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Kelsea Ballerini is at the height of her success, but her new album focuses on her insecurities #ศาสตร์เกษตรดินปุ๋ย

Published March 23, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Kelsea Ballerini is at the height of her success, but her new album focuses on her insecurities

Mar 20. 2020
Kelsea Ballerini's third album, the self-titled

Kelsea Ballerini’s third album, the self-titled “Kelsea,” features songwriting collaborations with Nashville’s top writers along with Ed Sheeran and Julia Michaels. MUST CREDIT: Peggy Sirota
By The Washington Post · Emily Yahr · ENTERTAINMENT, MUSIC 

NASHVILLE – Country music star Kelsea Ballerini was in Los Angeles on a rare night off last year and decided to call a couple friends – at least one of whom happened to be a celebrity. No one picked up. Anxious thoughts started to race.

“I went into this spiral of like, ‘Oh my God, why did I think I was cool enough to call Taylor Swift? That was so embarrassing, of course she didn’t pick up. Why am I even out here? Why am I writing songs in L.A.? What if I put a beat drop on these songs? Is Nashville going to be mad that I have a beat drop on these songs instead of a banjo? Should I be home right now?” Ballerini, 26, recalled during a recent interview.

Kelsea Ballerini performs "Homecoming Queen?" at the 2019 Country Music Association Awards. MUST CREDIT: Image Group LA/ABC

Kelsea Ballerini performs “Homecoming Queen?” at the 2019 Country Music Association Awards. MUST CREDIT: Image Group LA/ABC

To calm down, she turned to the therapeutic method she has used since she was 12 years old: songwriting. She didn’t have a guitar with her, so she wrote a poem: “Sometimes it feels like it’s all real, but nothing here is as it seems / I ask myself, does it feed my soul or my anxiety?” The lines eventually turned into the lyrics for “LA,” the final track on her third studio album, “Kelsea,” released Friday.

“Kelsea,” which features songwriting collaborations with Nashville writers along with Ed Sheeran and Julia Michaels, is deeply personal as it dives into Ballerini’s insecurities and vulnerabilities. They might seem like unusual topics, given that Ballerini is at the height of her success: She’s had Grammy nominations, a string of No. 1s on country radio, a headlining arena tour, two certified-gold albums, a platinum-selling duet with the Chainsmokers (“This Feeling”) and stints on TV shows including “The Voice” and “Songland.”

But it’s been a long road. When Ballerini was in high school and traveled from Knoxville, Tennessee, to Nashville to see if her love of songwriting could turn into a career, label executives were puzzled when they saw a blond teenage country singer with a guitar. Didn’t they already have Swift? After many doors shut in her face, she was determined to make her music stand out. Her first hit, “Love Me Like You Mean It,” was bursting with self-confidence, and similar “bops” (Ballerini’s word) such as “Dibs,” “Yeah Boy” and “Miss Me More” followed suit. But this new record intentionally has a more introspective tone, Ballerini said, because she finally took a break from nonstop touring and had time for self-reflection.

“I had to get to know myself at 26 and realize that I’m not the same person who wrote the first or second albums,” Ballerini said. “I still have bits of that confidence and that swagger in this album. But it’s definitely paired with a lot more truth-telling.”

– – –

Even though Swift’s presence loomed large when Ballerini launched her career, the two became good friends and share a sensibility about fans: If you can relate to them on the most basic level, they will be loyal to you for life.

For years, Ballerini’s loyal fan base (now 3 million combined followers on Instagram and Twitter) has witnessed her go from playing clubs to selling out arenas, saw photos from her oceanside wedding to country singer Morgan Evans, and watched her cry with her mom when her second record, “Unapologetically,” received a Grammy nomination for best country album. But they have also seen her have dance parties, indulge in her love of fast-food chicken nuggets, watch “The Bachelor” and take her dog, Dibs, for walks in the rain.

“Since I first started, I was always like, ‘I just want to be the same person that I am out with my friends or on the couch with Morgan and Dibs that I am onstage,'” Ballerini said. “There’s also a lot of people that I’m seeing right now that are overly filtered, and I don’t want that to be what young girls are thinking is normal.”

Ballerini has always been candid about her challenges, even as she hit her stride. She admitted on Bobby Bones’s podcast in 2017 that she felt like some people in Nashville didn’t find her very “cool” because of her pop-infused country songs. Earlier that year, after performing on the Academy of Country Music Awards, she posted a defiant Instagram caption: “I wear a lot of glitter, I have bass drops and programmed beats in my songs and performances. But ya know what, I write, sing, and LOVE country music.”

So when writing this album, Ballerini doubled down on exploring tough questions: “Why am I so anxious all the time? Why all of a sudden am I the most insecure person that I know?” She realized if she was having those feelings, other people probably were too, no matter their level of success. It all culminated during a weekend while she was touring last year with Kelly Clarkson and invited top Nashville songwriters Nicolle Galyon and Jimmy Robbins to join her for a few days on the road.

“For different reasons, we were all in really vulnerable places,” Galyon said. As the three brainstormed ideas, something clicked as they shared personal details. She and Ballerini both cried. Over those few days on the tour bus, they wrote songs that altered Ballerini’s entire idea for the album. “I think we knew and she knew that she had begun writing the record.”

They wrote a ballad called “Homecoming Queen?” about the facade of perfection: Just because things in your life are going right, it doesn’t mean you’re devoid of pain. (“What if I told you the world wouldn’t end? If you started showing what’s under your skin? / What if you let ’em all in on the lie? Even the homecoming queen cries.”)

Ballerini’s transparency comes through in other tracks: her nerves about connecting with people on “Overshare”; social anxiety on “Club” (and the realization in your mid-20s that nightclubs are the worst; feeling jealous on “The Other Girl,” which features pop star Halsey. However, she felt that “Homecoming Queen?” so perfectly captured the tone of the album that she wanted to release it as the first single, a risky move in a genre often wary of ballads. But it’s currently in the Top 20 at country radio.

“It wasn’t the traditional bop that I normally put out,” Ballerini said. “But I think it was time for me as a songwriter to really show that side of myself.”

– – –

Shane McAnally, one of Nashville’s most successful songwriters and Ballerini’s frequent collaborator, was in awe of her writing skills the first time they met. “She would be having hits everywhere with other people if she wasn’t cutting them herself,” he said. “She’s that good.” (Galyon agreed, adding, “I’ve joked that if Kelsea wasn’t so busy being a superstar, she would steal my job.”)

This record features the most “traditional” country songs Ballerini has ever had on an album: the pointedly named “A Country Song”; drinking jam “Hole in the Bottle”; and “Half of My Hometown,” which, to her amazement, features backup vocals from country superstar Kenny Chesney. The two of them connected years ago when Chesney, a fellow Knoxville native, texted her a picture he saw of her on a billboard in New York City and wrote, “Proud of you, hometown girl. Love, Kenny.”

“I didn’t know that he even knew who I was,” Ballerini said. Now that she’s in a position of power, she has the same support for newer artists. When a country radio programmer recently went viral for admitting that her station was barred from playing two female singers in a row (an unspoken rule of thumb in country radio, where women make up only 10 percent of airplay), Ballerini wrote a long Instagram post and called it “unfair and incredibly disappointing,” especially on behalf of newer singers trying to break in the business.

At first she was hesitant, given her radio success – yet she knew this was the time to use the large platform she’s earned over the years. “I never wanted to say anything that would sound ungrateful,” she said. “But when you see something that blatant … that was when I need, with as much grace as possible, to try to protect this next round of females that are moving to Nashville.”

Justin Bieber launches new music video exclusively on Apple Music #ศาสตร์เกษตรดินปุ๋ย

Published March 11, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Justin Bieber launches new music video exclusively on Apple Music

Mar 11. 2020
By The Nation

Justin Bieber just dropped the music video for “Available” exclusively on Apple Music.

From Bieber and director Michael D Ratner, this is the fourth and final instalment of the Apple x Bieber official nature music video limited series.

This is the exclusive visual for the hit track Available off of Changes, Justin’s seventh #1 worldwide album. The visuals for Available start with an intimate piano performance by Bieber before the official track kicks in.

From there, Bieber combines his love for nature, music and art as he performs atop a spray-painted baby grand against a scenic hilltop backdrop. The series finale brings together graffiti-inspired animation with dynamic aerial shots.

Bieber had previously debuted “E.T.A.,” “Changes,” and “Habitual”, which became his seventh No 1 on the Billboard last month.

His upcoming fourth concert “Changes Tour,” will kick off on May 14 in Seattle, United States, with special guests Kehlani and Jaden Smith.

Lil Uzi Vert’s mixed emotions swirl toward the void #ศาสตร์เกษตรดินปุ๋ย

Published March 11, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Lil Uzi Vert’s mixed emotions swirl toward the void

Mar 10. 2020
Lil Uzi Vert performs in Washington, D.C. in 2017. MUST CREDIT: Photo by Kyle Gustafson for The Washington Post.

Lil Uzi Vert performs in Washington, D.C. in 2017. MUST CREDIT: Photo by Kyle Gustafson for The Washington Post.
By The Washington Post · Chris Richards · ENTERTAINMENT, MUSIC 

In the Instagram age, we’re too awash in images for any one portrait of any one rapper to become truly iconic, so instead we get memes. Young Thug is the great stylist of our time, but his most widely circulated photo finds him sternly gazing at a computer screen as if monitoring a ballistic missile strike in a Michael Bay movie. Same for Future, human vortex of 21st century rap pathos, who has been memed into oblivion through snapshots of him typing on his phone.

This is a shame, especially considering that there’s a photo of Lil Uzi Vert that deserves to be hanging inside every American dorm room or at least the Metropolitan Museum of Art. It was taken at Miami’s Rolling Loud festival in 2018, and it finds our hero stage-diving off a lighting truss from more than 20 feet above the adoring crowd. It could easily pass as a reenactment of Yves Klein’s “Leap Into the Void,” a photograph taken in 1960 in which the French conceptual artist flung himself from a second-story window, generating a breathtaking metaphor for the artist’s journey into the unknowable. Thing is, Klein’s leap was faked. Uzi’s was real.

But on the rapper’s new album, “Eternal Atake,” reality is a slippery concept. “I live my life like a cartoon,” he declares on “You Better Move,” a song in which everything feels tart and loud. “Reality is not my move.” His voice leaps an octave on the final word of each line, as if he’s trying to repeatedly jump clean out of his life, but the real world still casts its shadows. In the song’s first verse, Uzi defends his freaky sartorial choices with crushing rationale: “They say, “Why your chain it look like a choker?’ That’s for the slaves that had to wear the noose.”

In a Lil Uzi Vert song, anything and everything goes, with cosmetic emo sadness and profound ancestral trauma swirling together into a litany of brags that feel like high-fructose fun until you realize how depressing they are. Smothering his heartbreak in money on “Chrome Heart Tags,” Lil Uzi says, “I don’t ever wanna talk about it,” then consoles himself with a luxury shopping spree. “Bust Me” features an even bolder, sadder flex: “When you got this type of money, you are never ugly.”

On “P2,” he reprises the melody from “XO Tour Lif3,” a signature 2017 hit that finds two star-crossed lovers threatening suicide in the form of a pop hook: “Push me to the edge, all my friends are dead.” Three years later, Lil Uzi is rapping about a similar romantic deadlock, but he de-escalates the tension with a numb shrug: “Everything I said, messing with your head.” Instead of plunging into the void, he steps back from the precipice.

Bonus paragraph about the two bonus tracks: “That Way” jacks the melody from the Backstreet Boys’ “I Want It That Way,” which is a tedious move, but Lil Uzi knows it, so sings the hook straight out of his sinuses. It sounds like a playground taunt: Nyaa-nyaa-nya-nyaa-nyaaa. “Futsal Shuffle 2020” is sweeter and twitchier, the kind of song that makes you feel like it’s eating your brain, specifically any neural tissue that might object to the idea of “Futsal Shuffle 2020” being the greatest song you’ve ever heard.

BTS’ new album tops record-high 91 iTunes charts #ศาสตร์เกษตรดินปุ๋ย

Published March 1, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


BTS’ new album tops record-high 91 iTunes charts

Feb 23. 2020
(Big Hit Entertainment)

(Big Hit Entertainment)
By The Korea Herald/ANN

K-pop super band BTS wrote iTunes chart history Saturday with its new album, “Map of the Soul: 7,” topping the iTunes album charts in 91 countries and regions, the band’s management agency said.

As of Saturday morning (Korean time), “Map of the Soul: 7” landed atop the iTunes “top album” charts in 91 countries and regions, including the United States, Canada, Britain, France, Italy, Russia, India, Japan and Saudi Arabia, according to Big Hit Entertainment.

This marks the broadest iTunes chart dominance for any BTS album, Big Hit said.

The album’s lead track, “ON,” also topped iTunes “top song” charts in 83 countries and regions including the U.S., Canada, Italy, Japan and Egypt, adding to the band’s iTunes chart victories.

About five more tracks from the new album, including “Filter,” also made the top 10 of the iTunes top song charts in the U.S. and Britain.

The septet dropped the 20-track album a day earlier, kicking off another round of its globally-acclaimed musical journey.

The lead song, “ON,” was an immediate hit in the group’s home country, topping the real-time single charts by all the five major music streaming services, including Melon and Genie Music. One day after the release, “ON” was still atop the charts.

The new album also made album sales history in South Korea, selling more than 2.65 million copies on the first day of its release on Friday. That was the biggest volume of first-day album sales for any BTS album and exceeded the sales of 2.13 million copies recorded in the first week by the previous BTS album, “Map of the Soul: Persona.”

It took only two hours this time for “7” to surpass the previous first-week sales of 2.13 million copies, Big Hit said.

About one day after the release of the music video of “ON,” it collected nearly 44 million views on YouTube.

Also on Saturday, another BTS music video, “Spring Day,” topped 300 million YouTube views, the 12th BTS music video to have collected more than 300 million views on the video-sharing platform, according to Big Hit. (Yonhap)

[Herald Interview] Playing harmonica more than a hobby #ศาสตร์เกษตรดินปุ๋ย

Published February 16, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


[Herald Interview] Playing harmonica more than a hobby

Feb 15. 2020
Harmonicist Park Jong-seong (Music & Art Company)

Harmonicist Park Jong-seong (Music & Art Company)
By Im Eun-byel
The Korea Herald

Harmonicist describes instrument as ‘chameleon’

For Park Jong-seong, the harmonica is a sophisticated instrument with great versatility.

The 34-year-old is a harmonica player, a rare profession in the local music scene. Although many pick up the instrument as a hobby, especially seniors, the number of professional harmonicists remains limited.

Park is therefore unique, having won awards at international competitions in Japan, China and Germany. He has also released three solo albums.

The third album, released in 2019, includes harmonica performances of various genres, from classical music to jazz, tango and folk music.

The artist stressed that the instrument is highly adaptable to different genres.

“One of the reasons is that the reed is very small and sensitive. In other words, it means it can be diversified into different sounds like a chameleon,” Park told The Korea Herald in an interview in western Seoul.

“That is what I love about the harmonica. I do not prefer a specific genre of music, but love all kinds of music,” he said. “Plus, it is small and easy to carry around.”

Park’s wide range of interests stems from his studies. He graduated from Kyung Hee University’s Department of Post-Modern Music. He was the first in Korea to be admitted to a university with the harmonica.

“Though I was accepted to the school as a harmonica player, the curriculum was not solely limited to the instrument,” the artist said. “I studied jazz and more, learning different genres of music from Latin to tango, gugak (traditional Korean music) and more.”

Though Park strives to be bold and adventurous with the instrument, the number of works intended for the harmonica is limited. Not many original pieces are made for the instrument, so Park composes his own music.

“Compared to classical music instruments, the harmonica has had a very short history. To put it simply, the harmonica has not yet met a great composer like Beethoven or Mozart,” he said.

“I always had to play works originally written for other instruments. Of course, that was fun, too. However, there are not many works that can bring out the unique characteristics of the harmonica. As I know the instrument better than others, I began to write songs for the harmonica.”

At a practice room in western Seoul, Park regularly holds recitals, conferences and study sessions for harmonica players, hoping to contribute to the growth of the scene.

“I do not just dream of my personal success,” he said. “I hope to encourage more harmonica players. In turn, the growth of the scene will lead to my own success, right?”

Park is slated to give solo performances at the Seoul Arts Center on March 25 and Lotte Concert Hall on Oct. 23.

A memorable Valentine’s Day #ศาสตร์เกษตรดินปุ๋ย

Published February 13, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


A memorable Valentine’s Day

Feb 12. 2020
By The Nation

On Valentine’s Day, would you like to go with your loved one to an extravagant dinner with oysters flown in from France or rather go to an exciting concert of romantic music with a 70-piece symphony orchestra or spend the evening curled up on the sofa with your sweetheart watching a favourite Hollywood tearjerker and a glass of champagne?

Opera Siam’s “A Love Letter from Hollywood” gives you the chance to do all of the above — at a single event.

Nadlada "Bow" Thamtanakom

Nadlada “Bow” Thamtanakom

There’s the concert — join Siam Sinfonietta, Nadlada “Bow” Thamtanakom, and the Cherubim Choir — and a lot of oysters — for an incredible Valentine’s evening — “A Love Letter from Hollywood” — a 100 years of the most romantic film music from the most iconic Hollywood films. From noble love to twisted love, from love across a crowded room to love across the galaxy, from epic love to obsessive love … this is music from the movies that shaped our lives. Maestro Somtow Sucharitkul takes us on a journey through the history of love in the movies. Tickets range from Bt500 to Bt1,500 — less with group discounts.

Siam Sinfonietta, equally known for its mastery of the hardest repertoire in classical music (Mahler, Bartok, Stravinsky) and its populist concerts such as its Star Wars, Harry Potter and “The Princess Concert” event, will field 70 musicians plus the sweet voices of the Cherubim Choir. Thai diva from the Belgian National Opera, Nadlada Thamtanakom, will assure all of us that our “heart will go on”.

There are add-ons. Get a VIP seat and a stupendous reception with seafood including imported oysters and free-flow Chandon when contributing Bt3,000, or donate Bt600 and enjoy the Sweetheart Reception in the Half Circle Room, with all-you-can-eat sushi and other delicacies and a glass of Chandon.

Special discounts: 5 per cent for five or more tickets, 10 per cent for 10 or more, and 20 per cent for 20 or more.

For tickets, please visit ticketmelon.com/operasiam/loveletter or contact via Line application at the official account of opera siam.

Peter Serkin, adventurous pianist from a celebrated musical family, dies at 72 #ศาสตร์เกษตรดินปุ๋ย

Published February 5, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Peter Serkin, adventurous pianist from a celebrated musical family, dies at 72

Feb 04. 2020
By Harrison Smith
The Washington Post

A piano prodigy who made his professional debut at age 12, Peter Serkin seemed destined from childhood to carry on the legacy of his father, Rudolf Serkin, one of the 20th century’s most revered pianists.

But while the elder Serkin was celebrated for breathing new life into Beethoven and other old masters, his son became known for championing the work of 20th-century composers such as Oliver Knussen, Toru Takemitsu, Stefan Wolpe and his childhood friend Peter Lieberson, even as he worked to reveal rich new textures in the classical repertoire so cherished by his father.

Serkin, who was 72 when he died Feb. 1, played everything from Bach to Berio and Mozart to Messiaen, sometimes using a 19th-century fortepiano to perform period works. He also acquired a reputation as something of a concert-hall rebel, performing in a dashiki and love beads in the early 1970s before trading his countercultural attire for three-piece pinstripe suits, settling into a role as one of his generation’s preeminent performers.

“He’s one of a handful of pianists who not only possess a cerebral understanding of the music of our time but the ability to communicate it with feeling,” music critic Ira Rosenblum once wrote in the New York Times. “In his hands, even the most formidable works are fluid and expressive.”

Serkin regularly commissioned works from contemporary composers and, like other members of his prodigiously talented family, described music in near-religious terms, telling the Boston Globe it was “a kind of ecstatic experience.”

But his devotion to new music was a stark departure from the traditionalism of his father and maternal grandfather, conductor and violinist Adolf Busch. Together, Rudolf Serkin and the Busch and Moyse music families founded the Marlboro school and chamber festival in Vermont, creating a classical-music incubator that shaped legions of young musicians, including Serkin.

“I like music that I can let enter my head and body, and live with,” he told the Times in 1973, explaining that he listened to Frank Zappa, John McLaughlin, the Grateful Dead, John Coltrane and Sun Ra in addition to classical works. Among the latter, his favorites included Arnold Schoenberg’s keyboard compositions, which he recorded in full, and Olivier Messiaen’s eight-movement “Quartet for the End of Time,” which he performed roughly 150 times with his chamber group the Tashi Quartet.

Serkin recorded numerous albums for RCA Red Seal Records, performed solo recitals around the world, accompanied leading orchestras and chamber groups, and taught at the Juilliard School, Tanglewood, Curtis Institute of Music and Bard College Conservatory of Music. Tall and thin, with a piercing gaze behind a pair of large glasses, he eschewed publicity and once declared that he’d “rather play 20 concerts before 3,000 people than give one interview.”

Early on, it seemed that his music career might collapse under the weight of professional pressures and family expectations. Beginning in the late 1960s, when he was in his mid-20s and primarily focused on standard repertory, Serkin abandoned the piano to embark on soul-searching journeys to Mexico and India. He became interested in religion, immersing himself in the Sufi, Buddhist and Hindu faiths, and recalled ending his Mexico trip after hearing a radio broadcast of Bach’s Fifth Brandenburg Concerto wafting on the breeze.

It was the kind of loose, emotionally intense performance that had long eluded him. For years, he told the Times, he had been “playing concerts largely out of compulsion. . . . I had just fallen into it without ever deciding for myself that it was what I wanted to do.” He returned from his travels with a more relaxed approach to music, even as he maintained an academic rigor that he learned from his father, studying composers’ letters and examining first editions of their scores.

“The idea so many musicians have – that you have to act out the music for the audience, to supply it as a solidified object – is death,” he said. “Music is change, it’s process, not a static thing. And if you want to be part of that process you have to continue to grow.”

The fifth of seven children,Peter Adolf Serkin was born in Manhattan on July 24, 1947. His middle name was an homage to his grandfather Busch, whom the Bohemian-born Rudolf Serkin began performing with in Berlin as a teenager; both men immigrated to the United States after the outbreak of World War II.

His mother, the former Irene Busch, was also a musician who played piano, violin and viola. She was credited with helping to keep the Marlboro festival afloat after Adolf’s death in 1952, and it was there that Serkin made his formal debut, performing a Haydn concerto under conductor Alexander Schneider.

Serkin studied at the Curtis Institute in Philadelphia, taking lessons from Polish-born virtuoso Mieczyslaw Horszowski, American pianist Lee Luvisi and his own father before graduating in 1964. Two years later, his recording of Bach’s Goldberg Variations earned him a Grammy Award for most promising new classical recording artist.

In 1967, at age 19, he made his grand-scale New York debut, performing Beethoven’s notoriously difficult Diabelli Variations at Philharmonic Hall. His ambition and mannerisms, which included humming and crouching over the keys, spurred debate among critics such as Harold C. Schonberg, who wrote in the Times: “His career can go one of two ways – into that of an eccentric, or into that of an unconventional pianist with all kinds of unusual ideas that will be made convincing by intellectual strength.”

In effect, Serkin had it both ways, angering some members of the music establishment with his hippie attire and unconventional music selections before gaining widespread recognition as a bridge between old and new musical traditions. Through the Tashi Quartet, formed in 1973 and named for the Tibetan word for good fortune, he also helped bring younger audiences to the repertoire, touring alongside violinist Ida Kavafian, cellist Fred Sherry and clarinetist Richard Stoltzman.

“Mr. Serkin’s recitals compel a focused quiet that is almost Oriental,” cultural critic Leslie Kandell later wrote in the Times. “His best interpretations are strikingly pristine, as if an immense intellect were illuminating notes from the bottom. To say he is lost in his playing does not give the right image. He is found in it.”

He died at his home in Red Hook, N.Y., from pancreatic cancer, said his manager, Shirley Kirshbaum.

His marriages to Wendy Spinner and Regina Touhey ended in divorce. Survivors include a daughter from his first marriage, Karina Serkin Spitzley; four children from his second marriage, Maya, Elena, Stefan and William Serkin; a brother; three sisters; and two grandchildren.

Serkin’s recitals often featured a mix of old and new, surveying hundreds of years of musical tradition in less than 90 minutes. But he dismissed suggestions that he was trying to update old works, telling the Globe in 1987 that he aimed “to project the up-to-date-ness that already exists in the music.”

Composers like Bach and Beethoven “were so infamous in their own day for being outlandish, outrageous,” he continued. “That’s expressed in the music in a very healthy way. Like crazy sanity. Wild discipline. I try to relate to these pieces now as part of our own lives, in a very personal way, with feeling and emotion, but never with a concern that I want to show the listener how deep my feelings are.”

At the Super Bowl, J-Lo and Shakira shake off boundaries to put on a ferocious master dance class #ศาสตร์เกษตรดินปุ๋ย

Published February 4, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


At the Super Bowl, J-Lo and Shakira shake off boundaries to put on a ferocious master dance class

Feb 04. 2020

Shakira and Jennifer Lopez made history on Feb. 2 when they became the first Latina singers to perform together at a Super Bowl halftime show.

Shakira and Jennifer Lopez made history on Feb. 2 when they became the first Latina singers to perform together at a Super Bowl halftime show.
By The Washington Post · Sarah L. Kaufman · FEATURES, ENTERTAINMENT
As the first Latina headliners of a Super Bowl halftime show, Jennifer Lopez and Shakira didn’t have to do much more than swivel their famous hair and hips to make good on promises of honoring their culture and delivering a message of empowerment. Yet it turned out that endless jiggling was not the key motif of the two global stars known for fine control of their hindquarters. Their show went deeper, beyond assumptions about age, ethnicity, gender and motherhood.

Shakira, marking her 43rd birthday Sunday, showed off her multifaceted musicianship with impressive turns on the guitar and drums, while belting a medley of her hits – “Whenever, Wherever” and “Hips Don’t Lie” among them – with seemingly effortless vocal power. As if that wasn’t enough of a feat, she sang while in constant, furious motion: whipping her long blond mane, pounding the stage in a jubilant mix of salsa steps and the wide-legged stomping and squatting of African dance, along with the winding and undulating pelvic gyrations of the Colombian-born singer’s Middle Eastern patrimony. She also incorporated the rope dance from her Oral Fixation tour, coiling a length of cord around her wrists and stretching it overhead, adding a frisson of bondage play and the shifts in power that implies, while also using the rope’s lines to emphasize her graceful hands and arms and the sinuous, snakelike movements of her body.

J-Lo, looking like a CrossFit enthusiast on her way to the Met Gala in a sheer bodysuit splashed with sequins, shinnied up a stripper pole and found just the right friction coefficient to balance herself in a horizontal move, inspired by her starring role in the 2019 film about exotic dancers, “Hustlers.” Those impressive abdominals came into play later as the 50-year-old pop star flipped upside down and cartwheeled, with the help of her backup dancers, landing neatly to scoot into place next to Shakira without missing a beat. Cue the hip-grinding finale.

The dancing ended too soon. It was almost too much to take in at such a pace, the blinding lights, the sparkling costumes with glitter and fringe flashing everywhere, and the extreme-strength moves and displays of stamina. Reggaeton artists Bad Bunny, from Puerto Rico, and J Balvin, from Colombia, joined the headliners for duets – Shakira and Bad Bunny in “Chantaje” and J-Lo and J Balvin in “Mi Gente” and “Love Don’t Cost a Thing.” The men grounded the 12-minute show with a smoother, heavier feel, but they didn’t distract from the storm of female energy that powered this halftime performance and gave it a surprising political sharpness.

The two women, both mothers of young children, had a pointed message to share. It was squarely aimed at treatment of Latinos at the U.S.-Mexico border and in Puerto Rico, which has been shattered by several natural disasters and delays in aid. An overhead camera slowly revealed children posed in individual white orbs, a stylized but unmistakable motif of children separated from their parents and held captive at the border. The stage was rimmed in lights that formed the circular gender sign for female. Shakira smashed the drums and Lopez’s young daughter, Emme Maribel Muñiz, began singing “Let’s Get Loud,” leading a children’s choir. Segueing to her next message, Lopez appeared draped in a giant feathered Puerto Rican flag that she unfurled triumphantly as Muñiz sang a few lines from “Born in the U.S.A.” while her mother hollered, “Let’s get loud!” It was a moving tribute to the Puerto Rican family origins of mother and daughter, and a reminder of the citizenship of the island’s people.

A Twitter crossfire quickly erupted, with heavy favoritism of Shakira’s dance skills and rear-end wiggling over J-Lo’s. But this misses the point. Shakira had opened the show with a greeting to the Miami audience in Spanish; she closed it in Spanish – a meaningful circularity in a nation torn over immigration. Lopez echoed her in English, capping a performance that was unabashedly sexy, athletic and beautiful, and powerful in ways that went beyond the physical.

At this halftime show, the hips didn’t lie. And neither did the women in control of them, and their message.

‘Bad Boys for Life’ stays in No. 1 spot over Super Bowl weekend #ศาสตร์เกษตรดินปุ๋ย

Published February 4, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


‘Bad Boys for Life’ stays in No. 1 spot over Super Bowl weekend

Feb 03. 2020
By Syndication Washington Post, Bloomberg · Hailey Waller 

Sony Corp.’s “Bad Boys for Life” remained No. 1 at the box office during a sluggish stretch for Hollywood releases, holding on for a third straight weekend. Its biggest competition was the Super Bowl taking a bite out of movie ticket sales.

The film, starring Will Smith and Martin Lawrence, held off newcomers from Paramount and United Artists Releasing, taking in $17.7 million, researcher Comscore Inc. estimated Sunday. Analysts had expected about $18 million.

Studios shy away from releasing big movies during the Super Bowl weekend, but the continued strength of “Bad Boys” helped revenue post an improvement from last year. Box Office Pro had projected that the weekend’s top 10 films would rise 23% to 28% from the same weekend of 2019, when the New England Patriots beat the Los Angeles Rams.

New releases this weekend, United Artists’ “Gretel & Hansel” and Paramount’s “The Rhythm Section” and landed in fourth and 10th places, respectively. “Gretel & Hansel” generated $6.1 million while “The Rhythm Section” took in $2.8 million.

In “The Rhythm Section,” Blake Lively plays a heroin-addicted prostitute who works with a special agent played by Jude Law to hunt down the terrorists who bombed her family’s plane. It’s directed by Reed Morano, who worked on Hulu’s “The Handmaid’s Tale,” and produced by Barbara Broccoli and Michael Wilson, who oversee the James Bond franchise. Most critics gave poor reviews to the picture.

The fairy tale spinoff “Gretel & Hansel,” got a better reception, though still mixed. At under 90 minutes, the movie “needs a bit more meat on its bones,” writes the New York Times.

An international smorgasbord of jazz #ศาสตร์เกษตรดินปุ๋ย

Published January 20, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


An international smorgasbord of jazz

Jan 20. 2020
By The Nation

After over a decade of its establishment, the upcoming 12th Thailand International Jazz Conference 2020 (TIJC2020) from January 31 to February 2, 2020 will be the most international with the most diverse array of musical styles — from traditional standard, flamenco and Latin, big band music, rhythm and blues, jungle and drum ‘n’ bass, to the most current contemporary jazz and the most eclectic classical-influenced “third stream” jazz.

TIJC 2020 will be the first year where a contemporary jazz group will headline the festival. The superstar-packed contemporary jazz project “Ozmosys” will close out the TIJC on the night of February 2.

Drummer and leader of this all-star jazz project, the legendary Omar Hakim, is well recognised today as one of the world’s top jazz and overall drummers who has performed with everyone, from Miles Davis and Weather Report to the likes of Michael Jackson, Madonna and countless others. Joining Omar Harkim in Ozmosys on the keyboard is Rachel Z, one of the most influential contemporary keyboardists who has also collaborated with countless artists such as Wayne Shorter, Steps Ahead, Marcus Miller, and Najee. Bassist Linley Marthe, famous for his collaboration with the great Joe Zawinul, has now become one of the most sought-after contemporary jazz and popular bassists.

Last but not least, the name of jazz guitar superhero Kurt Rosenwinkel needs no introduction. He is acknowledged by the jazz world nowadays as one of the most influential jazz guitarists of the 21st century. Encompassing a variety of musical styles from jazz, rock, ambient music, to classical music, Rosenwinkel became internationally prominent for his distinctive improvisational style, extremely fluent guitar skill, and visionary composition. One of the outstanding projects is the “Big Road Blues”, which documents Kurt’s collaboration with the legendary Eric Clapton.

Ozmosys will close out the night (February 2) on the “Main Stage” at TIJC with their highly energetic and tasteful contemporary jazz featuring all the heavyweights in today’s world jazz scene.

Besides performing with Ozmosys, Rosenwinkel will also perform a very special concert featuring his original composition, with Thailand Philharmonic Orchestra (TPO) in the “Jazz with TPO” concert on Saturday (4pm onwards) at Prince Mahidol Hall. Orchestral jazz is not something you can hear every day. Plus, Rosenwinkel is the world’s top jazz guitarist, described by the Jazz Book as “a visionary composer, with an infinitely sensitive way of layering electronic sounds, borrowed from ambient music, dub, and drum and bass, and manipulating them intelligently”. You may not be able to imagine how astonishing it would be when Kurt’s extremely imaginative composition and skillful and original guitar performance will sound like in front of the lush, sophisticated, and powerful background from the philharmonic orchestra. Hence, this is one of the must-see concerts.

Great Russian trumpeter Alex Sipiagin also joins the same orchestral afternoon as a soloist for TPO. Over the past decades, Sipiagin has established his reputation in the New York jazz scene as a world-class jazz trumpet player. In the TIJC2020, his session with TPO will also feature a masterful trumpet performance of his own amazing composition performed with rich orchestral arrangement – again a must for any jazz and orchestral music lovers.

Also joining the TPO evening is Jorge Pardo, Spanish flutist and saxophonist, whose reputation is guaranteed by his long-time collaboration with the great Chick Corea and Paco de Lucia. Over decades of his music profession, Pardo has been a major force that created a new musical language embracing jazz with Flamenco. The same TPO session will give you a great experience of jazz music with flamenco, jazz, world, and orchestral classical characters.

The main event, considered to be a highlight of TIJC, is the evening concert series to be held at the “Main Stage” located in the College of Music’s scenic Musica Arboretum. In addition to Ozmosys who will headline Sunday night, the headliners for Friday (January 31) and Saturday (February 1) nights include Javon Jackson, a tenor saxophonist who came into international prominence as a touring and recording member of the legendary drummer “Art Blakey and the Jazz Messengers” and The Rajiv Jayaweera Quintet Featuring Chris Cheek, respectively.

Other international artists to highlight the TIJC2020 include topnotch jazz artists from around the world, including Jorge Pardo Trio (Spain), Loop Doctors (Hungary), Pekka Pylkkanen Nu Unit (Finland), Jazz Association Singapore Orchestra (Singapore), Cherryl Hayes (USA), and others.

With its focus on the artistic value of jazz music, as well as the development of the society via jazz education, TIJC has now marked its place on the world map as one of the dream destinations for jazz aficionados and players around the country, region, and the world.

In addition to all the above, this is the year that we are so much into the concept of “Jazz for All” to make the jazz music available and well-known by all.

For TIJC2020, all kids under 10 years old can participate free of charge, with some special discount for parents as well.

The Thailand International Jazz Conference 2020 (TIJC2020) will be held from January 31 to February 2 at the College of Music, Mahidol University. For more information, visit www.tijc.net.2

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