Podcast appearances and mentions of Annie Lennox

La neve d'autunno, fa un po' freschino. Il bambino dei Nirvana ha perso la causa contro la band. Robbie Williams e Annie Lennox e le diagnosi di ADHD. Aldo chiude la settimana!

This essay explores the creation of my first released music album, Still I Am, and the fictional artist who carries it: Roxy Vale.But before diving into the music, I want to share the creative process and why I approached it this way.The first music album I created was not Still I Am. It was actually Through the Glass Daisy.Through the Glass Daisy is an album pulled directly from the pages of my upcoming series of novels, “Daisy Chain.” It is an album by a band called “Glass Daisy.” It is part of the world creation and lore in the books, which explore many aspects of our reality creation through the experiences of a reluctant time traveler. And yes, the main character is a fan of “Glass Daisy.”Still I Am, however, is an album that is most directly related to the experiences of the “WE” entering and existing in the physical universe. It is a completely different voice from Glass Daisy.Entering as a soul into a physical experience is a journey that's relatable to most souls, especially those who are here to help humanity return to the light.It is this group that I am interested in, the group that is here to assist the people of Earth in stepping back into the light.Yes, you.OK, let's begin with Roxy Vale and Still I Am.One of the issues with the WE viewpoint is that whenever I bring it to the forefront of my awareness, it seems to turn other people's minds and personalities into an unstructured and universally expanded mush (technical term) that sometimes cannot contain even the smallest amount of intellectual clarity. If I solely concentrate on my expression as a singular person, Inelia, all is usually mostly fine. There is mush involved, but at manageable amounts. There really is no difference between the “me” and the WE except at the level of frequency and band of expression, which admittedly is a lot of difference.After creating the first album, Through the Glass Daisy, which is based on the character's journey through time within a complex structure of light/dark as the WE would see it, I thought maybe we could jump through the illusion of singular expression and create songs based directly on the WE writings that would bypass the reader's “mind mush” response and go directly into one of understanding. The WE have a bunch of articles where we express our journey through humanity's temple.I ran the first WE article through a text-processing AI with the instructions to make a song out of it.The first output was a list of possible titles; there were many. I asked, “What would the human collective of Earth want and understand?” The AI, being a gestalt of the human collective's digital expression, is in a very good position to come up with an accurate answer, and it suggested a few items.However, we have to be aware that it scans the internet for answers, and the internet is a light/dark place. Ultimately, although it can come up with possibilities, the answer has to be one we take ourselves.I decided that I would simply tell the AI what paragraph or point in the article I wanted the song to be about, and it was able to come up with several reasonably good songs. Mostly, though, they missed the point, but they did contain the structure of popular songs. I soon realized that for the WE expression, we also needed a particular voice, as song structure is very dependent on genre.As I scanned the human collective for a voice, I realized that I wanted a voice that one day I might be able to express myself in. In other words, a voice that sang in a way I could sing. I had to make some decisions at this point. Looking back at my own life, I saw that the songs I loved and was able to sing with no problem were from Annie Lennox, Tina Turner, and Freddie Mercury.“What would a female singer sound like if Tina Turner and Freddie Mercury had a baby?” I asked the AI.Several hours later, I had a good grasp of what I wanted to express. I did a test run and made Larry listen to it. “I don't understand what it is; it's not rock, or country, or pop… it's confusing,” he said.At that moment I realized that not only did the voice need to express what I wanted, but it needed to be boxed into a genre.That is how Roxy became a Soul Rock singer, with Americana overtones. Unlike Glass Daisy's lead singer, who is 20 years old and clearly an Ethereal Pop singer, I wanted Roxy to be an adult with a very broad range of tones and styles of singing. And thus the character began to evolve. She is not stuck in Soul Rock and will explore other sounds, including Native songs in different areas of the world. She spends a lot of time playing with her voice and expressions.I wanted her as close to my own voice, personality, and story as I could possibly get without breaking the energy of her as the lovechild of Tina and Freddie - two musical heroes of my life. And at the same time, she had more WE expression than she does of my singular expression, Inelia.Her creation has since cascaded into several other artist personas singing in different genres, styles, and voices (both male and female). But those stories and their characters are for a different essay.Back to Roxy.Once I had her voice and proximity to a genre, I pulled all the WE articles through the AI to get different song structures and ideas.The song-creation process is multi-layered. It didn't take long for me to realize that both text-generation AI and music-generation AI have huge limitations at the moment. They are good instruments for a creator but cannot give back what a person wants 100% with prompts. If anything, the more complex the prompt, the more sideways the AI goes. Long and complex prompts confuse the AI.A cycle began: I would teach the text generator AI what the music generator AI would accept. Then I would tell the text AI what I wanted the music one to do, and it would create a prompt as short as possible to express it in AI language. This method lasts about three times before the text generator forgets the parameters of the other AI and has to be “restarted.”The songs I have in mind have a particular key, a key progression, and a definite structure of delivery. Very early in the process I realized that I had to create some of the sounds myself - a phone ringing, a native drum sound, a succession of keys on a violin or piano - all things that the AI could not understand.Still, to me the process of using these two tools - the text generator and the music generator - was like a heavy chain lifted from my neck. I was now free to create music in a frequency and speed that was not limited by people's egos, monetary concerns (sound studios are expensive to use), or limitations on the sounds of my own voice (naturally feminine and melodic).The process of learning is continuous, and the AI slowly learns (then forgets) what I like. The AI engines are being improved continuously, which brings about the possibility of expansion in the future.One thing I did not like about the music generator is that it has a very narrow band of voice sounds, and most of its songs and “artists” sound the same. The other aspect is that after I create a song with a very unique sound, I see the AI using it for other people's creations. I have heard my words and songs revamped in other users' songs even though I have not published any of my songs to be remixed or listened to on the music AI website - a unique voice no longer unique, for example, and some of my lyrics and tunes underlying other people's songs.If I read the user contract, there will probably be a line somewhere that says that the AI can reuse and learn from whatever I create.I had to process my annoyance because, to tell you the truth, my stuff is very high-frequency, and if it is being used by the AI to create music for other people, then that high-frequency is being propagated through the world. Win-win.The rest of the annoyance is all ego. Now my songs and lyrics are no longer unique. Oh dear.OK, I have given you a summary of Roxy Vale's creation, a summary of my work process using AI. With that done, let's go to the meat and potatoes of this essay.With the groundwork set, we can finally explore the heart of the album itself.Let's now talk about the album Still I Am.There is no better way to discuss this album than by looking at the lyrics in each song. I will post three of the eight songs here, and on our podcast Driving To The Rez, you can hear Larry and me going into great detail about them, as well as listening to the songs themselves. If you don't want to wait, you can get the songs at ineliarecords.com.The first song is called “Bananas and Wind”. Bananas and Wind is a funny one because it explains the experience of communicating with the people of Earth. It is a direct reference to how most direct communication between the WE and people ends up talking about bananas. Bananas came in when trying to describe what the conversation looked like from the perspective of the WE.For example, if talking about the planet Mars, the questions would be like “are there bananas on Mars? If so, what color are they? What do they taste like? How big are they?” Or, if talking about the infinite possibilities of timelines, “are bananas the same color in all timelines?” This song also talks about how when asked a question, a full on translation was needed before the WE could understand what was being asked. And even then, the answer might be so far out of the realm of what a person can conceive that further translation was then needed to explore what the WE said. To be clear, the Bananas are humorous metaphors for the things monkey boys and girls find interesting.Here are the lyrics for “Bananas and Wind”:“Bananas and Wind”You ask me questions shaped like treesI answer back in falling leavesWe talk in circles, fields and soundBut somehow always turn around.You speak in warmth, I speak in airYour stories land, but I'm not thereStill I listen, still I tryTo catch the wind beneath your sky.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, but don't ask me whyBananas and wind - it's where we belongLost in translation, still singing along.I hold the house, the floor, the stoneThe moss that grows, the branch aloneBut when you look, you see your faceReflected back from every place.I don't judge what's high or lowIt's just the way awareness flowsStill I wonder, still I seeHow hard it is to just let be.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, but don't ask me whyBananas and wind - it's where we belongLost in translation, still singing along.We laugh, we watch, we dance, we fallYour world's so big, your world's so smallI'm here to learn, not to believeI listen more than you perceive.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, still don't know whyBananas and wind - it's where we belongLost in translation, still singing along.Bananas… and wind…Still singing along…Don't forget, if you are only reading this, on our podcast Driving To The Rez we will discuss the lyrics further and play the music for you to sing along to :)The next song I am going to share with you is about the experience of the WE of finding a physical universe in the endless possibility of existence:“Dot on the Wall”I didn't see it at first - that tiny markHiding quiet in the darkA dot upon a painted wallBut it changed everything, after all.The ocean spoke, the sand repliedThe sky was laughing all the whileAnd you walked where I could seeFor the first time, you noticed me.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be..They took a grain, they took a pieceThought they owned the earth and seasBut we were more than they could holdA thousand stories left untold.We are the waves, we are the stoneWe are together, never aloneOne moment breaks, and there we areThe space between becomes a star.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be.Planets spin and oceans talkEvery grain of sand can walkDoors appear and doors dissolveStill we rise, still we evolve.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be.First dot on the wall…First step, first call…Now we see…The feeling is very much like that of a sudden dot appearing on a wall that did not have a dot there before. And when you look at it, the dot seemed to have been there since the wall was built.When this happens, we often tell ourselves all sorts of stories about why we had not seen the dot before. But, as it “becomes,” it has always “been.”That is how the physical universe appeared to the WE. One moment it was not there; the next it was - and always had been. Of course, the WE then had to go investigate this dot.The third song of the eight tracks in the album I want to share with you is called “We Are The Sand”“We Are The Sand”We were the sand, golden and wideDancing with oceans, moving with tidesShining and soft, talking for yearsLaughing with water, shedding no tears.We weren't in a hurry, we weren't making plansJust shimmering softly in crystalline bandsMillions of lifetimes beneath the sunWe were the sand, and we were having fun.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sand.One summer day something landed nearBig, hard, metallic, a little unclearHumans in suits, walking aroundScooping up pieces of sky and ground.They couldn't hear us, they couldn't seeHow much we giggled, how wild we could beThey took us with them, to somewhere newBut we were the sand, and they never knew.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sand.Multiplicity in every grainOceans whisper and skies explainFeathers and forests, bodies and handsWe are, we are, and we understand.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sandWe were the sand, and we still areCarried by oceans, cradled by starsIn laughter, in silence, in grains so grandWe were the sand… we are the sand…This song explains the experience remembered of the first time the WE (me) encountered human beings. It happens in a time far into what humans might consider the future. As time is simply the interpretation of movements of solidity through space, this experience could be said to have happened in the distant past also. When speaking of solidity, just a reminder here that thoughts, waves, or energy in any form are considered solid by the WE.I hope you enjoy the music, and enjoy our discussion of the meaning behind the lyrics. As a matter of interest, all my created artists are expressing experience and wisdom learned as WE live as Inelia. Many of these experiences are deeply felt by individuals who have gone through the veil to enter into physical life.One of the thoughts that often crosses my mind is how unique we all are on Earth, and yet how the experience of entering a light/dark containment can echo in strikingly similar ways for light-beings everywhere. By recognizing and sharing these echoes, the hold they once had over us dissolves - leaving us with the power to rise, together, into something brighter.In sharing our journeys, we shatter the illusion created by darkness - and together we embody the light. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.drivingtotherez.com/subscribe

Helena vandrar i kvarteren där caféer, barer och restauranger samsas med järnhandlare, barberare, strumpaffär och lyxrenoverade townhouse. Hon körar (nästan) åt Annie Lennox och Catharina inspirerar (nästan) till en ny tv-serie.Mallorcapodden - för dig som bor på, reser till eller bara drömmer om Mallorca. Hosted on Acast. See acast.com/privacy for more information.

The multi award-winning singer songwriter Annie Lennox has been part of the musical landscape for almost 50 years, from her days in The Tourists, to the Eurythmics and then going solo. Now at the age of 70, Annie has brought out a book of photographs called Annie Lennox: Retrospective, and talks to Nuala McGovern about her life and career.President Trump has said that pregnant women should avoid paracetamol because of the risks of autism and that US doctors will soon be advised not to prescribe Tylenol, as paracetamol is known in the US, to pregnant women. However he didn't provide any scientific evidence for this. UK health officials have stressed that paracetamol remains the safest painkiller available to pregnant women, and Health Secretary Wes Streeting has told women to ignore Trump's comments. Nuala is joined by Dr Alex Tsompanidis, senior research associate at the Autism Research Centre at Cambridge University and the BBC's Health reporter, Jim Reed.It's a year since the death of Alice Webb, the first woman in the UK to die from complications after a liquid Brazilian butt lift, a non-surgical procedure injecting filler into the buttocks. You don't need to have any medical qualifications to carry out the procedure. We talk to Sasha Dean who had terrifying complications after a liquid BBL and to David Sines from the JCCP, which runs a voluntary regulator for practitioners.Are you guilty of ‘phubbing'? It's the process of snubbing the person you are with in person by looking at your phone. New research shows that these phone snubs can have a huge impact on relationships. Dr Claire Hart, Associate Professor of Psychology at the University of Southampton, tells us about her findings and Dr Kaitlyn Regehr, University College London and author of Smartphone Nation, discusses the impact parental phubbing can have on children.

The Guilty Feminist 449. Live from the London Podcast FestivalPresented by Deborah Frances-White and Jessica Fostekew with special guests Josie Naughton and Amira Nimerawi Recorded 14 September 2025 at the London Podcast Festival. Released 22 September.The Guilty Feminist theme composed by Mark Hodge. Get Deborah's new book with 30% off using the code SIXCONVERSATIONSPOD https://store.virago.co.uk/products/six-conversations-were-scared-to-haveMore about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://www.instagram.com/dfdubzhttps://www.virago.co.uk/titles/deborah-frances-white/six-conversations-were-scared-to-have/9780349015811https://www.virago.co.uk/titles/deborah-frances-white/the-guilty-feminist/9780349010120More about Jessica Fostekewhttps://www.instagram.com/jessicafostekewhttps://jessicafostekew.comMore about Josie Naughton and Choose.Lovehttps://choose.lovehttps://www.instagram.com/chooseloveMore about Amira Nimerawihttps://www.instagram.com/amiranimerawihttps://www.instagram.com/healthworkers4palestinehttps://www.instagram.com/palestinianmedicalreliefsocFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTMore Big Speeches workshops now available https://guiltyfeminist.com/big-speeches/Come to a live showWomen and Words, 21 September https://cadoganhall.com/whats-on/women-and-words-30-year-celebration-of-the-womens-prize-for-fiction/Director Talk – RSC Stratford, 22 September https://secure.rsc.org.uk/58366 In Conversation with Annie Lennox, 26 September https://www.vam.ac.uk/event/bJWolgKZX/annie-lennox-in-conversationFemonomics: Using Data to Improve Women's Lives, 6 October https://www.eventbrite.co.uk/e/femonomics-using-data-to-improve-womens-lives-tickets-1606840797079Cheltenham Book Festival with Poorna Ball, 11 October https://www.cheltenhamfestivals.org/events/deborah-frances-whiteWimbledon Book Fest with Jessica Swale, 21 October https://www.wimbledonbookfest.org/events/jessica-swale/Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

"Musik ist Liebe!"  Nur selten hatte ich jemanden vor dem Mikrofon, bei dem das Interview auf so vielen Ebenen unfassbar spannend und einnehmend war. Sperie Karas, Steve Gadd vielleicht, das sind diese Momente, bei denen alles still zu stehen scheint und irgendwie alles wieder ganz neu ist. So auch geschehen mit Rhani Krija. Rhani wurde in Marokko geboren, aber Herkunft und Landeszugehörigkeiten scheinen für ihn keine Rolle zu spielen. Wieso auch! Denn die Welt ist seine Heimat. Und so dreht sich das Interview zum einen um die Musiker und Musikerinnen, die Rhani bereits begleiten durfte: Sarah Connor, Xavier Naidoo, Herbert Grönemeyer, Klaus Doldinger, Joe Zawinul, Herbie Hancock, Chick Corea, Marcus Miller, Annie Lennox, Al Di Miola, Peter Gabriel, Prince, Stevie Wonder und vor allem: Sting. Seit nunmehr über 20 Jahren setzt Sting sowohl bei Aufnahmen als auch bei Tourneen auf den Kölner Percussionisten. Und zum anderen ist die Welt der Musik ständiger Gast bei ihm, in seinem Herzen. Als Rhani irgendwann im Interview den Satz sagt "Musik ist die universelle Sprache, da gibt es kein falsch oder richtig. Musik ist einfach nur Liebe!", sehe ich in seinen Augen, dass er das nicht nur sagt, sondern, dass sein Herz aus ihm spricht. Und als sei das nicht schon überraschend genug, erzählt Rhani fast beiläufig: "Ja, da bin ich Vinnie Colaiuta über den Weg gelaufen im Hotel. Wir hatten alle zusammen ein Recording mit Sting und ich fragte, wer bist du - Der Drummer bei Sting und du? - Der Percussionist - Cool, zeigst du mir ein paar Grooves? Wir haben uns sofort super verstanden und ich nahm ihn mit und zeigte ihm einige der Rhythmen. Die Tour hat dann aber Keith Carlock gespielt. Ganz anderer Typ, aber auch ein toller Drummer..." Ich sage nur: Mic Drop und sofort in diese abgefahrene Folge reinhören... Mehr zu Rhani Krija hier: https://www.rhanikrija.com/#contact Auf Instagram: https://www.instagram.com/rhani_krija/?hl=de Auf Wikipedia: https://de.wikipedia.org/wiki/Rhani_Krija Bei YouTube: https://youtu.be/-mqHJi-ohgE?feature=shared Und hier: unter anderem: https://youtu.be/rxKqrKl86OQ?feature=shared Wenn ihr Fragen, Anregungen oder Kritik zur neuen Serie habt, schreibt am besten an: felix@einfachschlagzeug.de Außerdem freu ich mich, wenn du auf der Seite von Einfach Schlagzeug mal vorbeischaust unter https://einfachschlagzeug.de/ Kapitelmarker: 00:09 - Start 10:53 - Zero Mind State 23:46 - Male die Musik 32:31 - Schnellfragerunde 36:14 - Sting 49:45 - Vinie Wer? 59:27 - Die Wurzel des Baumes

Last week the "How We Heard It" hosts came up with a list of the greatest women singers in modern music, debating Janis Joplin vs. Whitney Houston and Karen Carpenter vs. Barbra Streisand while also finding endless praise for everyone from Aretha Franklin to Linda Ronstadt to Annie Lennox to Billie Eilish. This week, "How We Heard It" pivots to men singers, going back in time to crooners like Frank Sinatra and Bing Crosby and country legends like Hank Williams and George Jones. From there, the hosts come forward, breezing through classic singer-songwriters like Jim Croce and James Taylor, R&B pioneers such as Ray Charles, Marvin Gaye and Stevie Wonder, and all manner of rock singers, including Elvis Presley and Freddie Mercury, while pausing to engage in the inevitable Paul McCartney vs. John Lennon debate. The 1980s and 1990s are represented by the likes of Bruce Springsteen, Prince, Sting, Robert Palmer, Michael Hutchence, Trent Reznor, Vince Gill and Randy Travis. And today's stars are also evaluated, including Post Malone, The Weeknd, Harry Styles, Benson Boone and John Legend. Meanwhile, you might be surprised to find out where many of the others fall into place, including Elton John, Willie Nelson, Michael Jackson and Robert Plant. Especially Robert Plant.

Singer, activist, pop legend. Annie Lennox has left an indelible mark on music and visual culture for decades. In her new book “Annie Lennox: Retrospective” (Rizzoli), she takes a trip down memory lane from a photographic and image-making perspective. On this Season 14 premiere, Dan speaks with Lennox about the origins of her musical talents, the story behind the genesis of Eurythmics, how a trip to a pawn shop spurred an era of iconic visual creations, the time she performed live with David Bowie, and much more. Hosted on Acast. See acast.com/privacy for more information.

Hocus Focus Mix met Shouse, RUN DMC, Jason Nevins, Duke Dumont, Adele, David Guetta, Sia, Eurythmics, Annie Lennox, Dave Stewart, Rose & Bruno Mars

Hør historien om pigen, fra den nordlige skotske by Aberdeens vej til toppen af den internationale musikscene. Hun fik sit første hit med gruppen Tourists, derefter dannede hun Eurythmics med Dave Stewart. De fik et verdensomspændende hit med deres andet album Sweet Dreams og singlen Love Is A Stranger. Efter Eurythmics fik hun kæmpe succes … Læs videre "Annie Lennox & Eurythmics"

Album Medusa của diva Annie Lennox chính thức bước sang tuổi 30 vào năm 2025. Tuyển tập ca khúc trong Medusa đã nghĩa lại cover tác phẩm kinh điển qua nhãn quan của diva hàng đầu. Tầm vóc diva nước Anh Anniex Lennox là trụ cột, ca sỹ/nhạc sỹ chính của nhóm nhạc Eurythmics, Anh Quốc cùng với tay guitar kiêm nhạc sỹ Dave Steward. Bộ đôi gặt hái thành công vang dội trong thập niên 1980 nhờ các bản hit như Sweet Dream, Here comes the rain theo trào lưu synth-pop, new wave. Sinh năm 1954 tại Aberdeen, Scotland (Anh), bà tạo ấn tượng mạnh nhờ phong cách nổi loạn: tóc ngắn, nhuộm màu cam, mắt tô chì đen lạnh lùng. Sau thành công của nhóm Eurythmics, Annie Lennox tách ra hát solo bằng album kinh điển Diva (1992). Abum này được giới phê bình và khán giả đón nhận nồng nhiệt với nhiều bản hit như Why (Tại sao), Walking on broken glass (Bước trên thủy tinh vỡ). Nhờ chất giọng contralto, Annie có dấu riêng bản sắc giọng và ca khúc đậm chất thơ với nhà sản xuất Stephen Lipson. Các ca khúc gắn tới tên tuổi bà được chăm chút kỹ lưỡng từ giai điệu, ca từ, phối khí. Đáng chú ý  Annie Lennox là đồng tác giả sáng tác nhiều ca khúc trong album Diva. Album Medusa gây tranh cãi Medusa, album solo thứ hai trong sự nghiệp của nữ diva Scotland, sản xuất năm 1995 lại tạo nên tranh luận trái chiều. Toàn bộ album hát lại (cover) các tác phẩm kinh điển của Neil Young, Bob Marley, Al Green. Hình bìa album, Annie Lennox hóa thân thành quái vật Medusa có sức mạnh “hóa đá” người nghe. Tờ AllMusic cho rằng Annie Lennox chọn đôi giày quá rộng và quá sức của diva, nên chăng tập trung vào một thể loại có thế mạnh. Tờ Rollingstone ưu ái hơn với album Medusa, cho rằng nỗ lực của Annie Lennox ngang ngửa album solo đầu tay Diva. Ca khúc mở màn và đinh nhất của album là No More I love you (Em không còn yêu anh) hát lại của nhóm Lover Speaks. Bản gốc của nhóm nhạc Anh chỉ lọt vào hạng 58 bảng xếp hạng Anh Quốc, nên rất ít tiếng tăm. Nhờ bàn tay phù thủy nhà sản xuất Stephen, bản cover có cấu trúc rõ nét và mạch lạc. Diva thể hiện lối hát liêu trai cùng chất giọng đặc trưng. Bà đẩy được cao trào bản nhạc, luyến láy và tạo được bản sắc cá nhân. Lớp phối khí dày và chất giọng diva bay bổng trong bản cover mà khán giả quên hẳn bản gốc. Ca khúc leo lên hạng nhì bảng xếp hạng Anh và giành giải Grammy 1995 – Trình diễn pop xuất sắc nhất. Ví dụ này cho thấy sự độc đáo trong cách làm mới ca khúc nhờ khai thác giai điệu cốt lõi và thế mạnh của ca sỹ thể hiện. Thành công thương mại Album gặt hái thành công thương mại đáng kể nhờ bản hit No more I love you. Album đứng thứ 11 trong bảng xếp hạng Billboard 200 album bán chạy nhất tại Mỹ cùng năm. Con dao hai lưỡi của No more I love you khiến cho các đĩa đơn tiếp theo trong album bị đặt lên bàn cân. Đĩa đơn thứ hai, A Whiter Shade of Pale, hát lại bản gốc nhóm rock Anh, Procol Harum năm 1967. Bản nhạc gốc có giai điệu khá hấp dẫn với ca từ khó hiểu với nhiều tầng lớp ẩn dụ văn học. Đại ý tình cảm nam nữ phát sinh sau khi đã say men trong bữa tiệc đêm hè. Bản phối tao nhã nhờ tiếng keyboard nền nã làm nền chắc chắn cho giọng ca Annie. Một tác phẩm khác được bà hát lại, Take me to the river (Đưa em tới con sông) của Al Green. Bản nhạc gốc được thể hiện theo thể loại R&B và soul còn diva kịch tính hơn với chất pop/rock. Trong Don't let it bring you down (Đừng để điều đó khiến bạn thất vọng), nhà sản xuất đem tới hơi thở mới cho bản gốc của nam rocker Neil Young. Phần intro (mở bài) có giai điệu rất bắt tai và phần kết thúc có độ ngân nga kéo dài. Chất giọng nữ cao của Annie làm chủ được cuộc chơi, phơi bày được giai điệu cuốn hút nhất. Kỹ thuật và bản năng âm nhạc Đề cập tới phổ âm nhạc rất rộng trong album, Annie chia sẻ : “Album tuyển chọn những bài hát tôi bị thu hút bởi nhiều lý do. Tôi không chọn dựa trên chủ đề hay nội dung cụ thể mà chỉ là bản năng âm nhạc hơn là sự tính toán. Tôi rất biết ơn cơ hội này vì sản phẩm này thực sự là lao động nghệ thuật đích thực.” Giải thích của Annie cho thấy bản năng nghệ thuật mạnh mẽ của bà kết hợp cùng kỹ thuật đỉnh cao. Thách thức của tác phẩm kinh điển của nhóm pop/rock thập niên 1960,70 như The Clash, Temptation, Paul Simon không làm nản lòng Annie. Tuy là album cover, nữ diva biết cách phiên dịch ngôn ngữ và giai điệu âm nhạc theo bản sắc của riêng bà. Tờ Metro Weekly cho rằng bà thâu tóm được giai điệu chủ đạo bài hát và thể hiện chất giọng đặc biệt của mình trên nền giai điệu cô đọng đó. Bản nhạc Train in vain hay I can't get next to you là món ăn mới lạ cho những khán giả quen thuộc công thức gốc nhờ tiết tấu beat mạnh mẽ và guitar Tây Ban Nha. Không thể phủ nhận vai trò nhà sản xuất Stephen trong việc chế biến “bữa tiệc” âm thanh phong phú trong Downtown Lights hay The Thin Line Between Love and Hate (Ranh giới giữa yêu và hận thù). Đĩa đơn thứ ba của album, Waiting in vain (Chờ đợi vô vọng) là thành công khác của album. Annie thể hiện bản tình ca rất nền nã, lắng đọng trên giai điệu guitar so với bản nhạc raggage gốc của Bob Marley. Nếu đặt các bản gốc và bản cover cạnh nhau, khán giả mới cảm nhận sự khác biệt và mức độ sáng tạo đỉnh cao. Cho dù làm mới ở mức độ nào, người nghe nhận ra chất giọng và lối thể hiện dấu ấn cá nhân của Annie Lennox. Bản phối mới có sự đầu tư kỹ lưỡng , tính toán tỷ mỉ sao thể hiện ý đồ của nữ diva. Ba thập kỷ trôi qua, album Medusa (1995) được đánh giá là một trong các sản phẩm xuất sắc trong sự nghiệp solo của diva Annie Lennox. Tuyển tập ca khúc trong Medusa định nghĩa lại một cách hoàn hảo thế nào là hát lại những bản nhạc kinh điển. Không nhiều nghệ sỹ xuất sắc hơn Annie Lennox, làm mới toàn diện, chắt chiu linh hồn bài hát gốc. Quan trọng nhất, nữ điva thể hiện bản sắc cá nhân nổi bật. (Theo All Music, Metro Weekly, Rollingstone, Wikipedia)

Album Medusa của diva Annie Lennox chính thức bước sang tuổi 30 vào năm 2025. Tuyển tập ca khúc trong Medusa đã nghĩa lại cover tác phẩm kinh điển qua nhãn quan của diva hàng đầu. Tầm vóc diva nước Anh Anniex Lennox là trụ cột, ca sỹ/nhạc sỹ chính của nhóm nhạc Eurythmics, Anh Quốc cùng với tay guitar kiêm nhạc sỹ Dave Steward. Bộ đôi gặt hái thành công vang dội trong thập niên 1980 nhờ các bản hit như Sweet Dream, Here comes the rain theo trào lưu synth-pop, new wave. Sinh năm 1954 tại Aberdeen, Scotland (Anh), bà tạo ấn tượng mạnh nhờ phong cách nổi loạn: tóc ngắn, nhuộm màu cam, mắt tô chì đen lạnh lùng. Sau thành công của nhóm Eurythmics, Annie Lennox tách ra hát solo bằng album kinh điển Diva (1992). Abum này được giới phê bình và khán giả đón nhận nồng nhiệt với nhiều bản hit như Why (Tại sao), Walking on broken glass (Bước trên thủy tinh vỡ). Nhờ chất giọng contralto, Annie có dấu riêng bản sắc giọng và ca khúc đậm chất thơ với nhà sản xuất Stephen Lipson. Các ca khúc gắn tới tên tuổi bà được chăm chút kỹ lưỡng từ giai điệu, ca từ, phối khí. Đáng chú ý  Annie Lennox là đồng tác giả sáng tác nhiều ca khúc trong album Diva. Album Medusa gây tranh cãi Medusa, album solo thứ hai trong sự nghiệp của nữ diva Scotland, sản xuất năm 1995 lại tạo nên tranh luận trái chiều. Toàn bộ album hát lại (cover) các tác phẩm kinh điển của Neil Young, Bob Marley, Al Green. Hình bìa album, Annie Lennox hóa thân thành quái vật Medusa có sức mạnh “hóa đá” người nghe. Tờ AllMusic cho rằng Annie Lennox chọn đôi giày quá rộng và quá sức của diva, nên chăng tập trung vào một thể loại có thế mạnh. Tờ Rollingstone ưu ái hơn với album Medusa, cho rằng nỗ lực của Annie Lennox ngang ngửa album solo đầu tay Diva. Ca khúc mở màn và đinh nhất của album là No More I love you (Em không còn yêu anh) hát lại của nhóm Lover Speaks. Bản gốc của nhóm nhạc Anh chỉ lọt vào hạng 58 bảng xếp hạng Anh Quốc, nên rất ít tiếng tăm. Nhờ bàn tay phù thủy nhà sản xuất Stephen, bản cover có cấu trúc rõ nét và mạch lạc. Diva thể hiện lối hát liêu trai cùng chất giọng đặc trưng. Bà đẩy được cao trào bản nhạc, luyến láy và tạo được bản sắc cá nhân. Lớp phối khí dày và chất giọng diva bay bổng trong bản cover mà khán giả quên hẳn bản gốc. Ca khúc leo lên hạng nhì bảng xếp hạng Anh và giành giải Grammy 1995 – Trình diễn pop xuất sắc nhất. Ví dụ này cho thấy sự độc đáo trong cách làm mới ca khúc nhờ khai thác giai điệu cốt lõi và thế mạnh của ca sỹ thể hiện. Thành công thương mại Album gặt hái thành công thương mại đáng kể nhờ bản hit No more I love you. Album đứng thứ 11 trong bảng xếp hạng Billboard 200 album bán chạy nhất tại Mỹ cùng năm. Con dao hai lưỡi của No more I love you khiến cho các đĩa đơn tiếp theo trong album bị đặt lên bàn cân. Đĩa đơn thứ hai, A Whiter Shade of Pale, hát lại bản gốc nhóm rock Anh, Procol Harum năm 1967. Bản nhạc gốc có giai điệu khá hấp dẫn với ca từ khó hiểu với nhiều tầng lớp ẩn dụ văn học. Đại ý tình cảm nam nữ phát sinh sau khi đã say men trong bữa tiệc đêm hè. Bản phối tao nhã nhờ tiếng keyboard nền nã làm nền chắc chắn cho giọng ca Annie. Một tác phẩm khác được bà hát lại, Take me to the river (Đưa em tới con sông) của Al Green. Bản nhạc gốc được thể hiện theo thể loại R&B và soul còn diva kịch tính hơn với chất pop/rock. Trong Don't let it bring you down (Đừng để điều đó khiến bạn thất vọng), nhà sản xuất đem tới hơi thở mới cho bản gốc của nam rocker Neil Young. Phần intro (mở bài) có giai điệu rất bắt tai và phần kết thúc có độ ngân nga kéo dài. Chất giọng nữ cao của Annie làm chủ được cuộc chơi, phơi bày được giai điệu cuốn hút nhất. Kỹ thuật và bản năng âm nhạc Đề cập tới phổ âm nhạc rất rộng trong album, Annie chia sẻ : “Album tuyển chọn những bài hát tôi bị thu hút bởi nhiều lý do. Tôi không chọn dựa trên chủ đề hay nội dung cụ thể mà chỉ là bản năng âm nhạc hơn là sự tính toán. Tôi rất biết ơn cơ hội này vì sản phẩm này thực sự là lao động nghệ thuật đích thực.” Giải thích của Annie cho thấy bản năng nghệ thuật mạnh mẽ của bà kết hợp cùng kỹ thuật đỉnh cao. Thách thức của tác phẩm kinh điển của nhóm pop/rock thập niên 1960,70 như The Clash, Temptation, Paul Simon không làm nản lòng Annie. Tuy là album cover, nữ diva biết cách phiên dịch ngôn ngữ và giai điệu âm nhạc theo bản sắc của riêng bà. Tờ Metro Weekly cho rằng bà thâu tóm được giai điệu chủ đạo bài hát và thể hiện chất giọng đặc biệt của mình trên nền giai điệu cô đọng đó. Bản nhạc Train in vain hay I can't get next to you là món ăn mới lạ cho những khán giả quen thuộc công thức gốc nhờ tiết tấu beat mạnh mẽ và guitar Tây Ban Nha. Không thể phủ nhận vai trò nhà sản xuất Stephen trong việc chế biến “bữa tiệc” âm thanh phong phú trong Downtown Lights hay The Thin Line Between Love and Hate (Ranh giới giữa yêu và hận thù). Đĩa đơn thứ ba của album, Waiting in vain (Chờ đợi vô vọng) là thành công khác của album. Annie thể hiện bản tình ca rất nền nã, lắng đọng trên giai điệu guitar so với bản nhạc raggage gốc của Bob Marley. Nếu đặt các bản gốc và bản cover cạnh nhau, khán giả mới cảm nhận sự khác biệt và mức độ sáng tạo đỉnh cao. Cho dù làm mới ở mức độ nào, người nghe nhận ra chất giọng và lối thể hiện dấu ấn cá nhân của Annie Lennox. Bản phối mới có sự đầu tư kỹ lưỡng , tính toán tỷ mỉ sao thể hiện ý đồ của nữ diva. Ba thập kỷ trôi qua, album Medusa (1995) được đánh giá là một trong các sản phẩm xuất sắc trong sự nghiệp solo của diva Annie Lennox. Tuyển tập ca khúc trong Medusa định nghĩa lại một cách hoàn hảo thế nào là hát lại những bản nhạc kinh điển. Không nhiều nghệ sỹ xuất sắc hơn Annie Lennox, làm mới toàn diện, chắt chiu linh hồn bài hát gốc. Quan trọng nhất, nữ điva thể hiện bản sắc cá nhân nổi bật. (Theo All Music, Metro Weekly, Rollingstone, Wikipedia)

This week we look at communion on the moon; banning Jews in Edinburgh; Kate Forbes resigns;  Lord of the Rings;  England v. India;  Country of the Week - India; Prison Officers compelled to lie; Chinese spies in the UK;  Angela Rayner and Muslim Heritage Month; Brisbane Anglicans reject Scripture; the Dutch self-generating sea wall;  the Chinese Vertical Forest City; The News Agents on the Quiet Revival;  the closure of Spurgeons College and Trinity; Feedback on Gaza; Niall Ferguson on genocide;  recognising Palestine: Major Andrew Fox on Triggernometry;  Final Word - Psalm 46  -  With music from REM; Radiohead; Booker T and the MGs;  Shankar- Essen- Loy;  Bridge Music; Golden Earring; Annie Lennox;  and Larry Norman;    

In this special episode of Sippin on Excellence, we are so honored to sit down with the legendary Annie Lennox for a raw, unscripted conversation about life beyond the spotlight.   From finding her voice in music to becoming a powerhouse in activism and philanthropy. Annie opens up about identity, purpose, and the courage to speak without shouting. She shares how introversion shaped her artistry and how authenticity shaped her mission.   This isn't just a music icon story—it's a masterclass in living loud… even in silence.   Questions, reviews and topics you would like to hear on the show:   Website: podcastsoe.com.   Instagram: @soe_podcast     YouTube: @sippinonexcellence3736   Connect with Doc! Website: huntspine.com       Instagram: @leonelhunt   Connect with Coach KJ! Website: coachkj.com       Instagram: @coachkjknows

Achtet auf das ⓦ

Today, YNL discusses Sometime Around Midnight by The Airborne Toxic Event and Would I Lie To You by Eurythmics and Annie Lennox. If you think you don't like these songs, then You're Not Listening. So #CleanOutYourEars and #ListenUp! ⁠Click Here⁠ for the Official You're Not Listening Spotify Playlist! Every song that is discussed on YNL is on this playlist, as well as the most recent episode! To hear these songs on Youtube, click the links below! -⁠Sometime Around Midnight Official Video⁠ -⁠Would I Lie To You Official Video Other Links from this episode: Check out more amazing music podcasts at ⁠www.pantheonpodcasts.com⁠! If you enjoy this podcast, please make sure you SUBSCRIBE, rate & review, and reach out to us! ⁠Click here to visit our website!⁠ YNL Gear: ⁠TeeSpring Store!⁠ Twitter: ⁠@YNLPodcast⁠ Facebook: ⁠You're Not Listening⁠ Instagram: ⁠@YNLPodcast⁠ If you'd like to Support You're Not Listening, please check out ⁠our Patreon page⁠ and become a patron to get access to all of our extra content, exclusive playlists, and more! For your FREE in-home trial of 5 different glasses frames from Warby Parker, go to ⁠www.warbyparkertrial.com/notlistening⁠!  Thanks so much for (not)listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Tribut de Sarah Kane amb seqüeles de Rubens. Crítica teatral de l'obra «The Brotherhood». Concepte, text i direcció: Carolina Bianchi. Intèrprets: Chico Lima, Flow Kountouriotis, José Artur, Kai Wido Meyer, Lucas Delfino, Rafael Limongelli, Rodrigo Andreolli, Tomás Decina, Carolina Bianchi. Dramatúrgia i soci de recerca: Carolina Mendonça. Diàleg sobre teoria i dramatúrgia: Silvia Bottiroli. Traducció a l'anglès: Marina Matheus. Traducció al francès:Thomas Resendes. Direcció tècnica, disseny de so, música original: Miguel Caldas. Assistent direcció: Murillo Basso. Concepte escenografia: Carolina Bianchi, Luisa Callegari. Direcció art i vestuari: Luisa Callegari. Disseny il·luminació: Jo Rios. Vídeos i projeccions: Montserrat Fonseca Llach. Resurrecció coreogràfica del pròleg i assessora de moviment: Jimena Pérez Salerno. Càmera en viu i suport artístic: Larissa Ballarotti. Pràctiques: Fernanda Libman. Fotos: Mayra Azzi. Regidora i suport de producció: AnaCris Medina. Assistent de producció: Zuzanna Kubiak. Direcció producció, gestió gires i comunicació: Carla Estefan. Relacions internacionals, producció i difusió: Metro Gestão Cultural (BR). Producció de Metro Gestão Cultural (BR), Carolina Bianchi Y Cara de Cavalo. Trilogia Cadela Força – Capítol II. En coproducció amb KVS Koninklijke Vlaamse Schouwburg -Brussel·les, Theater Utrecht, La Villette –París, Festival d’Automne à Paris, Comédie de Genève, Internationales Sommer Festival Kampnagel, Les Célestins –Théâtre de Lyon, Kunstenfestivaldesarts, Wiener Festwochen, Holland Festival, Frascati Producties HAU Hebbel am Ufer -Berlín i Maillon, Théâtre de Strasbourg. Amb el suport de Tax shelter van de Belgische Federale Overheid a través de Cronos Invest, The Ammodo Foundation-NL. Relacions internacionals. Festival Grec 2025. Sala Fabià Puigserver, Teatre Lliure Montjuïc, Barcelona. De l'11 al 12 de juliol 2025. Veu: Andreu Sotorra. Música: Sweet Dreams (Are Made of This). Intepretació: Annie Lennox, Dave Stewart, Eurythritmics. Composició: Annie Lennox i David Sewart. Àlbum: Geatest Hits, 1991.

Have you ever wondered what it really takes to produce a classic hit? Or what goes through a producer's mind when they're building a song from the ground up—or tearing it down to start again? Here to help us understand that process is Stephen Lipson. Stephen is the legendary producer and creative mastermind behind iconic tracks from Frankie Goes to Hollywood, Grace Jones, Annie Lennox, Simple Minds and many more including collaborations on film music such as  Batman: The Dark Knight Rises, The Lion King and Top Gun: Maverick.  From behind-the-scenes studio secrets to philosophical reflections on the role of music and technology, this conversation is a deep dive into the life of a modern music craftsman.

In this episode, Bernie sits down with monitor engineer Charles “Chopper” Bradley. Chopper discusses his journey from growing up in Dewsbury to mixing sound for legendary acts like Duran Duran, Annie Lennox, UB40, and Harry Styles. He shares stories of early mentors, lucky breaks, and the reality of life on the road. Chopper offers insights into the technical challenges of monitor mixing, the evolution of digital audio, and what makes a great mix on stage. He also explains how his expertise led him into AV design for luxury yachts and residences.instagram.com/superyachtavsuperyacht-av.com******************************************Hungry for more?Check us out at https://isbreakfast.com******************************************

Pro wrestling has plenty of stipulation matches, but one of the most common is the Street Fight. It's essentially just another name for a No DQ match... or a Hardcore match... or a Weapons Wild match... or whatever other silly name you come up with. Regardless of the name, this match type has inspired this episode. Andrew and returning guest Warren Hayes (The Mr. Warren Hayes Show, Voices of Wrestling) play songs that have street suffixes in the title (street, road, drive, avenue, etc.), or in some cases are the names of actual streets. Artists played include Elton John, TSHA, Radiohead, Annie Lennox, Bobby Womack, Portishead, Yellowcard, and many more. Put on a sleeveless t-shirt and strap your kneepads over your jeans, because this episode is one big street fight you don't want to miss!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrew / @mrwarrenhayes.showSubscribe to Warren on YouTube: Youtube.com/@MrWarrenHayesAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ce 18 juin dans Pop Rock Station, Marjorie Hache célèbre les 83 ans de Paul McCartney avec "The Back Seat of My Car", extrait de "Ram", son album en duo avec Linda. La soirée se poursuit avec King Gizzard and the Lizard Wizard et leur titre "Pansych", tiré de "Phantom Island", l'album de la semaine. Côté découvertes, on écoute Luke Spiller (The Struts) en solo, la nouveauté folk-punk des Écossais Brogeal avec "Vicar Street Days", et une reprise de "A Whiter Shade of Pale" de Procol Harum signée Annie Lennox. Pulp - Got To Have Love The Cure - High Paul Mccartney - The Back Seat Of My Car Zz Top - Gimme All Your Lovin' Natalie Bergman - Gunslinger Moby - Find My Baby Aretha Franklin - Chains Of Fools King Gizzard & The Lizard Wizard - Panpsych Mötley Crüe - Girls Girls Girls Luke Spiller - Angel Like You Phoenix - If I Ever Feel Better The Dare - Lca Annie Lennox - A Whiter Shade Of Pale Eels - Novocaine For The Soul Oracle Sisters - Marseille Bob Dylan - Like A Rolling Stone The Kills - The Good Ones Papa Roach - Last Resort (On The Record & On The Road-Live) Thin Lizzy - Whiskey In The Jar Brogeal - Vicar Street Days Chris Isaak - Baby Did A Bad Bad Thing Shivaree - Goodnight Moon Car Seat Headrest - Famous Prophets (Stars) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week on The Metro, Rev. Jeff Ivins brings you your weekly time warp back to the 1980s with: Jam ,-Haircut 100, Paul Hardcastle, Talking Heads, Sigue Sigue Sputnik, Pat Benatar, The Cult, Annie Lennox, Paul Young, Bonnie Tyler, Gary Numan, Pet Shop Boys, Depeche Mode, and finishing off with The B-52's.

Today's episode features Nashville singer-songwriter Taylor Bickett, who joins me to talk about her powerful new song “The Crime,” inspired by real-life events and the female experience. We also discuss her work with The Circle, an organization founded by Annie Lennox to help prevent violence against women.✨ MORE ABOUT TAYLOR BICKETT ✨Taylor Bickett is a singer-songwriter hailing from Indiana and currently based in Nashville.  Her introspective indie-pop tunes that resonate deeply with listeners, especially her viral 2022 single “QUARTER LIFE CRISIS” which took TikTok by storm and spurred half a million fan made videos. Her latest release, "The Crime," is a raw and powerful exploration of the female experience, brought to life by an all-female cast and crew in its striking music video.✨ KEEP UP TO DATE WITH TAYLOR BICKETT ✨Instagram: https://www.instagram.com/taylorbickett/Twitter: https://x.com/taybickettFacebook: https://www.facebook.com/taylorbickettmusicYouTube: https://www.youtube.com/TaylorBickettOfficialApple Music: music.apple.com/us/artist/taylor-bickett/1529590870Spotify: open.spotify.com/artist/3Fxg10eJ6YmvUdM2PPB4Zk✨ CONNECT WITH IZZY ✨Blog: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://agrrrlstwosoundcents.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/channel/UCv6SBgiYCpYbx9BOYNefkIg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/agrrrlstwosoundcents/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/grrrlsoundcents⁠⁠⁠⁠⁠

This is am excerpt from a patrons-only episode. To hear the full thing along with dozen more, visit Patreon.com/LoveMessagePod and sign up for as little as £3 a month.In this patrons-only episode we welcome writer Toby Manning to the show to discuss his recent book Mixing Pop and Politics: A Marxist History of Popular Music. Toby's book offers a political reading of popular music, taking as its methodological starting point the songs found in the charts from the 1950s to the present day, to explore how the music people listen to reflects and resists the politics of their time in fascinating ways.In this show Jeremy, Tim and Toby discuss the charts themselves, how we think of 'popular music', and discuss lyrics as a tool for analysis. This being LITM, we of course spend some time on the hits of the 1970s, but we hear also about '80s synth pop and yacht rock, Annie Lennox, MJ, and contemporary artists like FKA Twigs and Little Sims. Also found inside: the GLC, the High Sixties and Kneecap.Thanks to Toby for coming on the show. If you'd like to order his book, you can do so from Repeater Books: https://repeaterbooks.com/product/mixing-pop-and-politics-a-marxist-history-of-popular-music/. Enter the code 'popdiscount' for some money off.

We’ve been doing these shows where we don’t book any guests, where we fill the hour with your calls. And your calls have been interesting and surprising and amusing. This hour, the conversation winds around to Tolkien’s potential Lord of the Rings sequel, planned Flag Day protests, parasocial relationships, Rep. Alexandria Ocasio-Cortez, Justice Ruth Bader Ginsberg, former Vice President Kamala Devi Harris, Annie Lennox* … Anything. (Seemingly) everything. These shows are fun for us, and they seem to be fun for you, too. So we did another one. *Annie Lennox, who doesn't have a middle name, which screws up my series there, is an Officer of the Most Excellent Order of the British Empire (OBE), but she's not a Dame Grand Cross or Dame Commander, so she can't use the title Dame. Which also screws up my series there. And I admit that I had to look up Kamala Harris's middle name. Join the conversation on Facebook and Twitter. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Colin McEnroe and Dylan Reyes contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

New episode out now! We watched the first episode of the 2023 miniseries A Murder at the End of the World. We discuss the main character Darby, a “Gen Z Sherlock”, and get into her strengths and weaknesses as an investigator. We believe she is entirely too trusting of billionaires and their agendas, wonder if she is naive or just careless with her life, and appreciate the other realistic characters and their grey moral decision to seek shady money for admirable projects. We ponder the prevalence of the same older music in entertainment, get into the current culture surrounding tech billionaires and AI, and discuss the ramifications of no longer living in a monoculture. Katy forgot Dakotas were states, Carrie is a true genius and unrecognized in her time, Maddy has Annie Lennox stuck in her head, and Mack is ravaged by the weariness of his own bones. We also think ending a series with a cliffhanger should be illegal, hear an incredible Count Orlok impression, and discuss using iTunes shuffle to give meaning to your life. Listen to hear more about Jedi bombs, scumbag tattoos, St. Elsewhere, great music for mountain driving, rat guys, and the sounds of Saturn's rings. Enjoy!TW: Tech billionaires, AI, serial killers, domestic abuse, gaslighting, climate change

Más de 40 años dibujando monstruos, 30 de ellos con su creación estrella, Hellboy, Mike Mignola alcanza la edad de jubilación y pese a que lleva años diciendo que se está retirado, lleva dentro las viñetas y esos monstruos de tinta y nunca pasa demasiado tiempo sin que veamos algún nuevo trabajo suyo. Dedicamos así este monográfico a su figura y su dilatada carrera desde sus inseguros inicios como entintador en Marvel hasta sus trabajo más reciente, pasando por todas sus etapas. Y es que por más que se le conozca por su trabajo en Hellboy, hay mucho Mignola más allá. De hecho, hablaremos muy poco de Hellboy, dado que ya le dedicamos su propio y extenso especial en el primer programa de nuestra cuarta temporada. Casi seis horas de repaso a la carrera de este creador de mundos y maestro del claroscuro. La noche es caliente como el infierno. Todo se te pega. Una asquerosa habitación de un asqueroso barrio de una asquerosa ciudad. El aparato de aire acondicionado es un pedazo de chatarra que no podría enfriar ni una bebida aunque la metieras dentro. Parece el sitio perfecto para escuchar el podcast 374 de ELHDLT Selección musical: 🎶 Monsters, de Shinedown 🎶 Cosmic Odyssey, de VibecraftTwo 🎶 Love Song for a Vampire, de Annie Lennox

Nick Hennegan takes an alternative look at William Shakespeare's work with offerings from the likes of Brian Ferry and Annie Lennox! www.BohemianBritain.com 

MashUp Dà i Numeri Tre numeri al lotto (Renato Carosone) / Rikki Don't Lose That Number (Steely Dan) / We Two Are One (Eurythmics, Annie Lennox, Dave Stewart) / 1,2,3,4 Gimme Some More (Dd Sound) / Murder By Numbers (The Police) / Four (Lambert, Hendricks & Ross) / 54-46 Was My Number (Toots & The Maytals) / Numbers - 2002 Edit Version (Soft Cell, Dave Ball) / 99 (TOTO) / Gimme Five (Jovanotti) / 50 Ways to Leave Your Lover (Paul Simon) / '74-'75 (The Connells) / 19 (Paul Hardcastle) / Ten Million Slaves (Otis Taylor, Cassie Taylor) / 1979 (The Smashing Pumpkins) / 99 Luftballons (Nena)/ 50 Special (Lùnapop)// I Cento Passi (Modena City Ramblers) - a cura di Piergiorgio Pardo

Marlaena Moore discusses Because You Love Everything, leaving Edmonton for Montreal, being tall among the smaller, playing bass in a garage rock band, why imposter syndrome can be a form of narcissism, working with “Monty” Munro and Chris Dadge, Chad VanGaalen's way of life, loving Sarah McLachlan and Annie Lennox, being at peace with death, the Cherish This Tour with Land of Talk, working on new songs, other future plans, and much more!EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Ep. #810: Markus FloatsEp. #808: Land of TalkEp. #709: Kelly McMichaelEp. #602: Chad VanGaalenEp. #555: Land of TalkEp. #410: Chad VanGaalenEp. #377: Land of TalkEp. #: 188: Chad VanGaalen on doing Stupid Human Tricks on David LettermanSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

If I had the opportunity to teach music to an absolute music newbie, someone without any previous musical instruction or experience, I know exactly how I would begin. I would start without printed music. That's hardly revolutionary. The German composer Carl Orff is known today not only for his most famous work, Carmina Burana, but for the innovative methods he brought to musical education. Émile Jaques-Dalcroze created Eurhythmics, not the 1980's pop band with Annie Lennox, but a system for teaching music through movement. Music schools throughout the world have been teaching young children with the method developed by Shinichi Suzuki which begins by emphasizing learning by ear rather than by printed music.  All of these educators believed, as I do, that music is within us and that by learning without the printed page, we can create connections that allow us to develop our natural instinct for how music is organized, in notes and rhythms and chords and more. Our musical notation system is really just a code that we use to transmit and share musical ideas between composer and performer. The actual music doesn't live there. Please understand; I'm not suggesting that we should all learn exclusively by ear. My meaning is that when we become so accustomed to using the page as our only path into the music, when we sublimate our instinctive musical understanding to deciphering the dots on the staff, we make playing harder. In short, we ignore the very innate connection that brought us to music and to the harp in the first place.  Today we are going to explore some very fundamental rhythm concepts through this lens, focusing on the experience first, then the notation, rather than the other way around. I promise I won't ask you to try playing by ear or to memorize everything or to light candles and repeat affirmations. What I want to do is to give you some very simple ways to change how you think about rhythm. We'll do a couple of small experiments that I designed to help relieve any confusion or uncertainty you have about basic rhythmic concepts. Even if you feel totally confident about your skill in deciphering and playing complex rhythms, these little drills will help you reconnect to what is truly important about the rhythmic element of our playing.  Links to things I think you might be interested in that were mentioned in the podcast episode:  Get more rhythmic confidence with our April Seminar, “Rhythm Makeover.” Join now! Join the Live Monday Warm-Ups in the Harp Mastery® Hub. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com  Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-202  

Get ready for a dead music-y episode with Frazer honoring 16x Oscar Nominated DIANE WARREN and Ben chats his fave Scottish chanteuse ANNIE LENNOX. UR WELCOME! Leave us some feedback;Insta: @urwelcomeamericaTwitter: @urwelcomeUSAEmail: UrWelcomeAmericaPodcast@gmail.com

British musician, composer and producer Nitin Sawhney CBE is a formidable talent across many genres, from his own brand of British electronic and fusion music, to composing for orchestras and has collaborated with everyone from Paul McCartney, to Annie Lennox to Pink Floyd. He's a recipient of an Ivor Novello Lifetime Achievement award, has recorded more than 20 solo albums, composed more than 70 film and TV scores and performed at venues including the Royal Albert Hall and the Sydney Opera House. He has 8 honorary doctorates and is a Booker prize judge. As well as that, he had an award winning comedy career.

The Guilty Feminist 428. The CirclePresented by Deborah Frances-White with special guests Annie Lennox, Raakhi Shah and Grace DorongRecorded 7 March 2025 in London. Released 10 March.The Guilty Feminist theme composed by Mark Hodge.Get Deborah's new book with 30% off using the code SIXCONVERSATIONSPOD https://store.virago.co.uk/products/six-conversations-were-scared-to-haveMore about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://www.instagram.com/dfdubzhttps://www.virago.co.uk/titles/deborah-frances-white/six-conversations-were-scared-to-have/9780349015811https://www.virago.co.uk/titles/deborah-frances-white/the-guilty-feminist/9780349010120More about The Circlehttps://www.instagram.com/thecirclengohttps://www.thecircle.ngohttps://www.instagram.com/officialannielennoxhttps://www.annielennox.comhttps://www.linkedin.com/in/raakhi-shah-8628b24ahttps://www.linkedin.com/in/grace-dorong-18517416aFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerCome to a live recording:Six Conversations We're Scared to Have book tour: https://www.seetickets.com/search?q=deborah+frances-whiteWhat Does Not x Guilty Feminist https://dice.fm/partner/what-does-not-ltd/event/oeopdy-iwd-special-ft-the-guilty-feminist-19th-mar-the-old-queens-head-london-tickets16 Postcodes in London: https://museumofcomedy.ticketsolve.com/ticketbooth/shows/873652125Never Have I Ever in Melbourne: https://www.mtc.com.au/plays-and-tickets/whats-on/season-2025/never-have-i-ever/Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist You can also get an ad-free version of the podcast via Apple Podcasts or Acast+ https://plus.acast.com/s/guiltyfeminist. Hosted on Acast. See acast.com/privacy for more information.

It's been a week of political whiplash, including that infamous explosive meeting in the Oval office and renewed commitment from European leaders to back Ukraine. George Osborne and Ed Balls consider who - if anyone - has fared well in this wild week. Is Trump himself as the deft negotiator he claims to be?And with a rush to bolster arms on this side of the Atlantic, what is the fallout for Rachel Reeves? As the Spring Statement approaches, what choices does she have to limit the damage that may or may not be forecast by the OBR? And doesn't this all feel just a little bit like one of those second annual fiscal events she swore she wouldn't hold?Finally, Ed and George turn to the outcry around the government's artificial Intelligence and copyright consultation, from artists including Annie Lennox, Damon Abarn and Kate Bush. Is there a way for this government to balance championing and regulating big tech? Subscribe now: patreon.com/politicalcurrency or on Apple Podcasts: apple.co/politicalcurrency. Please note Kitchen Cabinet subscriptions are only available through Patreon.Producers: Miriam Hall and Rosie StopherTechnical Producer: Danny PapeExecutive Producer: Ellie CliffordPolitical Currency is a Persephonica Production and is part of the Acast Creator Network. Subscribe now on Patreon Hosted on Acast. See acast.com/privacy for more information.

I am thrilled to announce that our new book, the Kindness Daily Reader: Season One, is now available on Amazon. (See Link Below)  Secondly, we are embarking on a new chapter with Season Three of the One Kind Moment podcast. In Season One, we primarily focused on broad topics of kindness and compassion, while in Season Two, we explored areas such as self-compassion, self-help, and self-care. Now, in Season Three, we're shifting our focus to a specific area of self-care that we call Practical Spirituality for Everyone. We'll be delving into topics like spirituality in nature, spiritual intelligence, everyday mindfulness, the science of consciousness, the mystery of life, the science of awe, and managing uncertainty. We're excited to take this new direction and are grateful for your continued support and interest in the One Kind Moment podcast. EXPLORE OUR NEW BOOK! Kindness Daily Reader: Season One https://a.co/d/04RvXldy #onekindmoment #spirituality Yesterday by John Hobart - Music Design by Jason Inc. https://brucewaynemclellan.com/  

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week, with the Academy Awards coming up, all of the songs featured have won the Oscar for Best Original Song. On today's episode, Steve Riddle is watching, “Into The West” by Annie Lennox from 2003.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=-RDuQfSwKfY

Do the charts have the same relevance they once did? Annie and Nick discuss the potential reasons why there are no UK artists in the annual global top 10 for the first time since 2003. Elsewhere, Kate Bush is one of a thousand musicians behind a silent album to protest the government's proposed changes to copyright law. Should we be worried about artists having their identities stolen, or should we embrace change? Plus, Rihanna is set to release new music but it won't be “radio digestible”, Lola Young has a tough question, and Nick's back on the radio. Get in touch with Annie and Nick! If you're over 16, WhatsApp on 079700 82700 or email sidetracked@bbc.co.uk SONGS: Rihanna - Umbrella Rihanna - Pon De Replay Rihanna - Shut Up and Drive Roberta Flack - Killing Me Softly Roberta Flack – The First Time Ever I Saw Your Face Gwen McCrae – All This Love That I'm Giving Gwen McCrae - Keep The Fire Burning Benson Boone – Beautiful Things Sabrina Carpenter – Espresso Billie Eilish – Birds of a Feather Kendrick Lamar – Not Like Us Noah Kahan – Stick Season Hozier – Too Sweet Artemas – I Like the Way You Kiss Me Oasis - Whatever ALBUMS: Rihanna – ANTI 1,000 UK Artists – Is This What We Want? ARTISTS MENTIONED: The Clash, Paul Simonon, Joe Strummer, Madonna, Rihanna, Kate Bush, Damon Albarn, Annie Lennox, Roberta Flack, Gwen McCrae, Benson Boone, Sabrina Carpenter, Billie Eilish, Kendrick Lamar, Noah Kahan, Hozier, Dua Lipa, Coldplay, Charli XCX, Artemas, Chase & Status, Stormzy, Wham!, Oasis, Ezra Collective, Lola Young, Central Cee, English Teacher, Sam Fender, Stray Kids, FKA Twigs, Myles Smith, Ed Sheeran, Adele, Oslo Twins, Joy Crookes, JADE, Robert Smith, CMAT, James Blake EXHIBITION: Leigh Bowery! at the Tate Modern, London

durée : 00:03:41 - Un monde connecté - par : François Saltiel - Jamiroquai, Annie Lennox, Damon Albarn, Hans Zimmer, et des centaines d'autres artistes britanniques sortent un album vide pour faire entendre leurs voix contre un projet de réforme du droit d'auteur initié par le gouvernement.

The World Bank estimates it will take over $500 billion to rebuild Ukraine after three years of war. Also in this edition: Bitcoin hits its lowest level in over three months. Plus, a thousand musicians including Kate Bush, Cat Stevens and Annie Lennox are protesting the UK government's planned changes to copyright law.

We first saw Eddi Reader singing with the Gang Of Four on Whistle Test in 1982. This eventful pod traces her story from seven kids in a two-bedroom council flat (“me in the toilet with a guitar singing Your Cheating Heart”), to the Scottish folk clubs, busking with circus acrobats on the Left Bank, to radio jingles, life as a backing singer and the rapid rise of Fairground Attraction who reformed last year, 34 years after they split in 1990. It's highly entertaining from the kick-off, not least …. … snogging the Earl of Moray's son during Dylan at Blackbushe. … the jingles she sang on ‘80s radio ads. … what she learnt from Annie Lennox when touring with Eurythmics. … backing singer stage-wear etiquette. … performing Love Me Tender aged eight in the school classroom. … singing Three Drunken Maidens and Lord Franklin at the Irvine Folk Club, over the road from Amanda's Wet T-Shirt Night. … busking in Paris and the songs that pulled the most money (eg Tupelo Honey and All Along the Watchtower). … “men you put on the shoulder-pads for.” … what Billy Bragg called “a civilian”. … Chou Pahrot, Cado Belle, Café Jacques, Stone the Crows and other great lost Scottish bands. … Hamish Imlach's advice about how to project onstage. … how to use a pencil as a pop-shield. … and her Grandad “who loved his wife so much he nearly told her”. Eddi Reader tickets here: https://eddireader.co.uk/gigs/ Fairground Attraction's Beautiful Happening album: https://www.amazon.co.uk/Beautiful-Happening-Fairground-Attraction/dp/B0CZ7NMJYV https://eddireader.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We first saw Eddi Reader singing with the Gang Of Four on Whistle Test in 1982. This eventful pod traces her story from seven kids in a two-bedroom council flat (“me in the toilet with a guitar singing Your Cheating Heart”), to the Scottish folk clubs, busking with circus acrobats on the Left Bank, to radio jingles, life as a backing singer and the rapid rise of Fairground Attraction who reformed last year, 34 years after they split in 1990. It's highly entertaining from the kick-off, not least …. … snogging the Earl of Moray's son during Dylan at Blackbushe. … the jingles she sang on ‘80s radio ads. … what she learnt from Annie Lennox when touring with Eurythmics. … backing singer stage-wear etiquette. … performing Love Me Tender aged eight in the school classroom. … singing Three Drunken Maidens and Lord Franklin at the Irvine Folk Club, over the road from Amanda's Wet T-Shirt Night. … busking in Paris and the songs that pulled the most money (eg Tupelo Honey and All Along the Watchtower). … “men you put on the shoulder-pads for.” … what Billy Bragg called “a civilian”. … Chou Pahrot, Cado Belle, Café Jacques, Stone the Crows and other great lost Scottish bands. … Hamish Imlach's advice about how to project onstage. … how to use a pencil as a pop-shield. … and her Grandad “who loved his wife so much he nearly told her”. Eddi Reader tickets here: https://eddireader.co.uk/gigs/ Fairground Attraction's Beautiful Happening album: https://www.amazon.co.uk/Beautiful-Happening-Fairground-Attraction/dp/B0CZ7NMJYV https://eddireader.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 2022, seven years after surviving a brain aneurysm that left her unable to sing or even speak, Joni Mitchell appeared onstage at the Newport Folk Festival. Singing alongside her were her supportive — and emotional — musician friends, including Brandi Carlile, Marcus Mumford, Wynonna Judd and Annie Lennox.Our critic Wesley Morris had his doubts. What was really happening here? Did Joni Mitchell even want this? Or were her younger adoring musician fans propping her up for their own reasons? When he learned this fall that Joni would be appearing onstage again, at the Hollywood Bowl, he bought a ticket to see for himself.On today's episode, Wesley talks with his editor Sasha Weiss about the concert, and what it's like to experience an 80-year-old in full command of her meaning.Guest: Wesley Morris, a critic at large for The New York Times.Sasha Weiss, the deputy editor of the The New York Times Magazine.Background reading: 50 Reasons to Love Joni Mitchell's “Blue”For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Welcome to Live From Progzilla Towers Edition 544. In this edition we heard music by Chicago, IQ, Bakelit, Annie Lennox, Ocular, I Am The Manic Whale, Giobia, Geoff Castellucci, Trans-Siberian Orchestra, Mike Mainieri, Jethro Tull, Présent, Nik Bärtsch's Ronin, Joe Satriani, Chasmhead, Big Big Train, Opeth, Les Penning & Robert Reed, Kevin Gilbert, Shakti, Sabaton, Ott, Blueneck and Trevor Horn (Ft Matt Cardle).

Since her birthday usually falls right in the middle of the big Coverville end-of-year shows, we don’t always get a cover story episode for her, but let’s fix that right now! Annie Lennox and Eurythmics covers today on the show! (73 minutes)

Bon Jovi took the rock world by storm with their massive third album, "Slippery When Wet."  A big tour followed, and afterwards the band was anxious to demonstrate that they were not a one (album) hit wonder.  They got into the studio at Vancouver, BC in May of 1988 and quickly recorded their fourth studio album entitled New Jersey.  Originally going under the working title "Sons of Beaches," the band would settle on their home state as the name of the album.  Bon Jovi wanted to make a double album, but the record label balked, fearing that the higher price tag of a double album would impact sales.  The album still clocked in at close to an hour of play length, not uncommon during a time when CD's were beginning to stretch the length of albums past the more common album play times.The result was a stellar success, debuting on the Billboard 200 albums chart at number 8, before moving to the top spot a week later, where it would remain for four weeks.  Jon Bon Jovi and Richie Sambora wrote most of the songs on the album, with some assistance from songwriter Desmond Child.  Five singles from the album went into the top 10 on the Billboard Hot 100 chart, with two topping that chart.Bon Jovi would go on to an unusual achievement - remaining one of rock music's A-listers for decades.  Bon Jovi would continue to sell out arenas, a feat limited to groups such as U2, Metallica, Elton John, and the Rolling Stones.  Friend of the show Julie Doran brings us this stellar album.  We are also joined by friend of the show Steve Hardin as we cover for the absence of both Wayne and Lynch this week. In addition, fan of the Show Christian joins us to help Rob bring his Staff Pick.  Bad MedicineJon Bon Jovi and Richie Sambora collaborate with Desmond Child in the writing of this song which went to number 1 on the US charts.  The lyrics are pretty straightforward, comparing love to a drug.  "There ain't no doctor that can cure my disease."  The video features hand-held cameras provided to fans at the concert providing their "point of view" at the concert.Living In SinThe fifth single from the album still broke into the top 10 on the US Billboard Hot 100.  This power ballad has lyrics that explore love being more powerful than the expectations of society.  Bon Jovi is singing about his high school sweetheart, whom he would marry in Las Vegas while on the New Jersey Syndicate tour.Born to Be My BabyThis single is another example for the collaboration with Desmond Child, and peaked at number 3 on the Billboard Hot 100.  The song has a lot of similarities with Springsteen, with lyrics about a couple of working class lovers facing the world together.  The video took the opposite direction from many highly produced videos of the time, opting for low budget black-and-white.I'll Be There For YouThe big hit from the album was this number 1 power ballad.  With a runtime of 5:43, this song is the longest song to hit number 1 on the charts in 1989.  The lyrics describe a guy desperately seeking to get his girl back, this time forever.   ENTERTAINMENT TRACK:Put a Little Love in Your Heart by Al Green and Annie Lennox (from the motion picture “Scrooged”)Bill Murray stars in this retelling of "A Christmas Carol." STAFF PICKS:Armageddon It by Def LeppardRob starts off the staff picks with the sixth single from the multi-platinum album, "Hysteria."  High School Student and Fan of the Show, Christian, assists with his thoughts on the band. By the time this song hit number 3 on the US charts, the album had been out for well over a year.  The lyrics are a play on words - “Hey, but are you gettin' it?  Armageddon it.”Desire by U2Julie's staff pick has a blues feel and a Bo Diddley beat.  The song is both a critique of the glitzy televangelist making money off his followers, and the ambition and glitz surrounding a successful rock band.  It won a Grammy for Best Rock Performance by a Duo or Group in 1989. I'm Sorry by Hothouse FlowersBruce features a long lost hit from a Dublin group that combines Irish music with an eclectic mix of soul, gospel, and rock influences.  You know, we all have times when we're "sitting back on our deep pile reclining chair" thinking about our lives and “looking over our misdemeanors, misgivings, misfortunes, and Miss Whatever her name is," and say "I'm sorry.”Never Tear Us Apart by INXSSteve closes out the staff picks this week.  INXS lead singer Michael Hutchence wrote the lyrics that describe a couple with an instant, almost karmic connection when they first meet.    This is the fourth single off the album "Kick" and went to number 7 on the Billboard Hot 100. COMEDY TRACK:Wild Thing by Sam KenisonThe sultry sounds of Sam Kenison take us out with this angry cover of the Troggs classic.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Episode Summary:  Menina Fortunato interviews renowned choreographer Alex Magno to explore his inspiring journey from Rio de Janeiro to Los Angeles, where he became an influential figure in the dance world. Menina introduces Alex, celebrating his achievements, including Emmy and World Choreography Awards, and their shared history, as Alex's scholarship significantly impacted her own dance path. A turning point came when Alex won a competition sponsored by Paramount Pictures, bringing him to the United States. In Los Angeles, he trained rigorously, embracing diverse dance styles, including tap, and connecting with industry mentors who encouraged his artistic pursuits. Alex shares career highlights and challenges, from performing in The Nutcracker to working with global icons like Madonna. He emphasizes the importance of collaboration, adapting choreography to each dancer's strengths, and staying disciplined. For emerging choreographers, Alex advises a focus on collaboration, continual learning, and maintaining a positive, resilient mindset. He underscores the value of authenticity, discipline, and creating a supportive community. Concluding with words of encouragement, Alex urges dancers to remain dedicated to their craft and persevere in pursuit of their dreams. Show Notes: (0:03) Introduction and Background of Alex Magno (5:26) Alex Magno's Early Dance Journey (8:36) Training and Early Successes (17:48) Move to the United States (41:42) Career Highlights and Challenges (47:25) Advice for Emerging Choreographers (1:05:46) Final Thoughts and Encouragement Biography: ALEXANDRE MAGNO is an Emmy and a WCA (World Choreography Awards) nominated Choreographer, director, and Producer, best known for his work with MADONNA (Girlie Show and Drowned World Tours), BRITNEY SPEARS, JENNIFER LOPEZ, THE PUSSYCAT DOLLS, THE ACADEMY AWARDS, MTV MUSIC AWARDS, , SO YOU THINK YOU CAN DANCE (FOX), DANCING WITH THE STARS (ABC) , YANNI VOICES (PBS and TELEVISA TV SPECIAL), NEODANCE (A Tango Project, Featuring GRAMMY WINNER NESTOR TORRES), BENISE (EMMY WINNER Nights Of Fire PBS Special, along with two other shows: The Spanish Guitar, and FUEGO The Spirit Of Spain - PBS TV Special) ONYX LULLABY (Experimental Dance Film featuring ANNIE LENNOX & DAVID ALLAN STEWART'S Iconic Music: SWEET DREAMS (Are Made Of This) - LIDO DE PARIS (Lido La Tourné), BALLET HISPANICO, MAAPshowseries, and DEEP SLEEP FOR Beat FreaksUTY (A Fashion Dance Show, Presented and Produced by JUSTONEEYE; based on a Fairytale Book created by CHRISTIAN LOUBOUTIN, as part of LOUBOUTIN'S new collaboration (The Capsule Collection) with Indian Couture Designer SABYASACHI And more…. Drawing on a variety of styles, disciplines, and cultural influences, Mr. MAGNO infuses his work with powerful drama, beauty and sensuality. As a Dance Educator: Mr. Magno is known worldwide, for his unique Latin, cool, sensual fused dance style; and for training today's top dancers, celebrities and choreographers; such as Carrie Ann Inaba, Christina Applegate, Jenna Elfman, Elizabeth Berkley, Carlos Gomes, Brian Friedman, Gil Duldulao, Mandy More, Bobby Newberry, Jillian Meyers, Tony Testa, Jason Parsons to name a few. This well-deserved recognition celebrates over three decades of the extraordinary career of Alex Magno and further solidifies his status as a leading figure in the world of dance and choreography, sharing this honor among esteemed Lifetime Achievement Award previous recipients like Toni Basil, the Nicholas Brothers, Debbie Allen, Jamie King, Adam Shankman, Vincent Paterson, Janet Jackson, Gene Kelly, Nappy Tabs, Travis Payne, and Twitch. Connect on Social Media: https://www.instagram.com/alexmagnoofficial https://www.facebook.com/share/1NpRHUZKq9/ https://www.alexmagno.com/

They said it couldn't last, so we had to prove them wrong... by making an episode of Strong Songs all about Janet Jackson, Jimmy Jam, and Terry Lewis.It's time to go back to the late 80s, when New Jack Swing was all the rage and a budding superstar named Janet sat down with a pair of Minneapolis producers named Jimmy and Terry  to produce some of the most groundbreaking pop music of the decade. This episode takes a look at "Love Will Never Do (Without You)," one of the most complex of their collaborations, and a tune with as many stylistic left-turns as it has orchestra hits.Written by: James Harris III and Terry LewisProduced by: Janet Jackson, Jam & LewisAlbum: Janet Jackson's Rhythm Nation 1814, 1989Listen/Buy: Apple Music | Amazon | SpotifyFEATURED/DISCUSSED:“Casey Kasem's American Top 40 intro from the 1980s, via YouTube“Kiss” by Prince from Parade, 1986“Walking on Broken Glass” by Annie Lennox from Diva, 1992“Like a Prayer” by Madonna from Like a Prayer, 1989“Control,” “Nasty,” and “When I Think of You” by Janet Jackson/Jam & Lewis from Control, 1986"Rhythm Nation" and "Miss You Much" from Rhythm Nation 1814, 1989Emu SP-1200 Beatmaking demonstration by Chief Rugged on YouTubeDiscussion of New Jack Swing, which you can learn more about here“Poison” by Bel Biv DeVoe from Poison, 1990“Alice, I Want You Just For Me” by Full Force, produced by Teddy Riley on Full Force, 1985Estelle Caswell's Vox Earworm video about the Orchestra Hit“The Chain” by Fleetwood Mac from Rumors, 1977OUTRO SOLOIST: Dan NervoThis episode's outro soloist is the fantastic Dan Nervo. Dan plays guitar in the San Francisco Bay Area in bands like Neon Velvet, and also teaches private guitar lessons. Hit him up if you want to get good at guitar: https://www.facebook.com/DanNervoGuitarLessons/----LINKS-----RECAST RECOMMENDATION: "Dawn" by Yebba (featured track: "All I Ever Wanted")SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------AUGUST 2024 WHOLE-NOTE PATRONSRobyn MetcalfeBrian TempletCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallJay SwartzMiriam JoyRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyAUGUST 2024 HALF-NOTE PATRONSirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattle Trans And Nonbinary Choral EnsembleKevin MarceloMatt CSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizMichael YorkClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian John PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyAlan BroughRandal VegterGo Birds!Robert Granatdave malloyNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsMichael FlahertyCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo