Preston Schlueter Sings! Jazz Concert Showcase (10-Year Anniversary)

For those of our readers who have wanted to hear me sing some jazz, today is your lucky day! Today’s video ties into our 10-year anniversary celebration of the Gentleman’s Gazette.

As some of our longtime readers may know, especially if you’ve watched my FAQ video: outside of working at the Gentleman’s Gazette, I’m also a jazz vocalist. I work mainly within the realm of early 20th-century jazz, in what is often called the “Great American Songbook,” or “Standards” for short. Some of my personal singing idols include Bing Crosby and Frank Sinatra, and I try to work with soundscapes similar to theirs as often as I can.

Bing Crosby, Preston’s favorite vocalist

A Summary of Preston’s Concert

I’m still an emerging vocalist who’s just getting my feet wet in the professional scene. With that said, I did have an opportunity (in August of 2019) to do something which I thought was very fun. Working with a collaborator and friend of mine, Maestro Andrew Casey, he and I were able to put together a concert of these Great American Songbook tunes for a grateful audience. As we mentioned in our FAQ video, rights management for Standards on YouTube can be tricky. As such, if you’d like to see more than the one song we’ve featured here, you can visit my personal website.

Maestro Andrew Casey

Conclusion

Hopefully, my song stylings are to your liking! My thanks to Maestro Casey for collaborating with me on this concert, to the Hopkins Center for the Arts for hosting us, and to the Gentleman’s Gazette readers for being inquisitive and curious about wanting to see some of this footage.

Preston, concert-ready in a vintage tuxedo and bow tie, with a Fort Belvedere carnation boutonniere

Let us know what you thought of Preston’s performance in the comments! 

 

Preston Schlueter Sings! Jazz Concert Showcase (10-Year Anniversary)

For those of our readers who have wanted to hear me sing some jazz, today is your lucky day! Today’s video ties into our 10-year anniversary celebration of the Gentleman’s Gazette.

As some of our longtime readers may know, especially if you’ve watched my FAQ video: outside of working at the Gentleman’s Gazette, I’m also a jazz vocalist. I work mainly within the realm of early 20th-century jazz, in what is often called the “Great American Songbook,” or “Standards” for short. Some of my personal singing idols include Bing Crosby and Frank Sinatra, and I try to work with soundscapes similar to theirs as often as I can.

Bing Crosby, Preston’s favorite vocalist

A Summary of Preston’s Concert

I’m still an emerging vocalist who’s just getting my feet wet in the professional scene. With that said, I did have an opportunity (in August of 2019) to do something which I thought was very fun. Working with a collaborator and friend of mine, Maestro Andrew Casey, he and I were able to put together a concert of these Great American Songbook tunes for a grateful audience. As we mentioned in our FAQ video, rights management for Standards on YouTube can be tricky. As such, if you’d like to see more than the one song we’ve featured here, you can visit my personal website.

Maestro Andrew Casey

Conclusion

Hopefully, my song stylings are to your liking! My thanks to Maestro Casey for collaborating with me on this concert, to the Hopkins Center for the Arts for hosting us, and to the Gentleman’s Gazette readers for being inquisitive and curious about wanting to see some of this footage.

Preston, concert-ready in a vintage tuxedo and bow tie, with a Fort Belvedere carnation boutonniere

Let us know what you thought of Preston’s performance in the comments! 

 

Robinson on her new EP and learning not to worry about what happens next

Earmarked for big things since she left high school, the ‘Nothing to Regret’ singer has been dealing with the weight of expectations for a while now. With her debut EP just released, she’s OK with where she’s at.

Given the circumstances, Robinson is surprisingly relaxed. It’s early afternoon on a swelteringly hot mid-February day in Auckland, one which for her has already contained a red-eye flight from Nelson and a full morning of radio promo. If she’s at all exhausted, though, it doesn’t show. “If you’re bored, you just drink some water! It’s like healthy boredom, you know?” she enthuses, toting an already half-empty one-litre bottle and seeming altogether more concerned with the virtues of hydration than any potential anxieties about the occasion for our meeting. And with said occasion being the release of her Watching You EP, a first-ever collection of songs after almost four years of well-received (and often internationally successful) singles, she’d be well within her rights to be slightly tense.

It may be the water, or the blessedly temperate air conditioning in Sony Music’s central Auckland offices, but as we talk it feels more likely that her seeming calm reflects instead a deep confidence in what she’s put together. And while Watching You is a reasonably lean listen, its four songs each coming in around or just under the 3:30 mark, the EP signals not just an early milestone in her still-young career, but a significant forward step in her craft. 

Between the subtle evolutions-on-existing-themes of ‘I Tried’ and first single ‘Don’t Say’, and the show-stopping torch song that is EP closer ‘Watching You’, there’s very little here that’s been heard from Robinson before. It’s a growth of which she’s extremely conscious. “On my phone there’s just so many voice memos of like, really old things,” she explains, “I think it’s so cool that I can always go back to those, but it’s really exciting to me that these songs are really the last two years of my life. I think they’ve been essential in character development for me; just growing up and being an adult now … it happened fast.”

That sudden epiphany as to the passing of time may be something of an early-20s cliche, but in the case of Robinson, she may also have a fair point. While she’s London-based now, splitting her time between studio sessions and increasingly prominent tour support slots, the Robinson story started in earnest in the relatively recent past – and like so many others in Aotearoa music, at Rockquest. An admittedly shy year 12 student at Nelson’s Garin College, the not-yet-mononymed Anna Robinson was encouraged by a music teacher into performance. She formed a duo with friend Olivia Nott – younger sibling of Broods’ Georgia and Caleb and ONONO’s Jono – with the pair ultimately reaching the competition’s national final in 2014, but it wasn’t until her own songs came to the attention of Ashley Page, co-founder (with Joel Little) of tastemaking Auckland pop micro-label Dryden Street, that things really started moving for Anna.

“I had left school, but I still had songs up online, and I think Ashley just stumbled across them,” she explains, “and we just started working together after that.” She made the move from Nelson to Auckland to work with Dryden Street, a decision which necessitated not only a significant physical relocation, but which also meant developing her songwriting practice from a solitary endeavour to something much more collaborative. 

“When I first started properly writing as, you know, Robinson, the first year of that was really development in the sense of just trying to figure out what I wanted to say, and how I wanted to portray myself as an artist,” she says of the period. “I’d been working by myself for such a long time that it was so cool to be able to go and write with other people and experience that. I was building up this big bag of songs, just writing so much music. And then I wrote ‘Nothing to Regret’.”

By any metric worth measuring, that song blew up. An anthemic and universally relatable ode to the mundanity of workaday life and the commensurate fleeting joy of the weekend, it’s racked up close to 90 million Spotify streams in the two years since its release – for context, outside of The Naked and Famous’ generational banger ‘Young Blood’ and most of the back catalogue of actual international festival headliner Lorde, that’s a mark basically unheard of for a New Zealand artist. And while subsequent releases haven’t scraped those same heights, she still boasts more than 1.7 million monthly listeners on Spotify, a large number of those coming from outside of Aotearoa. But just as that kind of success can be a motivator, it can just as easily seed anxiety.

“There was a time when I was just constantly checking the numbers,” she recalls, “Like I honestly couldn’t believe it. [Earlier single] ‘Crave You’ got a million streams, and I just thought that was insane, but then ‘Nothing to Regret’ blew that away. It’s so crazy, that’s so many people. And it’s funny, because you get to that point and you just want to outdo it. Like, “Where’s the next song? What’s the next song? I need to write something better than that.” You can get caught up in this whirlwind of just trying to please everyone that I think you can get out of touch with the reason why you’re doing it.”

Remembering why she’s doing it was a major spur in the creation of Watching You. Although she’s clear in her ambition for the project, she makes clear that reconciling the drive for professional success with her artistic imperative has helped her to better understand what she’s trying to achieve with the project. “I think that if I’m in it because I love it, and I’m writing songs because I love music and because I’m getting across my feeling and my message to the world,” she explains, “that has more of a chance to connect than if I was like, “I’ve got to write this song because this is what people like.”

“I think [that mindset] has helped me through so much anxiety that I’ve had over the last few years, which I think a lot of people deal with; “I should be here,” or “I should be doing this.” But, in any walk of life, any job you’re in, there’s so much pressure. And I think sometimes the only way through that is to sit with a feeling and try to figure out why you feel it.”

That realisation and its attendant security seem to be coming at exactly the right time for Robinson. As well as the EP release, in March she’ll embark on her first ever headline tour of the country, taking in shows in Auckland, Christchurch, Dunedin and an appearance at Wellington’s Homegrown festival. She’s at an interesting stage in her career, one illustrative of the complicated calculus that determines success for contemporary musicians – taking only stream numbers into account she’d sit comfortably in the absolute top tier of local pop acts, but despite her play counts eclipsing those of local demigods Six60 and matching closely with the likes of Mitch James, The Drax Project and Benee, she’s something of an untested property with local audiences. 

If the artist born Anna Robinson is carrying any major anxiety either about the tour or the release, though, it doesn’t show. Never not effusive through the half hour we spend together, as our interview comes to a close she lands on a thought which feels, in context, like something of an informal mission statement. “Even if one person connects with this, that’s such an exciting feeling for me. Because I just love thinking about how my favourite artists have made me feel, and how music has been such a big comfort for me over the course of my life, going through different experiences. Music helps me through that, so I’m like, if I can give that same thing to someone else, that’s just the most amazing feeling. Yeah.”

This content, like Robinson’s Watching You EP, was produced with the support of NZ on Air. Stream the EP here, and see Robinson on tour this March.

How Marian Anderson’s Music Helped Combat Racial Equality

Marian Anderson used her rejection and status to shine a light on racial inequality and unite Americans.
Illustration by Karolin Schnoor.

Marian Anderson (1897–1993)

A famous contralto throughout Europe and the U.S., Marian Anderson was denied the right to sing at Constitution Hall in Washington, D.C. in 1939. Owned by the Daughters of the Revolution, the hall prohibited concerts by black performers, and even a vocalist of Anderson’s stature was denied the chance to sing at the renowned venue. Instead, she took to the steps of the Lincoln Memorial and sang to the 75,000 gathered on the National Mall. During the first song of her performance, “My Country, ’Tis of Thee,’” Anderson changed the lyrics from “of thee I sing” to “to thee we sing,” which united a community and cast her as an important figure in the fight against racial inequality in the performing arts.

“When I sing, I don’t want them to see that my face is black. I don’t want them to see that my face is white. I want them to see my soul. And that is colorless.” –Marian Anderson.

This feature originally appeared in the Rejection issue. For more inspiring women, check out Grandma Moses’s story and our Women in History section.

How Marian Anderson’s Music Helped Combat Racial Equality

Marian Anderson used her rejection and status to shine a light on racial inequality and unite Americans.
Illustration by Karolin Schnoor.

Marian Anderson (1897–1993)

A famous contralto throughout Europe and the U.S., Marian Anderson was denied the right to sing at Constitution Hall in Washington, D.C. in 1939. Owned by the Daughters of the Revolution, the hall prohibited concerts by black performers, and even a vocalist of Anderson’s stature was denied the chance to sing at the renowned venue. Instead, she took to the steps of the Lincoln Memorial and sang to the 75,000 gathered on the National Mall. During the first song of her performance, “My Country, ’Tis of Thee,’” Anderson changed the lyrics from “of thee I sing” to “to thee we sing,” which united a community and cast her as an important figure in the fight against racial inequality in the performing arts.

“When I sing, I don’t want them to see that my face is black. I don’t want them to see that my face is white. I want them to see my soul. And that is colorless.” –Marian Anderson.

This feature originally appeared in the Rejection issue. For more inspiring women, check out Grandma Moses’s story and our Women in History section.

The post How Marian Anderson’s Music Helped Combat Racial Equality appeared first on A WOMEN’S THING.

How Marian Anderson’s Music Helped Combat Racial Equality

Marian Anderson used her rejection and status to shine a light on racial inequality and unite Americans.
Illustration by Karolin Schnoor.

Marian Anderson (1897–1993)

A famous contralto throughout Europe and the U.S., Marian Anderson was denied the right to sing at Constitution Hall in Washington, D.C. in 1939. Owned by the Daughters of the Revolution, the hall prohibited concerts by black performers, and even a vocalist of Anderson’s stature was denied the chance to sing at the renowned venue. Instead, she took to the steps of the Lincoln Memorial and sang to the 75,000 gathered on the National Mall. During the first song of her performance, “My Country, ’Tis of Thee,’” Anderson changed the lyrics from “of thee I sing” to “to thee we sing,” which united a community and cast her as an important figure in the fight against racial inequality in the performing arts.

“When I sing, I don’t want them to see that my face is black. I don’t want them to see that my face is white. I want them to see my soul. And that is colorless.” –Marian Anderson.

This feature originally appeared in the Rejection issue. For more inspiring women, check out Grandma Moses’s story and our Women in History section.

The post How Marian Anderson’s Music Helped Combat Racial Equality appeared first on A WOMEN’S THING.

Tame Impala’s Kevin Parker isn’t here for the hype

Tame Impala’s new album The Slow Rush dropped over the weekend to universal acclaim. Jordan Hamel talked to the band’s frontman, Kevin Parker, about the five year gap between albums, and where the band fits into riock music in 2020.

Kevin Parker’s musical baby Tame Impala steadily rose to indie prominence in the early 2010s, becoming a critical darling first in Australia (Parker hails from Perth) with the debut LP Innerspeaker, and then internationally with the follow-up Lonerism. Then, with the release of the 2015 album Currents, Tame Impala was catapulted into a new stratosphere of music stardom, occupying the rare position of being adored by both critics and the music-listening public. 

After Currents, anticipation for more Tame Impala was at an all time high, but instead of riding the hype train straight into a follow-up, Parker took a step back and focussed on other projects. He quickly became one of the most sought after producers and collaborators in the industry, working with superstars like Travis Scott, SZA, snd Lady Gaga.

Now, after a four year studio hiatus, Tame Impala is back with The Slow Rush. Departing from Currents’ heavily synthesized sound, Parker embraces more organic elements here – dusted drum breaks tumble, disco rhythms meld into the mechanical bounce of classic acid house, and lilting percussion patterns are spread throughout. 

The album is concise at just under an hour, which is apt as Parker uses that hour to explore ideas of temporality and impermanence. The Slow Rush constantly shifts in perspective, looking forward and back, jumping between the past, present and future in both lyrics and melody. It gets you feeling like you’re trapped in a moment, some weird time vortex, aa paradoxical as the albums title, and while you know it’ll be over soon and you’ll have to press repeat or go do something else with your day, you just want to enjoy it in the moment. 

While Parker could have left Tame Impala behind and saved himself the pressure and anxiety of trying to top one of the decades biggest albums, he jumped back down the rabbit hole and fans everywhere will be glad he did. Ahead of the album’s release, Parker talked to us about the new album, learning from collaboration and ignoring the background noise.

How does it feel to finally have a new album finished?

Honestly, relieved to have it done, but weirdly I can still listen to it.

What are you liking about the album at the moment?

At the moment when I think about it I’m proud of the rhythms of all the songs – whether it’s drums or percussion, I wanted every song to have a rhythmic element. I just wanted it to be more advanced in that way.

There’s been quite a gap between Currents and The Slow Rush, how has it been stepping away from Tame Impala to work on other projects?

It wasn’t intended to be like that, but I’m glad it worked out that way. It’s funny because as soon as I finished Currents all I wanted to do was make another album straight away, to kind of right all my wrongs. I felt like I’d messed up. So I thought I was gonna put [Currents] out quickly, then move on, but it was more successful than I thought it would be.

Now I sort of feel the same way, I just want to make a new album straight away. 

Do you have a favourite artist you’ve collaborated during your time away from Tame Impala?

I think the Travis Scott collaboration was the most fun, because it’s one of those collaborations where I was involved from the ground up. I’d spent a few studio sessions with him at different times, we’d hang out at the studio at the start and then I gave him the demos I had been working on, and I came back about six months later, it was fun, it was really good to feel his energy.

Did you learn much from Travis that you’ve used in making The Slow Rush?

Definitely. He doesn’t sweat the small stuff which I think is great advice. Just try to see everything as it is, see it from as far back as you can. You know what I mean? Try to look at it as a thing, as one big mood and not be obsessed with the small details.

So what’s the big mood of The Slow Rush then?

Lyrically I like the idea of this album being that time is racing. Like time is racing, but only when we’re not paying attention.

You have a [reputation] of being quite solitary during the studio process. Does it take a toll when you emerge out the other side?

For sure, it’s all part of it and I wouldn’t want it to be any different. Sharing the burden with someone else might be nice, but I just have to accept that it’s mine. It’s also a sign that I put my all into it, for me to be certain that I have given it everything I can, just being absolutely fucked after finishing an album.

So you’ve got the album release coming up and then a North American tour. Do you get to spend much time at home in Perth these days?

Yeah, it’s basically back to back tours. But I’ll be in Perth for the next few months which will be nice.

Are we gonna see you in Aotearoa any time soon?

Yes! There’s an Auckland show coming up in April.

 I’ve been thinking about everyone’s Spotify Wrapped lists, and for a lot of people neo-psych/psych-rock/psych-pop or however people define it has been a huge part of their decade, particularly in New Zealand. How do you feel about that scene? Do you have a relationship with it?   

Wow, that’s good to hear! I didn’t realise it was so big in New Zealand. People often tell me that there’s a psych rock resurgence and that I played a big part in it, but the only time I’ve noticed its rise is when people ask me about it. I’ve never really felt like I was part of a scene. I actually don’t like the idea of belonging to one scene. Every artist is part of a genre in a way, but if I played a part in it and that helps others then great! 

What was the last great album you listened to that wasn’t yours?

I haven’t listened to any albums in ages, I’ve been so caught up in my own shit. But Tyler the Creator’s IGOR was amazing!

‘The Slow Rush’ is available everywhere you can stream albums right now. Tame Impala are playing the Spark Arena on 16 April, get your tickets here.

Впервые в Израиле!

Одна из самых успешных в мире сопрано-певиц Сара Брайтман представит свой концертный тур HYMN: Sarah Brightman In Concert Tour 9 июля 2020 года в зале «Дворец спорта Менора Мивтахим» в Тель-Авиве

 По словам Сары Брайтман, поклонникам стоит ожидать самых неожиданных сюрпризов. Мировой тур HYMN: Sarah Brightman In Concert начинается в Южной Америке и будет включать более 125 концертов на пяти континентах, которые пройдут в течении двух лет.

Чтобы подчеркнуть магию выступлений, партнером мирового турне была выбрана компания Swarovski. Потрясающие диадемы и костюмы певицы, созданные специально для шоу, украшены кристаллами Swarovski. У поклонников по всему миру есть возможность купить сувениры, инкрустированные кристаллами Swarovski, с автографами Сары.

Сара Брайтман представила свой долгожданный пятнадцатый альбом HYMN 9 ноября 2018 года (Decca Gold / Universal Music Group). Для номинантки на премию Grammy и первой певицы в жанре классического кроссовера это стало первой студийной работой с того момента, как в 2013 году вышел ее альбом «Dreamchaser».

«Я так рада поделиться этим альбомом со всеми. HYMN – захватывающе эклектичен, он включает в себя множество разных стилей, и я с нетерпением жду возможности исполнить новые песни в своем мировом турне. Все, что я делаю, идет от души, и мне хотелось сделать что-то, что звучало бы очень красиво и вдохновляюще. Слово «гимн» для меня означает радость, чувство надежды и света, что-то знакомое и родное, и я надеюсь, что я смогла передать это в музыке.», – говорит Сара Брайтман.

Брайтман вернулась в студию в 2016 году, чтобы начать работу над альбомом HYMN вместе со своим старым другом и музыкальным партнером Фрэнком Питерсоном, который был продюсером ее предыдущих знаменитых пластинок. Пронизанный духовной тематикой альбом HYMN — это коллекция песен с участием оркестра и хора, и то, что, по словам самой Сары Брайтман, она хотела записать в конкретный момент своей жизни. Альбом записывался в течение двух лет в студиях в Гамбурге, Майами, Лондоне, Ванкувере, Нью-Йорке и Будапеште.

Мистический, возвышенный тон HYMN задан главным треком – песней британской группы Barclay James Harvest. Релиз также включает в себя песни таких современных композиторов, как Эрик Уитакер («Fly To Paradise»), японский музыкант и композитор Йошики («Чудо») и немецкий dj Пол Калкбреннер («Небо и песок»). Завершается альбом новым исполнением мега популярной композиции «Time To Say Goodbye» известного дуэта Сары Брайтман с Андреа Бочелли.

Сара Брайтман стала известна как обладательница голоса в три октавы и как основоположница жанра классического кроссовера в музыке. Пластинки певицы разошлись по миру тиражом более 30 млн экземпляров. Брайтман стала единственной, кому удалось возглавить одновременно танцевальный и классический чарты Billboard, она является обладательницей 180 золотых и платиновых наград в более чем 40 странах. Певица также известна благодаря участию в мюзикле «Призрак Оперы» (Phantom Of The Opera), саундтрек к которому был продан тиражом более 40 млн по всему миру. Дуэт Сары Брайтман и Андреа Бочелли, песня «Time To Say Goodbye» стала международным хитом с продажами 12 млн копий в мире. Альбомы певицы «Eden», «La Luna», «Harem» и «Symphony» были на верхушке чартов Billboard и сопровождались мировыми гастролями. Кроме того, Сара Брайтман выступала на таких престижных мероприятиях, как концерт для принцессы Дианы в 2007 году, Олимпийские игры в Барселоне 1992 года и Пекине 2008 года.

Подробная информация и заказ билетов:

https://egoeast.biletru.co.il/events/sarah-brightman-vpervie-v-izraile/

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• Культура
• Отдых

Израиль: Жизнь в картинках

Неподражаемый скрипач и дирижер Андре Рье и его оркестр возвращаются в Израиль с новой программой!

Встречайте «короля вальса» с великолепным оркестром им. Иоганна Штрауса, хором и солистами! Всего один концерт голландского скрипача и дирижера Андре Рье в Израиле состоится 4 ноября 2020 года в Тель-Авиве в зале Менора Мевтахим

После невиданного аншлага в 2018 году Андре Рье возвращается в Израиль.

«Я и мой оркестр счастливы вернуться в Израиль спустя два года после волнующего и незабываемого прошлого визита. Вы принимали нас так тепло и сердечно, с такой любовью. Так прекрасно снова приехать в Израиль уже в этом ноябре.   Я приглашаю вас побывать на нашем празднике любви, жизни и, разумеется, музыки», – Андре Рье.

Фотограф: Marcel van Hoorn

Андре Рье, «король вальса», вновь готов удивлять и очаровывать публику необычной манерой исполнения классических произведений, ярким шоу и удивительным талантом. Он делает классику доступной и понятной для всех людей, заряжает удивительными эмоциями, музыка в его исполнении обретает неподражаемые оттенки и краски.

Он дает около 100 концертов в год, собирая на них до 700 тысяч зрителей. Вместе со своим оркестром им. Иоганна Штрауса, состоящим из 50 музыкантов, он выступает на пяти континентах, восхищая публику в Австралии, Японии, Южной Корее, Канаде, США и Европе. Концерт в Израиле является частью европейского международного турне.

Несколько лет назад, при полном аншлаге, на четырех незабываемых шоу он уже покорил израильскую публику. В ноябре Андре Рье выступит с совершенно новой программой. Знаменитый дирижер не ограничится только вальсами, на его концерте прозвучат народные песни, популярные мелодии из кинофильмов, оперетт, мюзиклов, ставшие шедеврами мировой музыки. Самыми настоящими хитами его концертов являются «Второй вальс» Шостаковича, музыка к кинофильму «Крестный отец», «Болеро» Равеля, «Завоевание рая». Обычно маэстро приглашает зрителей танцевать под звуки его уникального и известного вальса, а зал и сцена Менора Мевтахим будут специально подготовлены под особый формат его выступления.

«Концерты Рье выходят за рамки музыки. Великолепные костюмы, огромные экраны, оркестр, международные солисты, романтическая атмосфера и много юмора – вот что делает шоу Андре Рье одним из незабываемых зрелищ для всех», – так пишет пресса.

Фотограф:Фотограф: Marcel van Hoorn

Его выступления проходят при неизменных аншлагах.  Их сложно назвать традиционными для концертов классической музыки. Это уникальные шоу с роскошными декорациями, удивительными спецэффектами и сюрпризами. А оркестр удивляет своей энергетикой, молодостью, сценическими костюмами и, конечно, полным погружением в мир музыки. Сам маэстро харизматичен, неизменно улыбчив и обаятелен. И даже дирижирует он своим симфоническим оркестром, играя на скрипке, лицом к зрителям.

За 30 лет альбомы Андре Рье разошлись сорокамиллионными тиражами, 30 раз возглавляли хит парады, выиграли British Music Awards (категория «Альбом года» и 500 Platinum Awards). The Wall Street Journal назвал его «Народным Маэстро». Его альбомы вошли в топ-5 в британских поп-чартах, а первый альбом держался в списке 10 лучших альбомов в Нидерландах более 10 лет. В Германии альбом попал в топ-5 списка «Золотые и платиновые альбомы» в кратчайшие сроки.

«…Моя музыка полна эмоций и любви. Люди, побывавшие на моих концертах, говорят, что им требуется время, чтобы вернуться из возвышенного мира музыки в обычную жизнь. Просто потрясающе чувствовать эту энергию каждый вечер», – говорит Андре Рье.

Графики гастролей маэстро, его оркестра, хора и солистов расписаны на годы вперед. Не пропустите уникальный праздник музыки! Уже в этом ноябре в Тель-Авиве.

Подробная информация и заказ билетов: https://bit.ly/2SFXtMN

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• Культура

Израиль: Жизнь в картинках

DEC 21 EVENT: Shimmer Secrets at Humble Bloom’s Winter Solstice

Left: Infirmary Acrylic Flashe, Oil Stick and Fabric on Canvas. 40 × 30 inches, 2019. Rachel Gisele Cohen
Box Inside My Head Mixed Media Small Theatre, Interactive, Cardboard, Found Objects. 24 × 24 × 24 inches, 2018. Nandan Sam He

Each artist in Humble Bloom: Winter Solstice’s Shimmer Secrets shares a bright and supple glimpse into their own worlds. Their works are diverse in material and execution but unified through their love of visceral light, inspiring the title of the exhibition. Many of the spaces created in each artist’s work are immense and intimate, despite their scale, providing an interesting opposition for the viewer if they choose to relate their own narrative.

Humble Bloom’s Winter Solstice presents Shimmer Secrets, on view from December 18 to December 22, a group exhibition featuring Abby Cheney, Rachel Gisela Cohen, Erika Sabel, and Nandan Sam He curated by Morgan Everhart at the William Vale Plaza.

Left: Astroturf Cardboard, Plaster, Paper Pulp, and Acrylic. 13 × 11 × 3 inches, 2019. Abby Cheney Let the Water Hold Me Down Acrylic, Plastic, Mylar and Plaster on Panel. 14 × 18 inches, 2018.
Erika Sabel

Reception: Saturday, December 21 from 4–6 pm at William Vale Plaza, 55 Wythe Ave, Brooklyn, NY 11249. For more info and RSVP, please visit shimmersecrets.splashthat.com

Humble Bloom Presents: Winter Solstice at The William Vale Plaza

Winter Solstice is a curated space celebrating the spirit of the season at The William Vale Plaza running from Wednesday, Dec. 18–22 featuring the brands and practitioners we love. Open to the public each day from noon to 7 pm with nightly special events.

Humble Bloom Founders: Solonje Burnett and Danniel Swatosh. Photo courtesy of Didem Civginoglu.

Event Series:

WEDNESDAY, DECEMBER 18 | 7 PM – 10:30 PM
SMOKES & JOKES
A floating comedy show with some of the best local talent and a couple of famous drop-ins created by Ohene Cornelius featuring Yemi Afolabi, Amanda Van Nostrand, Laz Rivero, Chanel Ali, and Daily Show writer Randall Otis. Additional performances by Kita P, Parnhashnakovsky and Saint WLF.

THURSDAY, DECEMBER 19 | 7 PM – 10 PM
TREATY + TONIC HIGHER DINING
A conscious consumption dinner for 40 individuals sponsored by our friends at Treaty and Tonic featuring a discussion with New York industry leaders around crafting, growing, harvesting and sourcing local and small. Food provided by Higher Dining with dessert by BK Floral Delight. Special performance by Denitia. Gorgeous gift bag included.

FRIDAY, DECEMBER 20 | 7 PM – 10 PM
UNPLUGGED ESSENTIALS FLOW STATE
Training your body + mind for optimal performance discussion with a movement led experience to explore how modalities and tools such as CBD, movement, meditation, music, and dance help you achieve a state of flow and why is that important. Movement moment led by Benjamin Hemmer Liu, breath work with Kathleen Booker, a conversation featuring Unplugged Essentials Founder Kevin Rose Jr and psychotherapist Julie Schuck.

SATURDAY, DECEMBER 21 | 4 PM – 6 PM
SHIMMER SECRETS RECEPTION
Winter Solstice presents Shimmer Secrets, on view from December 18 to December 22, a group exhibition featuring Abby Cheney, Rachel Gisela Cohen, Erika Sabel, and Nandan Sam He curated by Morgan Everhart.

SATURDAY, DECEMBER 21 | 10 PM – 2 AM
WINTER SOLSTICE PARTY
We’re having a party! The winter solstice is a significant time of year in many cultures and has been marked by festivals and rituals. It occurs when one of the Earth’s poles has its maximum tilt away from the Sun. Celebrate the longest night, symbolic death + rebirth of the Sun, and the love of the plant with us. Music gifted by Radian Reveries + DJ Tory.

SUNDAY, DECEMBER 22 | 4 PM – 6 PM
VEDA WARRIOR SCIENCE + SPIRIT
Introducing ancient solutions, combined with modern science to manage stress. Ayurveda is the oldest medical science on our planet—it originates from the same ancient body of knowledge as yoga, known as the Vedas—and has traditionally used cannabis as part of a wellness ritual combined with yoga, meditation and breathing exercises. Conversation with Veda Warrior Founder Smrita Choubey + movement with Lit Yoga Teacher Jamel West.

Humble Bloom: Winter Solstice Events from Dec. 18-22. Image courtesy of Humble Bloom.

The post DEC 21 EVENT: Shimmer Secrets at Humble Bloom’s Winter Solstice appeared first on A WOMEN’S THING.

DEC 21 EVENT: Shimmer Secrets at Humble Bloom’s Winter Solstice

Left: Infirmary Acrylic Flashe, Oil Stick and Fabric on Canvas. 40 × 30 inches, 2019. Rachel Gisele Cohen
Box Inside My Head Mixed Media Small Theatre, Interactive, Cardboard, Found Objects. 24 × 24 × 24 inches, 2018. Nandan Sam He

Each artist in Humble Bloom: Winter Solstice’s Shimmer Secrets shares a bright and supple glimpse into their own worlds. Their works are diverse in material and execution but unified through their love of visceral light, inspiring the title of the exhibition. Many of the spaces created in each artist’s work are immense and intimate, despite their scale, providing an interesting opposition for the viewer if they choose to relate their own narrative.

Humble Bloom’s Winter Solstice presents Shimmer Secrets, on view from December 18 to December 22, a group exhibition featuring Abby Cheney, Rachel Gisela Cohen, Erika Sabel, and Nandan Sam He curated by Morgan Everhart at the William Vale Plaza.

Left: Astroturf Cardboard, Plaster, Paper Pulp, and Acrylic. 13 × 11 × 3 inches, 2019. Abby Cheney Let the Water Hold Me Down Acrylic, Plastic, Mylar and Plaster on Panel. 14 × 18 inches, 2018.
Erika Sabel

Reception: Saturday, December 21 from 4–6 pm at William Vale Plaza, 55 Wythe Ave, Brooklyn, NY 11249. For more info and RSVP, please visit shimmersecrets.splashthat.com

Humble Bloom Presents: Winter Solstice at The William Vale Plaza

Winter Solstice is a curated space celebrating the spirit of the season at The William Vale Plaza running from Wednesday, Dec. 18–22 featuring the brands and practitioners we love. Open to the public each day from noon to 7 pm with nightly special events.

Humble Bloom Founders: Solonje Burnett and Danniel Swatosh. Photo courtesy of Didem Civginoglu.

Event Series:

WEDNESDAY, DECEMBER 18 | 7 PM – 10:30 PM
SMOKES & JOKES
A floating comedy show with some of the best local talent and a couple of famous drop-ins created by Ohene Cornelius featuring Yemi Afolabi, Amanda Van Nostrand, Laz Rivero, Chanel Ali, and Daily Show writer Randall Otis. Additional performances by Kita P, Parnhashnakovsky and Saint WLF.

THURSDAY, DECEMBER 19 | 7 PM – 10 PM
TREATY + TONIC HIGHER DINING
A conscious consumption dinner for 40 individuals sponsored by our friends at Treaty and Tonic featuring a discussion with New York industry leaders around crafting, growing, harvesting and sourcing local and small. Food provided by Higher Dining with dessert by BK Floral Delight. Special performance by Denitia. Gorgeous gift bag included.

FRIDAY, DECEMBER 20 | 7 PM – 10 PM
UNPLUGGED ESSENTIALS FLOW STATE
Training your body + mind for optimal performance discussion with a movement led experience to explore how modalities and tools such as CBD, movement, meditation, music, and dance help you achieve a state of flow and why is that important. Movement moment led by Benjamin Hemmer Liu, breath work with Kathleen Booker, a conversation featuring Unplugged Essentials Founder Kevin Rose Jr and psychotherapist Julie Schuck.

SATURDAY, DECEMBER 21 | 4 PM – 6 PM
SHIMMER SECRETS RECEPTION
Winter Solstice presents Shimmer Secrets, on view from December 18 to December 22, a group exhibition featuring Abby Cheney, Rachel Gisela Cohen, Erika Sabel, and Nandan Sam He curated by Morgan Everhart.

SATURDAY, DECEMBER 21 | 10 PM – 2 AM
WINTER SOLSTICE PARTY
We’re having a party! The winter solstice is a significant time of year in many cultures and has been marked by festivals and rituals. It occurs when one of the Earth’s poles has its maximum tilt away from the Sun. Celebrate the longest night, symbolic death + rebirth of the Sun, and the love of the plant with us. Music gifted by Radian Reveries + DJ Tory.

SUNDAY, DECEMBER 22 | 4 PM – 6 PM
VEDA WARRIOR SCIENCE + SPIRIT
Introducing ancient solutions, combined with modern science to manage stress. Ayurveda is the oldest medical science on our planet—it originates from the same ancient body of knowledge as yoga, known as the Vedas—and has traditionally used cannabis as part of a wellness ritual combined with yoga, meditation and breathing exercises. Conversation with Veda Warrior Founder Smrita Choubey + movement with Lit Yoga Teacher Jamel West.

Humble Bloom: Winter Solstice Events from Dec. 18-22. Image courtesy of Humble Bloom.

The post DEC 21 EVENT: Shimmer Secrets at Humble Bloom’s Winter Solstice appeared first on A WOMEN’S THING.

Status Quo “In The Army Now” (Live at Wacken 2017) – from “Down Down & Dirty At Wacken”

https://paruna.ru/2018/12/11/status-quo-in-the-army-now-live-at-wacken-2017-from-down-down-dirty-at-wacken/