Best of the Vox

Qu'est-ce que vous faites dans cette taverne de fées?

nobody@vox.com(Happy Mutant) — Thu, 01 Apr 2010 14:54:28 -0700

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THE FUTURE Mixx/ 3 NEW VERY HOT TALENTED COMMERCIAL R&B/DANCE/POP ARTISTS

nobody@vox.com(JBmixx ProJexX) — Sun, 13 Dec 2009 16:16:48 -0800

FUTUREmixx PRoJexX
JB.mixx/PRODUCER SONGWRITER

JB.MiXX aka JAMES BLACK, LONDON BORN, SONGWRITING SINCE 16 HAD BEEN SIGN TO MAJOR LABELS IN THE EARLY DAYS (ZUICE 1986) IN THE 90s JB.mixx SOLD GOLD AND PLATINUM ALBUMS SELLS IN SCANDINAVIA ON OTHER PROJECTS,NOW SEEKING TO BE AN "IN HOUSE" PRODUCER with OTHER PRODUCERS SONGWRITERS DJ LANTAN /MAX 'C/ROB BUTLER , LIKE MANY PRODUCERS etc TIMBERLAND,DARKCHILD, TEDDY RILEY, JB.mixx HAS MANY VERSATILITY TO IN ALL GENRES OF MUSIC,AND NOW ALL 4 PACKAGES IN 1 JB.MIXX ,HAS 3 OTHER UNSIGNED ARTIST,ALSO FULLY SET TO GO SIGNED UP AND ON THE ROAD TO MAKE HISTORY,AND THE WHOLE PLAN IS TO BUILD NEW BOUNDARIES WHERE TO HELP UP AND COMING ARTIST OR WELL ESTABLISHED . WWW.MYSPACE.COM/JBMIXX

MAX'C = ARTIST

Born in Louisville, Kentucky, this multi-talented entertainer has crossed boundaries that artists only dream of. From Billboard hits, to topping the charts in over 12 European countries, Max'C is definitely the man to keep an eye on. Singer/Songwriter, Performer, Dancer, Choreographer, and even Actor. ALREADY ESTABLISED AS FEATURED AND MAIN ARTIST FOR BIG NAME DJs DAVID GUETTA,AXWELL, AND MANY OTHER DJs IN DANCE MUSIC, JB.MiXX AND MAX'C USE TO BE A BAND TOGETHER CALLED "3RD NATION," IN THE 90s WE HAD A NUMBER 8 BILLBOARD DANCE CHART HIT IN SCANDINAVIA (3RD NATION, I BELIEVE) PRODUCED BY STONEBRIDGE WHO HAD MASSIVE HIT WITH (SHOW ME LOVE, ROBIN S) JB.MiXX AND MAX'C WAS SIGNED WITH (SWEMIX RECORDS, BTB, WEA SWEDEN)NOW HERE ARE 4 BRAND NEW TRACKS ALSO FT DIFFERENT RAPPERS FROM U.S.A,TAKE A PEAK LISTEN LET ME KNOW YO FEEDBACK!!!!

1.DON'T GET IT TWISTED, ft REDRAMA
2.WACKO
3.GOODIES ft A.MO
4.YOUR SO BEAUTIFUL ft LANTAN
www.myspace.com/charlesesalter

DJ LANTAN = ARTIST

LANTAN aka MARK SMITH, ANOTHER VERY TALANTED VERY VERSATILE EXPERIENCE ARTIST/SONGWRITER FROM JAMAICA NOW UK BASED,IN HIS MARKET OF COMMERCIAL SONGS HE IS KNOWN FOR HIS SIMPLICITY OF WHAT COMMERCIAL IS ABOUT,RELEASES OF HIS PREVIOUS CD/ALBUMS/SINGLES CAN BE FOUND ON iTUNES,AMAZON & MOST OTHER MAJOR DOWNLOAD SITES ON WORLDWIDE WEB.HE IS HARD WORKING DEDICATED,AND PREVIOUSLY PLAYED IN SEVERAL COUNTRIES AROUND THE GLOBE,AND IS CONSTANTLY PROMOTING & PUSHING FOR WORLDWIDE RECOGNITION,NOW MORE FOCUS IN THE DANCE/R&B GENRE, LANTAN TEAMED UP WITH JB MIXX NOW AS SONGWRITER CO-PRODUCER. HERE ARE 4 HOT PROFESSIONAL TRACKS FROM LANTAN

1.UNSTOPPABLE
2.HARDCORE ft LIANNA
3.LIKE FIRE
4.JUST WANNA LOVE YOU ft LIANNA www.myspace.com/realdjlantan www.facebook.com/djlantan www.lantan.net

ROB B = ARTIST

ROB B aka ROB BUTLER 21 FROM NORTH ENGLAND,A VERY TALENTED UPCOMING SINGER SONGWRITER, LIKE JUSTIN TIMBERLAKE ROB HAS THAT CHARISMA THAT CAN GET EVERY ONE ON THERE FEET, BEEN PERFORMING FROM THE AGE OF 6 , HAS A NATIONAL DIPLOMA IN THE MUSIC AND PERFORMING ARTS INDUSTRY AND VOICE TECHNIQUE ,BEEN WRITING SINCE 15 AND IS VERY PASSIONATE ABOUT SINGING AND SONGWRITING, ALSO TALENTED PLAYING DRUMS AND KEYS, Toured the uk with a company called The Arena Of Life doing pre-match entertainment, which involved me singing and dancing and also help organise the sets and music behind the songs and the harmony arrangments.
Performed with the SYTC (south yorkshire theatre company) which is a full musical based company, called a musical sensation. Toured with the group to several destinations to sing in the show.
Produced and directored shows that have involved me in producing songs music and lyrics for the show.
FROM ROB LISTS WE ADDED THESE 5
1. GET WIT IT
2.PLAY THE GAME
3.YOUR TIME IS NOW
4.MONEY 5.EVERYBODY CLAP CLAP www.myspace.com/robbutlerjbmixxproject

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How to connect your Laptop / Computer to your TV Screen?

nobody@vox.com(Indian-TV) — Sun, 27 Dec 2009 05:15:47 -0800

There are many different ways of connecting the television to computer:

1. S-Cable Video: This is one of the most common options used for connecting the computer to the television. The reason for this method to be common is that the cable for this method is cheap and each television has a port for it. There are two types of ports, four-pins as well as seven-pins. Almost, each and every computer and television has seven-pin port.

2. VGA – If one possess with the high definition television, then one might want to go for the option of VGA. The VGA option has far more better clarity in comparison to the S-Cable method. But, one might not find the VGA port in both television as well as computer.

3. DVI – DVI is a short for of Digital Visual Interface. The effect of digital works here actually. The digital signal of the technology can give better picture that VGA or S-Cable option. Just like VGA, one might not find DVI port in computer as well as television.

How To Connect Your Laptop To Your Television

Probably, these are three very common methods used to connect the computer to television. Even though, there are some more different option that one can opt for.

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TMC's cultural highlights of the decade...

nobody@vox.com(This Morning Call) — Sat, 26 Dec 2009 07:52:12 -0800

Pan's Labyrinth

At this time of year, the popular press delight in presenting their top tens, reviews of the year and other such countdowns that serve to illustrate just how right they were all along in predicting cultural trends and populist movements across the arts. This year will have the added bonus of being the end of a decade, so we can expect even more of this self-congratulatory editorial and the shelves will be groaning with reviews and journalistic analysis.

You may detect a hint of cynicism here, and you'd be right. Before we plunge into the land of someone else's opinion, we must remember that we are no longer shackled by the whims of the cultural elite. With the advent of online newspapers, when invited to "comment" the average guardian reader delights in disagreeing so vehemently that what was once a definitive list is subsumed into petty squabble by comment number 25.

However, because I still maintain pretensions with regards to doing this professionally one day, I thought I'd selfishly have a go at compiling my own list of personal big hitters from the last ten years. Well, you know what they say, "if you can't beat them, join them".

For this list, I've decided to dip my toes into the worlds of music, film, art, design, technology and literature.

In the noughties, devoid of any radical cultural shifts, for the first time more was written about how we consume music than the music itself. The media turned its attention to the death of the traditional music industry and the rise of the digital consumer. Central to this was the technology that has made it all possible; the internet, and the reach of portable devices that literally allow you to have a record collection in your pocket. Ladies and gentlemen, let me introduce, the Ipod.

You'll all be familiar with this unassuming little creature. Smooth lines, pocket-sized, touch screen or dial operated. This is an iconic piece, and a triumph of design, where functionality is not compromised despite the minimalist aesthetic. It fits neatly into your pocket in a smooth way that a walkman never did, and newer models come resplendent with wireless internet and space for literally thousands of tracks, video clips and other bits of content. The Ipod is simply something which, once upon a time, existed in science fiction. Now, it seems so logical and essential that it's hard to imagine a world without one; similarly the mobile phone, which ten years previous, revolutionised the 90's, and has proved to be equally indispensable.

But it's the design aesthetic that I want to highlight here. It really is very pretty. It harks back to classic modernism but looks forward to a technological utopian future made of glass and run by intelligent machines. The little box reflects current architectural trends with lots of gherkin curves and wipe-clean glass, and even has its own noughties "retro" feature - the Apple logo - allowing it to put one foot in the future and one foot in the past. Recent devices are able to sense if you are holding them in portrait or landscape, and adjust accordingly. When on shuffle, my Ipod has a tendency to pick songs that seem to go together, perhaps registering a commonality in the title or the artist, or perhaps the tempo. "Let's say a prayer to the shuffle gods", we say. Well, let me tell you this, I'm convinced the shuffle gods are real...!

Well, perhaps that's taking my devotion a little too far, but it's not difficult to overemphasis how much I enjoy all this music at the touch of a button, even if we are still some way from "AI-pods".

It's hard to believe that the Ipod was invented in 2001 and already has become part and parcel of daily life. A little piece of design that feels classic, yet remains resolutely contemporary and will undoubtably become iconic.

Next up, from the world of film, it's "Pan's Labyrinth" dir. by Guillermo Del Torro. Well, it was a toss up between this and "A Serious Man" from the Coen Brothers, but I only saw that the other week, so I probably need to give it time to settle. It is very good though. And I did think about "The Lord of the Rings" movies, which I loved, but as this is an original story, I think it has the edge.

"Pan's Labyrinth" is a film about the Spanish Civil War re-imagined as a child's supernatural dream. The film expertly blurs the distinction between the violent, adult world of the uncompromising fascist, and the imaginary world of Pan, a character born of escapist imagination. Pan appears as a vision from the underworld in a dilapidated, labyrinthine garden and informs our protagonist, Ofelia, a young girl, that she is in fact a lost princess and must undertake a series of tasks to prove her real identity.

This film is one of many superb fantasy pictures that have graced our cinemas in the last ten years. Advances in technology have enabled photorealism in computer graphics, and this has inspired directors to create ever more elaborate and immersive fantasy worlds. "Pan's Labyrinth" is particularly effective because it doesn't overplay its hand in the depiction of its fantastical elements. Sequences including the retrieval of a key from the stomach of a giant frog and the escape from the dining room of a child eating demon, the "Pale Man", are interspersed episodically throughout the film. For the most part, the narrative takes place in the real world, a world of fascism, rebellion and war. Indeed, there is nothing fantastical about the naked displays of casual violence, torture and other war time atrocities on display here. The commander is unsympathetic, brutal and unforgiving to his staff, and at times sadistic, murderous and bloody. At the outset, graphic violence is illustrated at length, but as the film continues, incidents of extreme violence become more causal, almost routine, the victims dehumanised and forgotten.

Of course, in cinema, we are often led to believe in the power of imagination, and the "dream made real" motif is a classic narrative device beloved of Disney and many others. Faced with the reality of the Spanish Civil War, it is no wonder that our protagonist wants to escape into a fantasy world apparently of her own devising. But this film is deliciously dark and full of metaphor; the "dream world" consciously parallels the real, and is equally as dangerous. There is no escape from monsters, human or otherwise, for our protagonist, in either reality.

There are architectural juxtapositions. Notice how the structural lines in the underworld are curved, grandiose and impossible. In contrast, the real world is full of straight lines, square brick and rural charm. The "real" dining room is rationed and empty while the Pale Man's dining room is full of food, providing an irresistible temptation for Ofelia. The colour palette of the movie codes the real world with gunpowder black and grey, earthy greens and blue, while the underworld is full of outrageous gold, red and yellow, opulent, warm and inviting. As the real world trudges on, Pan grows younger, as though he is moving in reverse, his relationship with time constantly in flux. The effect leads the viewer to question which is the true reality, or perhaps which is the most desirable reality. Despite the flesh eating frogs and demons, surely the fantasy world, with its promise of royalty, adventure and opulence, can be her only choice.

If there is a sense that the magical can somehow interfere with the everyday, then the resolution takes this idea to a logical extreme, cleverly linking both the real and imaginary worlds. The barriers between life and death itself are blurred. It is an emotional and disturbing end to a fabulous film. I urge you to watch it at once.

Cormac McCarthy

Let me get this book review in quickly before we all trudge down to the cinema to see the film adaptation of this classic novel later next month. I'm sure it will be good, and the trailers look great, but let's not chance it. I'm not normally picky about such things, but in this instance, read the book first. The book in question is "The Road" by Cormac McCarthy. (The picture is the author in question.)

This novel should be read on a cool, crisp day overlooking the hills, with winter nipping at your toes. I read it on holiday in Italy in 2008, with blue skies, warm sun and with my feet dangling into an over-chlorinated swimming pool. I guess I wasn't expecting to be swept away so dramatically into McCarthy's vision of the apocalypse, for this novel is bleak, uncompromising and horrific both in incident and implication.

What struck me the most from this slim volume is the conservation of language; for the most part composed of short, sharp paragraphs, with brief conversational exchanges. Descriptions are eloquent and evocative, but there is no time to linger. Perhaps our protagonist is too world weary to offer a more lengthy prose. After all, he is a broken man. An unspecified disaster has reduced the world to a frozen cinder. The sun never comes up because it is obscured by clouds of ash and debris. A permanent winter chill has settled over the land. The remains of civilisation, bodies frozen in hardened tar, and the survivors, cannibals, the insane, nod to "Lord of the Flies ", as they form packs of marauding gunslingers. His worsening health is suggestive of cancer, his dreams are full of nightmare images and flashes from a past that has long since disappeared.

This apocalyptic drama pressed all the right buttons. Moments of horror litter the narrative, from barbecued babies to a locked larder of half eaten people. There are dramatic narrow escapes, and moments of joy with the discovery of a warm bed for the night, or some unspoilt food source. Never have unopened tins of pears been made to sound so appetising.

The father, for he remains unnamed, is accompanied by his young son. He is desperate to protect him. They are journeying down the road in search of a warmer climate without which they will surely die. On a very simple level, the youngster represents the future of the human race. Of course he must be protected, or that's it, the end of the species. But in the face of such horror, the need to instil a moral code becomes paramount. How can a child be taught what is right and good in the world, when the world has been turned upside down, and death stalks the freeway? This is central question.

This novel is also about love, both in the paternal relationship between the two characters, but also a love owed to the human race, to the protection of the future, to survival, to the human spirit. This is why such a novel is not depressing, rather uplifting. The greatest of mankind survives in the hope and the love of one man, who, against all the odds, remains "the good guy". It's easy to forget, in these dangerous times, that mankind is capable of such generosity and depth of feeling, even in the worst of circumstances.

"The Road" is the finest book of the decade. We should pause for breath here.

Those of you who know me personally will know that I'm allowed to pick Maximo Park as a noughties musical favourite for purely personal reasons, but I wont dwell on that here, I'll instead mention the three very fine albums that this band have produced over the decade, and suggest that the second, "Our Earthly Pleasures", is one of my favourite records of the decade.

Ok, maybe it wasn't received as well as the first album, "A Certain Trigger", which, lest we forget, was nominated for the Mercury, but I would argue that the follow up is a stronger, more complete record, with excellent production throughout and some original and very satisfying tunes. The trio of tracks that open the album - "Girls Who Play Guitars", "Our Velocity" and "Books From Boxes" - are as good an opening to a rock album as you can get, full of energy, vigour and verve. Live, the band make the most of these classics, and having attended several shows over the past few years, audiences have responded with gusto to each. In a decade which invented the term "landfill indie" to describing flash-in-the-pan, middle-class white boys with guitars (such as The Pigeon Detectives and The Maccabees), it is good to know that the genre can still accommodate the maverick whims of real artists willing to stick a boot in to create a riot.

The band has often been noted for its lyrical prowess, and singer Paul Smith certainly commands a large vocabulary. This approach has, for the most part, worked well. It is his gift for describing the broken hearted in terms that appeal to the cod-intellectualism of recently graduated art students that have created popularity. Similarly, the marriage of high energy, up tempo drama coupled with genuine melody made this a winning formula; the pounding drums that kick off "The Unshockable", for example, and even to the last track, where "Parisian Skies" teases with balladry with its low key introduction before bolting off once again for a final flourish.

Like most indie rock bands, Maximo are destined to live large and die young. Their third album, Quicken the Heart, was a fine record in my eyes, but too many was something of a disappointment. We must remember that a younger audience is fickle. It will not stand by and celebrate a single artist for long before moving onto the next. Very few bands of this ilk command longevity. I expect, should a fourth album be conceived, that a change of direction may be on the cards. Nevertheless, over the last few years, this has been something of a treat, a global success, and an example of British rock at its best, and if anybody can pull this off, they can. Long may it continue.

You will know that a major highlight of my year is the annual pilgrimage down to Pilton for the Glastonbury Festival. The noughties were a decade in which festival going slipped completely into the mainstream. There were multitudes of differing events, catering for all tastes and all comers. The granddaddy of them all, of course, was Glastonbury.

It is almost inconceivable to imagine that just a few short years ago, there was a question mark over the both the relevance and the future of this British institution. For a few years, bad weather plagued the festival site, turning green fields into muddy swamps, and some elitist yet blinkered musicians began to publicly question the programming. "What right has hip-hop to gatecrash the headline slot?" they argued, referring to the fact that an American rapper, Jay-Z, had been announced as the festival headliner in 2008, "It's not what the public want. Bring back Oasis". The mood was reflected in slower than usual ticket sales and for the first time organiser Michael Eavis admitted concern that the festival may not be able to deliver on its regular charitable donations.

The way the festival has answered its critics and continued to deliver content, artistry and atmosphere in spades, for a fan like me, is wonderful. The aforementioned rapper delivered a triumphant set that showed up Noel Gallagher and friends, and perhaps caused them to regret their words. Festival attendees delighted in being able to choose from a huge variety of different acts and artists spread across many different stages. There was truly something for everyone, as well as the opportunity to stumble across something new that blows you away.

Perhaps Glastonbury is best enjoyed as several different festivals rolled into one. There is the televised, trumpeted and hyped performers than populate the Pyramid stage, and the indie wannabes that tend to play on the Other Stage. You've got the "Dance Village" for dance and electronic music fans. You've got the circus and comedy big tops. You've got paganism and alternative spiritual fields, which includes the stone circle, which you must visit. You've got the green futures and Greenpeace areas. Finally, you've got the truly alternative and mysterious world of Shangri-La, which used to be called Lost Vagueness, which come to life at night, and inevitably involves being hopelessly lost and cider-drunk until the early hours and exhaustion overcomes you.

That certain kinds of contemporary art are by now indivisible from entertainment may seem a truth too obvious to mention. Some of the most spectacular art events of the last decade were equally bent on drawing us together - not just for the fun of it, but to reveal our common humanity. I think it's also fair to say that, in the noughties, big was most certainly better. Above all Miroslav Balka's How It Is in the Turbine Hall at Tate Modern, an immense steel container which drew us into its seething black depths, felt the most vital and influential of the venue's installations.

The lure was curiosity, once inside, completely black and empty, aside from other visitors, who bumped and wobbled their way around, trying to avoid shunting a total stranger. Turning to leave, you met your successors hesitating on the threshold like fearful shadows and suddenly the meaning of the work emerged - spiritual, tragic, and universal - here, common human experience revolving around the discovery of what lies in the dark. Oh the irony of stripping away our sense of sight, leaving an artwork that revolves around what we can't see and exists only in our minds.

I've loved the large installations that have inhabited the Turbine Hall in the Tate Modern. The gallery has long been one of my haunts on various trips to London, a sanctuary against the weather, against boredom, or crowds. Almost every trip I've enjoyed to the capital has resulted in a visit. The excitement stems from just how big, and just how dramatic these installations can be when done well.

I guess that covers everything I wanted to talk about. I hope you found that as interesting to read as I did to write. Honorary mentions should go to Russell T Davis' reimagined Doctor Who, which I have loved, David Mitchell for various novels including Cloud Atlas, and great albums from Bjork, Animal Collective, Wild Beasts, Friendly Fires, Elbow and many others. Short of turning this whole thing into a disseration of PhD proportions, I think I'll leave it at that for now.

As usual, I welcome your comments and suggestions for your own cultural highlights from the last ten years.

best wishes,

Ben

This Morning Call

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QotD: Merry Christmas to All and To All a Good Night

nobody@vox.com(dotmouth) — Sat, 26 Dec 2009 00:09:23 -0800

How and where are you spending this Christmas Day? Make spirits bright by sharing a photo! came off tour. and out with the kid,s having a good chrismas

EXCLUSIVE DOTMOUTH INTERVIEW!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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Light Heavy Records Releases "Speaking Of Silence"

nobody@vox.com(MusicDish) — Thu, 24 Dec 2009 13:50:50 -0800

Url: http://www.myspace.com/duvid
Sound: http://www.reverbnation.com/tunepak/2165846

Duvid's album "Unspoken" promises to be unique - each melodic post rock instrumental will be accompanied by one of his dreamy poems (written, not spoken). Peaceful. Relaxing. Cosmic. Romantic. Beautiful.

The words for:
Speaking of Silence
by Duvid

speaking of silence
mad nights of uncontrollable falling
into mysterious nameless mind fields
the echoes of a faraway child’s dreams
floating in a shimmering sea of midnight

whispering candle
unattached rainbow mirror just this side of darkness
talk to me of love and lightning
the falling leaves of autumn
and the end of coming and going

you’re a glorious hermit
concealed by dust and promises
wandering unseen
between the bright shimmering haze
and the dark velvet void

i thought i saw you there
your robes flowing, a lost silken spectrum
looking for lost travelers
floating on the waves

your eyes, a burning temple
your voice, a laughing mountain
your touch, a weeping river

i turned, and you were gone

The single "Speaking of Silence" is available on iTunes, Amazon, Rhapsody, Napster, eMusic, LaLa, Shockhound, Limewire, Nokia, Amie Street and Myspace Music.

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"Amazing Grace" Is Renewed In Soulful Holiday Rendition On Native American Flute And Flugelhorn

nobody@vox.com(MusicDish) — Thu, 24 Dec 2009 09:13:22 -0800

Url: http://www.cdbaby.com/licateroster

San Francisco, CA - December 23, 2009 - The well-known classic "Amazing Grace" experienced a holiday makeover by visionary musicians Ann Licater and Jeff Oster. The San Francisco-based musicians collaborated to create a completely new rendition of one of the world's best-known songs. Unclassifiable as either Jazz, World, Christian or New Age music exactly, the track is finding a wide audience during its Holiday 2009 release as a 99-cent digital download exclusively on CDBaby (http://www.cdbaby.com/cd/licateroster ) and iTunes. (http://itunes.apple.com/us/artist/ann-licater-jeff-oster/id347771432)

Licater explains, "Jeff (Oster) and I were originally inspired to create this rendition of ‘Amazing Grace' for consideration in the 2009 presidential inauguration; to us the Native American flute represented the heart of the people and the Flugelhorn really conveyed the honor and heraldry of the occasion."

The song stayed in the artists' hearts and minds all year long, seeming to beckon for a Holiday release. Although the musicians are both working on producing their next albums, they felt compelled to share the song with the world this year, rather than hold it for inclusion on future albums. Hymns and holiday music traditionally receive a boost at the holidays, and at just 99 cents on CDBaby.com, the download is priced right for sales during a recession-riddled holiday. The duo intends to employ a completely online "green marketing" approach to promoting the track, hoping fans will love it enough to pass it on to family and friends.

Jeff and Ann began their collaboration in 2007, when they noticed each other's music being reported by broadcasters worldwide. Tracks such as "Saturn Calling" (Oster's tribute to N.A.S.A.) and "Following the Call" (Licater's title track about pursuing artistic dreams) were being played back-to-back and in the same programming schedules on radio stations around the globe. When they eventually met on MySpace and discovered they both live in the San Francisco Bay Area, their real-time collaboration began.

Their curiosity prompted them to explore the question "Flugelhorn with Native American Flute…why not?" Their music styles, although divergent, have a connection of spirit through a common improvisational nature of playing. In fact, the arrangement of "Amazing Grace" emerged during improve in their initial joint concert, immediately striking them both as a meaningful musical gift.

Ever since their first meeting, they continue to perform together as guest artists at each other's concerts, such as the INAFA conference at the University of Wisconsin/Eau Claire.

Their digital release of "Amazing Grace" is being promoted to radio by KDM Promotions. Both Ann and Jeff's music is heard on NPR stations on shows like "Echoes" and "Hearts of Space," as well as on cable and internet radio stations worldwide.

About the Artists:
Ann Licater is a Native American and World Flutist. She is a former student of R. Carlos Nakai, a recording artist, featured performer at the World Flute Fest at Carnegie Hall, and a San Jose Chamber Orchestra soloist as a world flutist. She facilitates healing workshops for Kaiser Permanante Wellness Centers and holds an M.L.A. in Spirituality. Her CD "Following the Call," solo wood and clay flute music was nominated "Best Native American Album" and "Top Twelve Best Contemporary Instrumental Album" of 2007 in the NAR Lifestyle Music Awards. Ann's music is heard on NPR stations on the "Hearts of Space" syndicated show as well as on cable and radio stations world-wide.www.annlicater.com

Jeff Oster has been a Trumpet and Flugelhorn player for over 40 years. His music is described as "Miles Davis meets Enya." Jeff's albums "Released" and "True" each won "Album of the Year" by broadcasters who report their playlists to New Age Reporter in the NAR Lifestyle Music Awards. Jeff has collaborated with NASA and JPL to create music using radio transmissions of aural recordings from space. These can be heard on "Saturn Calling" from the award-winning "True" release. Oster's music is produced by Will Ackerman, GRAMMY®-winning guitarist and founder of Windham Hill Records. Jeff's music can be heard on NPR stations including "Echoes" syndicated program, as well as on cable, satellite and radio stations world-wide. www.jeffoster.com

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Zee TV - Lil Champs 2009

nobody@vox.com(Indian-TV) — Fri, 23 Oct 2009 07:53:16 -0700

Best moments on a clip from Zee TV. the show called SaReGaMaPa - Lil Champs 2009, it’s a children music reality show, its description is: The kids are ready to rock the world. Join the little participants - boys and girls - in the age group of 8-13 years and watch them as they are presenting their natural talent – singing.

Zee TV - Lil Champs 2009 On Watchindia.TV

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Zee Marathi Online - How It All Started?

nobody@vox.com(Indian-TV) — Thu, 26 Nov 2009 06:19:21 -0800

The Development of Zee Marathi Channel

Zee Marathi channel started in 1999 and back then it was called Alpha Marathi. Zee network with its huge penetration and popularity has pushed much the cause of Zee Marathi. Zee Marathi boasts of huge viewer ship and is able entertain the viewers with new programs on a regular basis. Starting with initial programs like Shriyut Gangadhar Tipre, Nakshatranche Dene.

Zee Marathi two very popular programs are – Mahacinema and Zee Marathi Awards. In today’s cut throat competition, Zee Marathi faces stiff challenge from other channels displaying similar content. Over the years, Zee Networks has expanded the number of studios for Zee Marathi to different cities. Zee Marathi has received a facelift, modern look and the soaps, the news flash and the game shows have been made as per the likes of the viewers. Now Zee Marathi is a very popular channel with huge penetration in India and abroad. Also, Children also watch Zee Marathi to hone their language skills in Marathi and to keep them culturally connected to India.

Zee Marathi – The Marathi channel you will love to watch

While in the US or the Europe, life is very hectic which keeps you busy through the day and you hardly get time to watch the television at home. Now with online television brought to you by live streaming. TV. You can watch online Indian TV while on the go. You can use your laptop to connect to the web and watch television using websites like WatchIndia.TV. Some of the popular Zee Marathi programs aired on the leading Indian TV online WatchIndia.TV, are Aamhi Saare Khavayye, Asambhav, Awaghachi Sansaar, Eka Peksha Ek, Hasya Samrat and Home Minister.

You can join many Indian channels to watch Zee Marathi online. With so many Indians in the United States, Canada, Europe and in the Middle East, Zee Marathi through WatchIndia.TV is hugely viewed. Moreover they will readily stream any two week old episode from Zee Marathi recordings. With tens of million unique visitors per month from all different countriesthe Indian channels online offer different advertising options for you. If anyone is interested to market its products or services to this huge group of affluent NRIs, they shouls consider advertizing in those websites.

More on Indian TV channels online: Indian TV

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the beat goes on and on and on

nobody@vox.com(Neesh) — Wed, 23 Dec 2009 13:49:32 -0800

Breaking Pangaea - “Worst Part” - Phoenix EP (2003, Equal Vision Records)

Breaking Pangaea (2000-2004) was Will Noon, Fred Mascherino, and Clint Stelfox.

Fred Mascherino went on to join Taking Back Sunday, then formed The Color Fred. He’s currently pursuing Initials with Josh Eppard (aka Weerd Science original-3, Coheed and Cambria), Andy Jackson (Hot Rod Circuit, The Escape Frame, Death in the Park, ex- Reggie and the Full Effect, Say Anything, Safety in Numbers… He now owns The Jackalope Studio in Montgomery, Alabama) and Steve Lucarelli (Once Nothing).

Will Noon went on to play drums in Straylight Run and manage Envy on the Coast.

When Coheed and Cambria appeared on MTV’s TRL in January 2006, Michelle Nolan (Straylight Run) performed the female vocals of “The Suffering” with the band. Breaking Pangaea took Coheed and Cambria out on their first few tours. Coheed and Cambria will not be taking Initials out this summer.

Initials will be performing their first show with this line-up on Saturday, January 9th, 2010 supporting Straylight Run’s John Nolan (original Taking Back Sunday) with Gabriel the Marine and Ocean is Theory at The Note in West Chester, Pennsylvania.

It’s all one colossal, constantly churning circle.

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