first to specifically examine PSA showing in jr. men, which provides an important assessment of quality of attention, especially for high-risk groups," the authors write. "Further investigation will be compulsory to infer the impact of new risk-stratification strategies, with special focus on the insurance policy implications of potentially big increases in health care resource use".
"Prostate-Specific Antigen cover among young men in the United States."
Charles D. Scales, Jr, Jodi Antonelli, Lesley H. Curtis, Kevin A. Schulman, and Judd W. Moul.
CANCER; Published Online: August 11, 2008 (DOI: 10.1002/cncr23667); Print Issue Date: September 15, 2008.
Wiley-Blackwell
More info
Thursday 7 August 2008
Read Exclusive Pages From Michel Gondry�s New Comic Book
Peripatetic Frenchman Michel Gondry seems fearless to tackle pretty much any
Monday 30 June 2008
Suze Rotolo's revealing look at young Bob Dylan
NEW YORK -- It was one of the most iconic record album covers ever released, and Suze Rotolo was part of it: On a snowy day in 1963, she snuggled with Bob Dylan as the two walked down a Greenwich Village street. "The Freewheelin' Bob Dylan" went on to become one of his best-known records, but the long-haired girl on his arm was always a mystery.
Now, Rotolo has broken years of silence to tell the story of what it was like to fall in love with Bob Dylan at 17, to introduce him to civil rights politics and modern poetry, and to finally break up with him when the pressures of his stardom became too great. Her new book, "A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties," offers a revealing glimpse of the young artist, whom she calls with understatement "an elephant in the room of my life."
"People will always identify Suze as the girl on the album cover, and she's lived with this since 1963, but that's not the reason to read her book," said Sean Wilentz, a Princeton University professor and historian in residence at Dylan's official website. "She evokes a time and place out of which a good deal of contemporary American culture sprang. It was a time of great freedom, when people were figuring out what they want to be, but freedom is scary."
During their turbulent, four-year relationship, Rotolo deeply loved Dylan, who was 20 when they met. She was there when classic songs like "Blowin' in the Wind" and "A Hard Rain's A-Gonna Fall" were new. She looked on with pride, then fear, as celebrity transformed him and other women pursued him. The author finally decided it was time for her to leave and become her own person. But not before an abortion and emotional breakdown shattered her.
"We loved each other very much and when it ended it was mutual heartbreak," she writes in her memoir. "He avoided responsibility. I didn't make it easy for him, either. . . . I knew I was not suited for his life."
"What I really like is that she doesn't go off on an ego trip or point fingers," said Izzy Young, a paterfamilias of the early Greenwich Village folk scene. "Most of the accounts of this time are by guys talking about their career. Suze's book talks about feelings and emotions."
Emotions of the times
Among the hundreds of books about Dylan and his career, Rotolo's memoir ranks as big news. But if devotees are expecting yet another portrait of genius, they'll be disappointed. "A Freewheelin' Time" is one of the first histories of the folk music years written from a woman's perspective, and it goes beyond gossip to ask a pointed question: How did it feel? Rotolo writes that the era mattered because "we all had something to say, not something to sell."
Their love affair blossomed in the hothouse of Greenwich Village, where a folk music revival spurred on the civil rights movement and led to the birth of modern rock culture. On any given night, tiny basement clubs were packed with talent including Dylan, Tom Paxton, Phil Ochs, Peter, Paul & Mary, Eric Andersen, Ian & Sylvia, Dave Van Ronk and Judy Collins, plus such rising young comedians as Woody Allen and Bill Cosby.
Rotolo recalls this era with dazzling anecdotes. But unlike most of the artists who traipse through her pages, she hasn't abandoned the neighborhood. The author, now a 64-year-old artist, still lives there with her husband, a film editor, only a few blocks from the grungy walk-up she once shared with Dylan and the street where the "Freewheelin' " cover was shot.
Given her history and long silence, few would have been surprised if she wrote a tart, tell-all memoir. Yet Rotolo is generous: "He was funny, engaging, intense, and he was persistent," she writes, describing her initial impressions of Dylan, whom she ran into at a folk music festival in 1961. "These words completely describe who he was throughout the time we were together; only the order of the words would shift depending on the mood or circumstance."
The Dylan she knew could withdraw emotionally on a moment's notice or crack up friends with outrageous humor. He'd scribble lyrics to new songs on napkins in cheesy diners. Like a sponge, he absorbed new influences, sometimes not sure if he'd written a song or borrowed it from someone else. Without warning he could be cruel, affectionate or deeply enigmatic.
He also became a hugely influential figure in the Village, and Rotolo was along for the ride. Dylan's celebrity "made it harder for her to walk around for a few years because of that album cover," said John Sebastian, an acquaintance who went on to form the Lovin' Spoonful. "He looked like the ramblin' guy, and she was the perfect girl. Suddenly you were looking for a rumpled leather jacket just like his, and girls were wearing those high boots."
Dylan had blown into town from the Midwest, telling tall tales of how he'd run away from home to join a carnival. But Rotolo's past didn't need embellishment. She was a red diaper baby whose parents were communists. Steeped in left-wing politics, she got involved with the burgeoning civil rights movement and eventually traveled to Cuba in 1964, defying the State Department. A culturally sophisticated person, she read modern poetry, studied art and drawing, and immersed herself in Bertolt Brecht and other avant-garde playwrights.
When they became a couple, Rotolo introduced Dylan to these worlds. Close friends noticed the change: "You could see the influence she had on him," said Sylvia Tyson of Ian & Sylvia. "This is a girl who was marching to integrate local schools when she was 15."
'Her own person'
She was unwilling, however, to be the seventh string on Dylan's guitar.
Although some have idealized the folk era, Rotolo was rebelling against pervasive male chauvinism in the Village before she even had the words to describe it: "I am private by nature, and my instinct was to protect my privacy, and consequently his," she writes. Yet this proved impossible, as Dylan's star soared. "We got on really well, though neither one of us had any skin growing over our nerve endings. We were both over sensitive and needed shelter from the storm."
Her reference to one of Dylan's most famous songs is no accident. Elsewhere, she recalls "roosters crowing at the break of dawn" in the South Village; when the big breakup finally came, "he saw right from his side, and I saw right from mine." Some rock historians believe Rotolo inspired a flock of Dylan tunes, including "Don't Think Twice, It's All Right" and "Tomorrow Is a Long Time." ""I can only imagine what it must have been like to stand in her shoes," said blues singer Maria Muldaur, who lived in the Village in this period. "Suze was her own person, who loved this guy very much. Suddenly people were stepping over her, pushing her aside to talk to him. "It must have been an overwhelming experience."
But will it connect with younger readers today, who have only dim recollections -- if any -- of the Great Folk Scare? Although aging boomers who read the book may be sorely tempted to pull out their old Phil Ochs recordings, others may simply scratch their heads.
Today the neighborhood looks different. Hordes of tourists jam the sidewalks at night and skyrocketing real estate prices drove out the last starving artists long ago. But the idea of what the place once meant, and the continuing need for it, may still be alive.
"As I read the book, I wondered, 'Gee, if my granddaughter picked it up, would it speak to her?' " asked John Cohen, a friend of Rotolo's who formed the New Lost City Ramblers. "I think it would, because she'd ask herself: Is there a Greenwich Village somewhere for me?"
josh.getlin@latimes.com
Now, Rotolo has broken years of silence to tell the story of what it was like to fall in love with Bob Dylan at 17, to introduce him to civil rights politics and modern poetry, and to finally break up with him when the pressures of his stardom became too great. Her new book, "A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties," offers a revealing glimpse of the young artist, whom she calls with understatement "an elephant in the room of my life."
"People will always identify Suze as the girl on the album cover, and she's lived with this since 1963, but that's not the reason to read her book," said Sean Wilentz, a Princeton University professor and historian in residence at Dylan's official website. "She evokes a time and place out of which a good deal of contemporary American culture sprang. It was a time of great freedom, when people were figuring out what they want to be, but freedom is scary."
During their turbulent, four-year relationship, Rotolo deeply loved Dylan, who was 20 when they met. She was there when classic songs like "Blowin' in the Wind" and "A Hard Rain's A-Gonna Fall" were new. She looked on with pride, then fear, as celebrity transformed him and other women pursued him. The author finally decided it was time for her to leave and become her own person. But not before an abortion and emotional breakdown shattered her.
"We loved each other very much and when it ended it was mutual heartbreak," she writes in her memoir. "He avoided responsibility. I didn't make it easy for him, either. . . . I knew I was not suited for his life."
"What I really like is that she doesn't go off on an ego trip or point fingers," said Izzy Young, a paterfamilias of the early Greenwich Village folk scene. "Most of the accounts of this time are by guys talking about their career. Suze's book talks about feelings and emotions."
Emotions of the times
Among the hundreds of books about Dylan and his career, Rotolo's memoir ranks as big news. But if devotees are expecting yet another portrait of genius, they'll be disappointed. "A Freewheelin' Time" is one of the first histories of the folk music years written from a woman's perspective, and it goes beyond gossip to ask a pointed question: How did it feel? Rotolo writes that the era mattered because "we all had something to say, not something to sell."
Their love affair blossomed in the hothouse of Greenwich Village, where a folk music revival spurred on the civil rights movement and led to the birth of modern rock culture. On any given night, tiny basement clubs were packed with talent including Dylan, Tom Paxton, Phil Ochs, Peter, Paul & Mary, Eric Andersen, Ian & Sylvia, Dave Van Ronk and Judy Collins, plus such rising young comedians as Woody Allen and Bill Cosby.
Rotolo recalls this era with dazzling anecdotes. But unlike most of the artists who traipse through her pages, she hasn't abandoned the neighborhood. The author, now a 64-year-old artist, still lives there with her husband, a film editor, only a few blocks from the grungy walk-up she once shared with Dylan and the street where the "Freewheelin' " cover was shot.
Given her history and long silence, few would have been surprised if she wrote a tart, tell-all memoir. Yet Rotolo is generous: "He was funny, engaging, intense, and he was persistent," she writes, describing her initial impressions of Dylan, whom she ran into at a folk music festival in 1961. "These words completely describe who he was throughout the time we were together; only the order of the words would shift depending on the mood or circumstance."
The Dylan she knew could withdraw emotionally on a moment's notice or crack up friends with outrageous humor. He'd scribble lyrics to new songs on napkins in cheesy diners. Like a sponge, he absorbed new influences, sometimes not sure if he'd written a song or borrowed it from someone else. Without warning he could be cruel, affectionate or deeply enigmatic.
He also became a hugely influential figure in the Village, and Rotolo was along for the ride. Dylan's celebrity "made it harder for her to walk around for a few years because of that album cover," said John Sebastian, an acquaintance who went on to form the Lovin' Spoonful. "He looked like the ramblin' guy, and she was the perfect girl. Suddenly you were looking for a rumpled leather jacket just like his, and girls were wearing those high boots."
Dylan had blown into town from the Midwest, telling tall tales of how he'd run away from home to join a carnival. But Rotolo's past didn't need embellishment. She was a red diaper baby whose parents were communists. Steeped in left-wing politics, she got involved with the burgeoning civil rights movement and eventually traveled to Cuba in 1964, defying the State Department. A culturally sophisticated person, she read modern poetry, studied art and drawing, and immersed herself in Bertolt Brecht and other avant-garde playwrights.
When they became a couple, Rotolo introduced Dylan to these worlds. Close friends noticed the change: "You could see the influence she had on him," said Sylvia Tyson of Ian & Sylvia. "This is a girl who was marching to integrate local schools when she was 15."
'Her own person'
She was unwilling, however, to be the seventh string on Dylan's guitar.
Although some have idealized the folk era, Rotolo was rebelling against pervasive male chauvinism in the Village before she even had the words to describe it: "I am private by nature, and my instinct was to protect my privacy, and consequently his," she writes. Yet this proved impossible, as Dylan's star soared. "We got on really well, though neither one of us had any skin growing over our nerve endings. We were both over sensitive and needed shelter from the storm."
Her reference to one of Dylan's most famous songs is no accident. Elsewhere, she recalls "roosters crowing at the break of dawn" in the South Village; when the big breakup finally came, "he saw right from his side, and I saw right from mine." Some rock historians believe Rotolo inspired a flock of Dylan tunes, including "Don't Think Twice, It's All Right" and "Tomorrow Is a Long Time." ""I can only imagine what it must have been like to stand in her shoes," said blues singer Maria Muldaur, who lived in the Village in this period. "Suze was her own person, who loved this guy very much. Suddenly people were stepping over her, pushing her aside to talk to him. "It must have been an overwhelming experience."
But will it connect with younger readers today, who have only dim recollections -- if any -- of the Great Folk Scare? Although aging boomers who read the book may be sorely tempted to pull out their old Phil Ochs recordings, others may simply scratch their heads.
Today the neighborhood looks different. Hordes of tourists jam the sidewalks at night and skyrocketing real estate prices drove out the last starving artists long ago. But the idea of what the place once meant, and the continuing need for it, may still be alive.
"As I read the book, I wondered, 'Gee, if my granddaughter picked it up, would it speak to her?' " asked John Cohen, a friend of Rotolo's who formed the New Lost City Ramblers. "I think it would, because she'd ask herself: Is there a Greenwich Village somewhere for me?"
josh.getlin@latimes.com
Wednesday 25 June 2008
Richards reality show is confirmed
Denise Richards is to star in her own reality TV show in the US, with 'American Idol' host Ryan Seacrest executive producing the new series.
Variety says the series will now debut on E! Entertainment Television this summer and will focus on Richards' life as a single mother.
Commenting on the series, Lisa Berger, Executive Vice President of Original Programming and Series Development for E!, said: "At the core of this series is a resilient single mom who is trying to get her life back on track."
Richards will also work as executive producer on the series.
Variety says the series will now debut on E! Entertainment Television this summer and will focus on Richards' life as a single mother.
Commenting on the series, Lisa Berger, Executive Vice President of Original Programming and Series Development for E!, said: "At the core of this series is a resilient single mom who is trying to get her life back on track."
Richards will also work as executive producer on the series.
Monday 16 June 2008
Weezer - Weezer Star Dreams Up Odd Concert Idea
Quirky WEEZER star RIVERS CUOMO is hoping to persuade fans to show up with instruments at upcoming concerts - so the band can just sing along to their own tunes.
The Buddy Holly singer thinks it would be a novel idea if audiences provided the music and he and his bandmates just showed up to belt out song lyrics.
He explains, "My vision is to invite anyone to bring an instrument, and we'll just jam out Weezer favourites.
"I won't even need a guitar, because there will be hundreds of people playing."
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