publicado por Hugo Gomes às 2013-05-23 16:37:16
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Blog sobre noticias de informática
Artistas / Bandas Favoritas
Tiesto, David Guetta, Dj Vibe, Pete Tha Zouk, dj chuckie, Diego Miranda, etc
Tiesto, David Guetta, Dj Vibe, Pete Tha Zouk, dj chuckie, Diego Miranda, etc
Programas TV Favoritos
LA Ink, Miami Ink, CC
Jackass, Velocidade Furiosa (1, 2, 3, 4), STEP UP 3D, SAW (1, 2, 3, 4, 5, 6, 7), Resident Evil
é um abre olhos . . .
publicado por Hugo Gomes às 2013-05-23 16:35:50
Don Jon é o filme protagonizado, escrito e realizado por Joseph Gordon-Levitt (The Dark Knight Rises), uma comédia dramática apresentada no passado Festival de Sundance, onde arrecadou alguns elogios. Alusão moderna ao Don Juan, a história centra num homem que tenta tornar-se numa melhor pessoa quando conhece o amor da sua vida. Com Scarlett Johansson (Match Point, The Avengers), Julianne Moore (Hannibal), Brie Larson (21 Jump Street) e Tony Danza (Crash) no elenco. Don Jon ainda não tem data de estreia em Portugal!
publicado por Blogs PT às 2013-05-23 16:05:02
Para dinamizar a comunidade escolar da Madeira, o MEO acaba de lançar o MEO Kanal de Educação, como forma de promover e divulgar as instituições escolares e o sucesso escolar, conciliando, assim, as perspetivas institucional e pedagógica numa só ferramenta de comunicação com o poder da TV.
publicado por Blogs PT às 2013-05-23 09:23:19
publicado por Hugo Gomes às 2013-05-22 16:19:37
Estreia esta semana, dia 23 de Maio, The Reluctant Fundamentalist, a nova obra da realizadora indiana Mira Nair (Amelia, Vanity Fair). Baseado num livro de Mohsin Hamid, O Fundamentalista Relutante (titulo traduzido), nos remete à intensa busca por um refém norte-americano em Lahore, Paquistão. Um jornalista americano, Bobby Lincoln (Liev Schreiber, X-Men Origins: Wolverine), interroga um professor universitário, Changez Khan (Riz Ahmed, Four Lions), acusado de ser um fundamentalista religioso e talvez o cabecilha do acto de sequestro. Durante a conversa entre ambos, varias verdades serão reveladas sobre o conflito que paira as ruas de Lahore, contudo só uma será aceite, uma corrida contra-o-tempo que interlaça com ideais e valores. Kiefer Sutherland (da série 24), Kate Hudson (Almost Famous) e Om Puri (Gandhi) completam o elenco.
publicado por Maurício Barra às 2013-05-22 12:28:10
Ora vejamos . . .
. . .“equilíbrio entre disciplina financeira, solidariedade e estímulo à actividade económica" foi uma aparente decisão sensata do Conselho de Estado
O Presidente da Republica quer.
O Governo agora também quer, mas até ontem o Vítor Gaspar só queria disciplina financeira.
O PS não quer disciplina financeira à custa da solidariedade, e o estímulo económico que quer é só o público, o tal que só cria mais dívida pública.
O PC quer uma solidariedade social soviética e nacionalizar a actividade económica.
O BE quer ver se dá a volta ao PS para Portugal sair do Euro, afastando o país da Europa e das suas regras.
Enquanto uns querem procurar soluções e resolver os problemas estruturais da nossa economia, outros querem continuar a fazer de conta que, se não estamos em bancarrota, é porque os nossos credores nos estão a financiar, e, se não sairmos da bancarrota, é porque, apesar de ajudados, queremos continuar a gastar o que não temos em vez de reformarmos os custos sobre-dimensionados do Estado.
Fazer o que se faz em qualquer outro pais europeu ( como recentemente a Itália ), sentarem-se à volta de uma mesa , analisarem o que podem acordar em comum e colocarem os interesses nacionais acima dos interesses do seu grupo, isso não.
Isto é Portugal. À custa uns dos outros, uns vão bem outros mal.
publicado por Hugo Gomes às 2013-05-21 17:38:43
A obra por excelência de Charles Dickens, The Great Expectations, voltará a ser readaptada para o grande ecrã, desta sob o cunho de Mike Newell (Four Weddings and a Funeral, Harry Potter and the Goblet of Fire). Esta produção britânica de luxo irá marcar presença nos nossos cinemas já na próxima Quinta-Feira, dia 23 de Maio, e contará com um elenco de luxo que vai desde Jeremy Irvine (War Horse), Ralph Fiennes (Harry Potter and the Deathly Hallows), Helena Bonham Carter (Dark Shadows, Charlie and the Chocolate Factory), Robbie Coltrane (Harry Potter and the Sorcerer’s Stone), Jason Flemying (Clash of the Titans), Holliday Grainger (Jane Eyre), Sally Hawkins (Happy-Go-Lucky) e Ben Lloyd-Hughes (Tormented).
publicado por Hugo Gomes às 2013-05-21 17:28:57
Um acto de pura devoção!
Segundo o próprio, numa manhã chuvosa de Março durante a rodagem de O Pão (1959), Manoel de Oliveira procurava cenários para a sua obra quando deparou com um ritual estranho mas envolventemente religioso. O realizador ferverosamente crente sentiu uma aura divinal na representação de Paixão de Cristo, interpretada pela população da aldeia transmontana da Curalha. A partir daquele vislumbre, de Oliveira decide registrar a sua descoberta para a posteridade, num filme que cruza documentário com ficção (apelidado de docuficção, um área experiente do cinema português) que se tornou num dos marcos da sua carreira, o modelo que definiria o homem que seria conhecido e aclamado como o “mestre do cinema português”.
As citações, proferidas do Auto da Paixão, derivado dos textos escrito por Francisco Vaz de Guimarães do seculo XVI, transmitiam uma emocionante jornada de um povo crente que dedicava com fé, amor e devoção aquela cerimónia pascoal, à figura divina crucificada na representação e acima de tudo à cooperação de um povoado para gerar este simbólico gesto de comprovação religiosa. Manoel de Oliveira sentia-se então comprometido aquele festim de poemas e cantorias, ao rigor popular das personagens, à encarnação que cada uma delas representava para aqueles habitantes, mais do que o Mundo em desenvolvimento e em pleno progresso à sua volta. O realizador filma assim um espectáculo rural, raro e artesanalmente belo onde se funde com um das suas duradouras paixões, o teatro, e é com essa teatralidade que Manoel de Oliveira iria estampar como sua imagem de marca perante uma filmografia extensa e sempre no activo.
Podemos esperar uma representação dedicada por parte do autor a esta manifestação religiosa, um acto devoto rural que esboça o próprio cinema de Oliveira. Contudo o realizador não se contém com as suas fervorosas crenças e ao chegar ao seu desfecho, “atira-se de cabeça” aos problemas sociais da época, à desumanidade vivida, ao cenário bélico que deixa para trás uma fantasmagórica aura de morte e caos, imagens de arquivo que se reúnem ao simbolismo desta Paixão de Cristo, uma forçada ligação entre um acto religioso aos males mundiais. Mesmo sabendo do foro teológico, do símbolo de esperança e paz que o conto transcrito pela representação de Curalha emana, capaz de emocionar até mesmo o mais descrente, a verdade é que a imperatividade de fé transposta por Manoel de Oliveira deixa tudo a perder (aliás o realizador tem essa tendência de criar finais exagerados).
Contudo, Acto de Primavera se fomenta como um dos proeminentes obras do autor, um importante retrato de criatividade e prosperidade da docuficção. Sejam religiosos ou não, este é um filme que merece sempre a visualização, rituais perdidos e fé na representação e ilustração dos ícones de esperança e amor em plena Pascoa! A força popular no seu melhor e a padronização do cinema de Oliveira!
Filme visualizado no PANORAMA – 7ª Mostra do Documentário Português
Real.: Manoel de Oliveira / Int.: Nicolau Nunes Da Silva, Ermelinda Pires, Maria Madalena
publicado por Blogs PT às 2013-05-20 14:16:18
publicado por Maurício Barra às 2013-05-20 08:49:13
Ordem de Trabalhos do Conselho de Estado
1. o risco da política de ajustamento seguida por este Governo não prosseguir no próximo.
2. fomentar o crescimento económico e a criação de emprego.
3. preparar a renegociação do período pós-troika.
Ordem de Trabalhos do PS
“ O país não deveria discutir o além” José Sócrates
“ Crise de regime no horizonte de Portugal “ A.J Seguro
publicado por Hugo Gomes às 2013-05-19 23:52:06
Filme – O regresso de Arnold Schwarzenegger como herói a solo sob a alçada do primeiro trabalho do coreano cineasta, Kim Jee-Woon, que já nos havia oferecido delirantes obras como The Good, The Bad and the The Weird e I Saw the Devil. Os dois “ingredientes” explosivos resultam nesta espécie variação moderna de High Noon, um velho xerife pronto a defender a sua pequena cidade dos malfeitores, um filme de acção com genialidade ocasional mas pobre em termos de personagens e situações. A verdade é que Schwarzenegger não desilude no seu regresso á acção, não envergonha mesmo como factor da idade e a sombra do físico de outrora, mas Kim Jee-Woon sim, esperava-se mais identidade por parte do cineasta do que simplesmente um entretenimento passageiro e pouco dinâmico.
Inglês Dolby Digital 5.1
Distribuidora – PRIS Audiovisuais, SA
publicado por Hugo Gomes às 2013-05-19 23:42:17
Um atraso dramático!
Um atraso descomunal de três anos a chegar ao nosso país, um título traduzido ridículo que transmite uma ideia completamente errada da temática do filme (O Outro Lado do Coração), Rabbit Hole, o ultimo filme de John Cameron Mitchell (Shortbus), um drama seco mas competente, está condenado a passar despercebido em Portugal. Datado do ano 2010, Rabbit Hole integrou nos seleccionados aos Óscares de 2011 na categoria de Melhor Actriz Principal em 2011 graças a um desempenho sofrido por parte de Nicole Kidman. Todavia mesmo tendo sido o filme com menor receita domestica entre os envolvidos nos prémios da Academia daquele ano (com um orçamento de cinco milhões de dólares, apenas rendeu dois), ninguém nega que com o seu devido tempo a obra poderia funcionar dentro do nosso panorama cinematográfico. A começar pela actriz, Kidman não é uma desconhecida e sou crente em afirmar que exista por aí legião de fãs que veneram esta estrela de Hollywood e por fim a marca registada dos Óscares, prémio cinematográfico mais conceituado e respeitado serviria como um atractivo para o grande público consumido pela publicidade que a estatueta dourada emana. Enfim, com os três anos de atraso, um período difícil para o cinema que Portugal atravessa, e uma estimativa de 7 a 8 estreias por semana, Rabbit Hole perdera o seu impacto que poderia ter obtido há tempos atrás.
Contudo não devemos desfazer as qualidades desta mudança de registo de John Cameron Mitchell, que invoca memórias do seu passado (a perda do seu irmão) para adaptar a homónima peça de David Lindsay-Abaire. Assim sendo temos a nosso dispor uma obra igualmente padecida em termos emotivos, que não acarreta uma enfase dramática digna de melodrama o que torna Rabbit Hole, pesado, deprimente, mas nunca exagerado nem sob influências telenovelescas. A realização por parte de Cameron Mitchell é segura e experiente na recriação desta história de luto de um casal perdeu tragicamente o seu único filho. O autor consegue em todos os campos conceber uma partitura para os seus actores expressarem interpretativamente. Ou seja, temos a nosso dispor uma Nicole Kidman friamente forte, paranóica e de uma beleza emoldurada que nos remete um dos seus melhores empenhos dos últimos anos e um Aaron Eckhart, subtil mas por vezes explosivamente emotivo, dois desempenhos que lideram um leque de actores profissionais e todos eles demostrados as suas facetas frágeis, invocando o melhor da “escola de actores norte-americana”.
Rabbit Hole é contudo um drama forte, mas prejudicado pelo desleixo da distribuidora. A fita de John Cameron Mitchell chega demasiado tarde aos nossos cinemas, perdendo o impacto que poderia culminar. Bom, mas não surpreendente.
“And so this is just the sad version of us...”
Real.: John Cameron Mitchell / Int.: Nicole Kidman, Aaron Eckhart, Dianne Wiest, Sandra Oh
publicado por Maurício Barra às 2013-05-19 20:12:20
Buddy Turns Down Howlin' Wolf
Buddy Guy reflects on his reasons for turning down a gig with the legendary Howlin' Wolf in an interview segment cut into a performance of his song "I've Got News For You." The fact is that even young blues men as talented as Buddy, were sometimes intimated by their legendary predecessors.
publicado por Maurício Barra às 2013-05-19 09:15:07
Texas blues guitar great Mance Lipscomb performs "Take Me Back" and "Goin' Down Slow" in 1969.
Mance Lipscomb was born April 9, 1895 to an ex-slave father from Alabama and a half Native American Choctaw mother. Lipscomb spent most of his life working as a tenant farmer in Texas and was "discovered" and recorded by Mack McCormick and Chris Strachwitz in 1960 during the country blues revival. He released many albums of blues, ragtime, Tin Pan Alley and folk music (most of them on Strachwitz' Arhoolie label), singing and accompanying himself on acoustic guitar. He had a fine finger-picking guitar technique, and an expressive voice well suited to his material. Lipscomb often honed his skills by playing in nearby Brenham, Texas, with a blind musician, Sam Porter Norman. His debut release, Texas Songster (1960) revealed how broad his repertoire was, and further sets for Arhoolie made that point in greater detail. Lipscomb happily performed old songs like "Sugar Babe," the first song he ever learned, to pop numbers like "Shine On, Harvest Moon" and "It's a Long Way to Tipperary".
Trouble in Mind was recorded in 1961, and released on a major label, Reprise. In May 1963, Lipscombe appeared at the first Monterey Folk Festival in California. Also on the bill were Bob Dylan, Joan Baez, Pete Seeger, Peter, Paul & Mary and The Weavers.
Unlike many of his contemporaries, he did not record in the early blues era, but his life is well documented thanks to his autobiography, I Say Me for a Parable: The Oral Autobiography of Mance Lipscomb, Texas Bluesman, narrated to Glen Alyn, which was published posthumously, and also a short 1971 documentary by Les Blank, A Well Spent Life.
He died on January 30, 1976 in his hometown of Navasota, two years after suffering a stroke.
publicado por Maurício Barra às 2013-05-19 09:13:18
Mississippi John Hurt plays his song "Spike Drivers Blues" for Pete Seeger and his wife on "Pete Seeger's Rainbow Quest" television show in the mid-1960's.
Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing in a loud whisper, to a melodious finger-picked accompaniment, he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these were commercial failures. Hurt then drifted out of the recording scene, and he continued his work as a farmer. A copy of one of his recordings, "Avalon Blues," was later discovered. The title of which gave the location of his hometown and inspired a growth of interest in Hurt's whereabouts. Tom Hoskins, a blues enthusiast, would be the first to locate Hurt in 1963. He convinced Hurt to relocate to Washington, D.C., where he was recorded by the Library of Congress in 1964.
His rediscovery helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the same university and coffeehouse concert circuit as his contemporaries, as well as other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several studio albums for Vanguard Records.
publicado por Maurício Barra às 2013-05-19 09:11:50
Skip James performs in the company of other legendary blues men including Howlin' wolf at the Newport Folk Festival in 1966.
In early 1931, Skip James auditioned for H. C. Speir a Jackson, Mississippi, record shop owner and talent scout who placed blues performers with a variety of record labels including Paramount. On the strength of this audition, James traveled to Grafton, Wisconsin to record for Paramount. James's 1931 work is considered unique among pre-war blues recordings, and formed the basis of his reputation as a musician.
For the next thirty years, he recorded nothing drifting in and out of music and was virtually unknown to listeners until about 1960. In 1964 blues enthusiasts John Fahey, Bill Barth, and Henry Vestine located Skip James in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and of Son House at virtually the same moment was the start of the "blues revival" in the US. In July 1964 James, along with other rediscovered performers, appeared at the Newport Folk Festival. Several photographs by Dick Waterman captured this first performance in over 30 years. Throughout the remainder of the decade, he recorded for the Takoma, Melodeon, and Vanguard labels and played various engagements until his death in Philadelphia from cancer in 1969.
publicado por Maurício Barra às 2013-05-19 09:09:45
"Father of the Delta Blues," Charley Patton made this recording in Richmond, Indiana on June 14, 1929 accompanying himself on guitar.
Charley Patton was born in Hinds County, Mississippi near the town of Edwards between April 1887 and 1891. He is considered the "Father of the Delta Blues", and is credited with creating an enduring body of American music and personally inspiring just about every Delta blues man (Palmer, 1995). Musicologist Robert Palmer considers him among the most important musicians that America produced in the twentieth century.
In 1900, his family moved 100 miles north to the legendary 10,000-acre Dockery Plantation sawmill and cotton farm near Ruleville, Mississippi. It was here that both John Lee Hooker and Howlin' Wolf fell under the Patton spell as well as Willie Brown, Tommy Johnson, and Fiddlin' Joe Martin. It was also here that Robert Johnson played and was given his first guitar. At Dockery, Charley fell under the tutelage of Henry Sloan, who had a new, unusual style of playing music which today would be considered very early blues. Charley followed Henry Sloan around and by the time he was about 19 had become an accomplished performer and songwriter in his own right, having already composed the seminal "Pony Blues."
Biographer John Fahey describes Patton as having "light skin and Caucasian features." Though Patton was considered African-American, because of his light complexion there have been rumors that he was Mexican, or possibly a full-blood Cherokee, a theory endorsed by Howlin' Wolf. In actuality, Patton was a mix of white, black, and Cherokee
Patton was a "jack-of all-trades bluesman" who played "deep blues, white hillbilly songs, nineteenth-century ballads, and other varieties of black and white country dance music with equal facility," according to Robert Palmer. He was extremely popular across the Southern United States and also performed annually in Chicago, Illinois and, in 1934, New York City. In contrast to the itinerant wandering of most blues musicians of his time, Patton played scheduled engagements at plantations and taverns. Long before Jimi Hendrix impressed audiences with flashy guitar playing, Patton gained notoriety for his showmanship, often playing with the guitar down on his knees, behind his head, or behind his back. Although Patton was a small man at about 5 foot 5, his gravelly voice was rumored to have been loud enough to carry 500 yards without amplification. Patton's gritty bellowing was a major influence on the singing style of his young friend Chester Burnett, who went on to gain fame in Chicago as Howlin' Wolf.
Patton settled in Holly Ridge, Mississippi with his common-law wife and recording partner Bertha Lee in 1933. He died on the Heathman-Dedham plantation near Indianola on April 28, 1934 and is buried in Holly Ridge (both towns are located in Sunflower County). Patton's death certificate states that he died of a mitral valve disorder. His death was not reported in the newspapers. A memorial headstone was erected on Patton's grave in July, 1990 paid for by musician John Fogerty through the Mt. Zion Memorial Fund.
publicado por Maurício Barra às 2013-05-19 09:08:12
Stevie Ray Vaughan (guitar and vocals) performances "Pride And Joy" with his band "Double Trouble" consisting of Tommy Shannon (bass), and Chris Layton (drums) live at Montreux 1982.
In 1982, Vaughan and Double Trouble performed at the Montreux Jazz Festival in Switzerland, catching the attention of musicians David Bowie and Jackson Browne. Bowie asked Vaughan to play on his upcoming studio album Let's Dance, while Browne offered the band free use of his personal studio in Los Angeles to record an album.
In March 1983, Vaughan and Double Trouble were signed to Epic Records by veteran record producer John Hammond Sr. and released their debut album, "Texas Flood" in June of that year.
publicado por Maurício Barra às 2013-05-19 09:06:07
Father of the Memphis Blues
Recorded February 1928 in Memphis, Tennessee with Frank Stokes (guitar, vocals) and Dan Sane (guitar).
Frank Stokes was born January 1, 1888 in Shelby County, Tennessee, in the largest Southern vicinity of Whitehaven, located two miles north of the Mississippi line. He was raised by his stepfather in Tutwiler, Mississippi, after the death of his parents. Stokes first learned to play guitar as a youth in Tutwiler and after 1895, in Hernando, Mississippi, which was home to such guitarists as Jim Jackson, Dan Sane, Elijah Avery (of Cannon's Jug Stompers), and Robert Wilkins. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar with Sane, with whom he developed a long-term musical partnership. Together, they busked on the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street.
In the mid 1910s, Stokes joined forces with fellow Mississippian Garfield Akers as a blackface songster, comedian, and buck dancer in the Doc Watts Medicine Show, a tent show that toured the South. During this period of touring, Stokes developed a sense of show business professionalism that set him apart from many of the more rural, less polished blues musicians of that time and place. It is said that his performances on the southern minstrel and vaudeville circuit around this time influenced Jimmie Rodgers, who played the same circuit. Rodgers borrowed songs and song fragments from Stokes and was influenced stylistically as well.
Around 1920, Stokes settled in Oakville, Tennessee, where he went back to work as a blacksmith. Stokes teamed up again with Sane and went to work playing dances, picnics, fish fries, saloons, and parties in his free time. Stokes and Sane joined Jack Kelly's Jug Busters to play white country clubs, parties and dances, and to play Beale Street together as the "Beale Street Sheiks," first recording under that name for Paramount Records in August 1927. All told, Stokes was to cut 38 sides for Paramount and Victor Records. "The fluid guitar interplay between Stokes and Sane, combined with a propulsive beat, witty lyrics, and Stokes's stentorian voice, make their recordings irresistible." Their duet style influenced the young Memphis Minnie in her duets with husband Kansas Joe McCoy.
The Sheiks next recorded at a session for Victor Records, in February 1928 with an emphasis was on blues, rather than the older songs that were also part of Stokes' repertoire. In 1929, Stokes and Sane recorded again for Paramount, resuming their "Beale Street Sheiks" billing for a few cuts. In September Stokes was back on Victor to make what were to be his last recordings, this time without Sane, but with Will Batts on fiddle. Stokes and Batts were a team as evidenced by these records, which are both traditional and wildly original, but their style had fallen out of favor with the blues record buying public. Stokes was still a popular live performer, however, appearing in medicine shows, the Ringling Brothers Circus, and other tent shows and similar venues during the 1930s and 1940s. During the 1940s, Stokes moved to Clarksdale, where he occasionally worked in local juke joints with Bukka White.
Frank Stokes died of a stroke in Memphis on September 12, 1955 and was buried there at the Hollywood Cemetery. He is now considered by many musicologists to be the father of the Memphis blues guitar style.
publicado por Maurício Barra às 2013-05-19 09:03:49
Jessie Mae Hemphill is captured on film during a 1991 performance.
Hemphill was born near Como and Senatobia, Mississippi, in northern Mississippi just east of the Mississippi Delta. She began playing the guitar at the age of seven and also played drums in various local Mississippi fife and drum bands. Her musical background began with playing snare drum and bass drum in the fife-and-drum band led by her grandfather, Sid Hemphill. Aside from sitting in at Memphis bars a few times in the 1950s, most of her playing was done in family and informal settings such as picnics with fife and drum music until her 1979 recordings.
The first field recordings of her work were made by blues researcher George Mitchell in 1967 and ethnomusicologist Dr. David Evans in 1973 when she was known as Jessie Mae Brooks, using the surname from a brief early marriage, but the recordings were not released. In 1978, Dr. Evans came to Memphis to teach at Memphis State University (now University of Memphis). The school founded the High Water label in 1979 to promote interest in the indigenous music of the South. Evans made the first high-quality field recordings of Hemphill in that year and soon after produced her first sessions for the High Water label.
Hemphill then launched a recording career in the early 1980s, a period which was her heyday. In 1981 her first full-length album, "She-Wolf," was licensed from High Water and released on France's Vogue Records. She received the W. C. Handy Award for best traditional female blues artist in 1987 and 1988.
In 1990, her first American full length album, "Feelin' Good," was released and also won a Handy Award for best acoustic album. Hemphill suffered a stroke that paralyzed her left side in 1993, preventing her from playing guitar, resulting in her retiring at that time from her blues career. However, she did continue to play, accompanying her band on the tambourine.
On July 22, 2006, Jessie Mae Hemphill died at The Regional Medical Center in Memphis, after experiencing complications from an ulcer.
publicado por Maurício Barra às 2013-05-19 09:01:32
In a live performance from Jazz à Vienne Festival 2009 Lucky Peterson (guitar and vocals), with Noel Johnston (2nd guitar) play "Dead Cat On The Line."
Lucky Peterson's father, bluesman James Peterson, owned a nightclub in Buffalo called The Governor's Inn. The club was a regular stop for fellow bluesman Willie Dixon. Dixon saw a five-year-old Lucky Peterson performing at the club and, in Peterson's words, "Took me under his wing." Months later, Peterson performed on The Tonight Show, The Ed Sullivan Show and What's My Line?. Millions of people watched Peterson sing "1-2-3-4", a cover version of "Please, Please, Please" by James Brown. At the time, Peterson said "his father wrote it". Soon he recorded his first album, "Our Future: 5 Year Old Lucky Peterson," for Today/Perception Records and had an appearance on the show "Soul!" on public television.
As a teen, Peterson studied at the Buffalo Academy for Visual and Performing Arts, where he played the French horn with the school symphony. Soon, he was playing backup guitar and keyboards for Etta James, Bobby "Blue" Bland, and Little Milton.
Today, Peterson lives in Dallas, Texas. He still tours, but says he spends an increasing amount of time playing music for his church
publicado por Maurício Barra às 2013-05-19 08:59:19
This recording was produced in Chicago on December 12, 1940 with Tommy McClennan (vocal and guitar).
Tommy McClennan who was originally from Durant, Mississippi made his way to Chicago sometime during the late 30's, making a series of recordings for Bluebird Records from 1939 through 1942. He regularly performed with his friend Robert Petway and can be heard shouting in the background on Petway's 1942 recording "Boogie Woogie Woman". McClennan made an immediate impact in 1940 with his recordings "Shake 'Em on Down", "Bottle It Up and Go", "Whiskey Head Woman" and "New Highway No.51".
He left a powerful legacy that included "Bottle It Up and Go," "Cross Cut Saw Blues" later covered by Albert King, "My baby's gone" (covered and adapted by Moon Mullican), "Deep Blue Sea Blues" (aka "Catfish Blues"), and others whose lasting power has been evidenced through the repertoires and re-recordings of other artists.
In John Fahey's "Screaming and Hollerin' the Blues" there is an interview conducted with Booker Miller, who was a contemporary of Charlie Patton, he makes mention of someone who is most likely Tommy McClennan, though he does not know his name: "... and I saw another fella he put some records out, they (him and Willie Brown) be together, but he be by himself when I see him, they called him "Sugar"... I ain't never known him as nothing but Sugar, he put out a record called Bottle Up and Go... I sold him my guitar."
"He had a different style of playing a guitar" Big Bill Broonzy remarked drily. "You just make the chords and change when you feel like changing"
Although nothing is known of what happened to Petway, Tommy McClennan was occasionally seen in Chicago with Elmore James and Little Walter, two other artists from the Delta. McClennan is reported to have died from alcoholism in poverty in Chicago, Illinois, in 1962.
publicado por Maurício Barra às 2013-05-19 08:56:47
Arthur Crudup performs his famous "Grayhound Bus Blues" with the Crudup Brothers Blues Band consisting of his sons Jonas (guitar), Charles (keyboards), George (bass), and James (drums), near his home in Virginia during the mid-1970s.
From the mid-1960s, Crudup returned to bootlegging and working as an agricultural laborer, chiefly in Virginia, where he lived with his family including three sons and several of his own siblings. On the Eastern Shore of Virginia, while he lived in relative poverty as a field laborer, he occasionally sang and supplied moonshine to a number of drinking establishments, including one called The Dew-Drop Inn, in Northampton County, for some time prior to his death from complications of heart disease and diabetes. He died of a heart attack in the Nassawadox hospital in Northampton County, Virginia on March 28, 1974. There was some confusion in regards to his actual date of death because he used several names.
Arthur "Big Boy" Crudup was honored with a marker on the Mississippi Blues Trail placed at Forest, Mississippi his place of birth.