“I’ll kill her” hat Soko vor einer halben Dekade ein wenig bekannt gemacht. Danach jedoch kam nichts mehr, die junge Französin hatte sich rar gemacht, was angesichts des gerade einmal erfolgten Startschusses höchst sonderbar war. Fast fünf Jahre Später erscheint nun Ihr erstes Album “I Thought I Was An Alien..”
Die Spieldosen-Musik reflektiert die kindlich-naiven Texte auf perfekte Weise, erinnert in ihrer melancholischen Art vielleicht aber auch an die frühen Eels. Vom “Alien” zum “schönen Freak” könnte in der Tat eine Entwicklung sein, die Soko (alias Stéphanie Sokolinski) in den letzten Jahren durchaus genommen hat.
“I Thought I Was An Alien..” ist kein großes Album: Kleine Stimme, kleine Songs, Flüstergesang, kindliche Texte, bedrückend, zurückgezogen. Nichts besonderes? Vielen Meschen wird diese Platte in der Tat nichts geben, noch mehr Menschen werden Sie erst gar nicht zu hören bekommen. Für Plattentests.de ist sie ein “Eis ohne Stil“, das lediglich seine Momente hat. Die anderen (wie etwa Thomas Weiland vom Musikexpress) lieben sie, möglicherweise, weil man so etwas Kleines, Entrücktes sehr selten hört.
Wer “I Thought I Was An Alien..” von Soko im Stream hören mag, kann dies nachfolgend tun: http://stereogum.com/950132/stream-soko-i-thought-i-was-an-alien-stereogum-premiere/mp3s/
Tuesday, February 28, 2012
Monday, February 27, 2012
Jimmy Fallon parodied by Eddie Vedder of 'Jeremy'
We published yesterday on our Facebook page but we did so gracefully that we have been forced to communicate in a post. We talked about the parody of 'Jeremy' by Pearl Jam that made the comedian Jimmy Fallon, well-known showman in his country did not hesitate one second to imitate Eddie Vedder.
Beyond the letter, which contains references to fun to Nirvana or the Knicks, it is really hot to see how Fallon has traced the aesthetic that characterized every one of the scenes of the official music video 'Jeremy' in which it appears Vedder. Cutting red background, lighting sober, dark brown corduroy jacket, medium curly hair ... Even in the parodies of the United States late night shows breathes the essence of old grunge.
Note: Did you know that 'Jeremy' featured a video clip that never came to light? The recording, which led Chris Cuffaro, never aired on MTV due to the steadfast refusal of the Epic discography. You can see this clip on YouTube.
Beyond the letter, which contains references to fun to Nirvana or the Knicks, it is really hot to see how Fallon has traced the aesthetic that characterized every one of the scenes of the official music video 'Jeremy' in which it appears Vedder. Cutting red background, lighting sober, dark brown corduroy jacket, medium curly hair ... Even in the parodies of the United States late night shows breathes the essence of old grunge.
Note: Did you know that 'Jeremy' featured a video clip that never came to light? The recording, which led Chris Cuffaro, never aired on MTV due to the steadfast refusal of the Epic discography. You can see this clip on YouTube.
Thursday, February 23, 2012
Competition PASCHA
Watch out! Friends of the illustrious techno / house & dance music! 1beat.de giving away three copies of the latest and brand new 3er PASHA-CD compilation!
It says the press release:
The brand Pacha is without doubt the world's No. 1 in terms of nightlife and club music and Pacha in Ibiza is not only a legend, but the most famous club in the world. At least as legendary as the club itself, the Pacha compilation CDs, which carry on the ultimate house music anthems, classics and current club hits the spectacular Pacha sound. Now a further coupling of these legendary Pacha CD is being launched in 2012, falling to the same time the start to the season is. Represented are artists like The Disco Boys, Bob Sinclair, Moby, Moguai, Fragma and many more.
How do you win this CD boxes?
Get on FACEBOOK on the 1beat.de profile and "like" it! Then write there under the lottery, "I do" and you are one of those then the three winners will be drawn to the participants!
Good luck!
It says the press release:
The brand Pacha is without doubt the world's No. 1 in terms of nightlife and club music and Pacha in Ibiza is not only a legend, but the most famous club in the world. At least as legendary as the club itself, the Pacha compilation CDs, which carry on the ultimate house music anthems, classics and current club hits the spectacular Pacha sound. Now a further coupling of these legendary Pacha CD is being launched in 2012, falling to the same time the start to the season is. Represented are artists like The Disco Boys, Bob Sinclair, Moby, Moguai, Fragma and many more.
How do you win this CD boxes?
Get on FACEBOOK on the 1beat.de profile and "like" it! Then write there under the lottery, "I do" and you are one of those then the three winners will be drawn to the participants!
Good luck!
Wednesday, February 22, 2012
Lilacs & Champagne: A retro collage
The deformation and hybridizing psych music of different cultures has always been the terrain of GRAILS-musician Emil Amos and Alex Hall. Create as LILACS & CHAMPAGNE from the two kinds of musical and cinematic artefacts from the 1960s and 70s as well as additional new recordings an interesting mix of prog, psych, soul, and oblique-nebulösem retro feel. The self-titled, debut album of producer duo is an exciting musical journey so wandlerisch and warm as a desert landscape.
Due to the large number of references, the album is something of a guide through the record collection of Amos and Hall. Are special coordinates it as Czeslaw Niemen and Madlib to name: the name of the project and the basic feel of the music are the work of the Niemen Prog-/Jazz-Multiinstrumentalisten borrowed from the operation of the collage of Existentem and your own production corresponds to the principle of DJ / producer Madlib.
"Lilacs & Chmapagne" is on Jan 31, 2012 12 "vinyl and compact disc appeared on Mexican Summer (MEX106).
Due to the large number of references, the album is something of a guide through the record collection of Amos and Hall. Are special coordinates it as Czeslaw Niemen and Madlib to name: the name of the project and the basic feel of the music are the work of the Niemen Prog-/Jazz-Multiinstrumentalisten borrowed from the operation of the collage of Existentem and your own production corresponds to the principle of DJ / producer Madlib.
"Lilacs & Chmapagne" is on Jan 31, 2012 12 "vinyl and compact disc appeared on Mexican Summer (MEX106).
Monday, February 20, 2012
Crybaby is hidden behind the Croydon-born singer
Crybaby is hidden behind the Croydon-born singer / songwriter Danny Coughlan, who is in April this year, now release his debut album. Named after the greatest hit "Cry Baby" The Soul Band Garnett Mimms and the Enchanters (later gecovert Duch Janis Joplin) from the 60's, Coughlan has learned of childhood paternal love of folk and soul music. So it was only a matter of time until the English themselves would grab a guitar and has now finally made his first album ready:
"I grew up on old records, the sort of records that were full of songs that had insights into love and life and romance, but never in a chocolate box way. The romance was there in the sound. This is my tribute, my love letter to them, "said Coughlan.
However, several years passed before the Englishman his first musical recordings are made using an auctioned on ebay four-track recorder. Coughlan moved through the country and recorded small bars and cafes to be changed as much helium Records finally to his attention and was so prompt in March last year, the recording of "Crybaby" took place.
An album that draws from the musical sources of the 60's and still delighted by a beautiful and timeless clarity. It sings of a world full of love Crybaby, and pain, as he perceives them:
"Love is the essential metaphor, it's what we live for. Love and pain represent the whole landscape of creativity - and that, ultimately, is the attraction of every beautiful, sad record ever made "
A bit too melancholy for our taste - excellent implementation.
"I grew up on old records, the sort of records that were full of songs that had insights into love and life and romance, but never in a chocolate box way. The romance was there in the sound. This is my tribute, my love letter to them, "said Coughlan.
However, several years passed before the Englishman his first musical recordings are made using an auctioned on ebay four-track recorder. Coughlan moved through the country and recorded small bars and cafes to be changed as much helium Records finally to his attention and was so prompt in March last year, the recording of "Crybaby" took place.
An album that draws from the musical sources of the 60's and still delighted by a beautiful and timeless clarity. It sings of a world full of love Crybaby, and pain, as he perceives them:
"Love is the essential metaphor, it's what we live for. Love and pain represent the whole landscape of creativity - and that, ultimately, is the attraction of every beautiful, sad record ever made "
A bit too melancholy for our taste - excellent implementation.
Thursday, February 16, 2012
Even with the Simplicissimus made!
Talk about the racist propaganda in Munich in the twenties with Dr. Ulla-Britta Vollhardt by the Cultural Department in Munich
At the beginning of the twenties, especially in Munich, the center of media racist Kamp Agen. Cause of the hostilities was the occupation of the Rhineland by the Allies after World War II.
Often were black soldiers from the French colonies prompted nationalistic phrases.
With propaganda slogans such as "Black Shame on the Rhine" has been successfully tried by public opinion racist and sexist aspects influence.
Using propaganda drawings, original texts and pamphlets will explain the everyday culture of the speakers in the Third Reich.
Series of lectures as part of the planned Nazi documentation center in Munich.
The event page
Time: 16/02/2012 19:00 clock
Location: Community College in Gasteig
Admission is free. Pre-registration is not necessary.
At the beginning of the twenties, especially in Munich, the center of media racist Kamp Agen. Cause of the hostilities was the occupation of the Rhineland by the Allies after World War II.
Often were black soldiers from the French colonies prompted nationalistic phrases.
With propaganda slogans such as "Black Shame on the Rhine" has been successfully tried by public opinion racist and sexist aspects influence.
Using propaganda drawings, original texts and pamphlets will explain the everyday culture of the speakers in the Third Reich.
Series of lectures as part of the planned Nazi documentation center in Munich.
The event page
Time: 16/02/2012 19:00 clock
Location: Community College in Gasteig
Admission is free. Pre-registration is not necessary.
Wednesday, February 15, 2012
There would be a certain Julian Dyne
That is now coming from New Zealand and Down Under absolutely terrific musical works for quite a while, nothing new. Genre names like "Pacific Soul" was prepared for it palatable. That was an astute music scribe quite accurately! Because most of the stuff that comes from the other side of the globe is always motivated primarily. What genres are thrown together and then brought back into line in a new light is secondary. As has now been proved to have some time - especially the creative monster Fat Freddy's Drop. But in addition to the kings of Welligton there are more and more music from these latitudes, it has earned more than to be discovered.
There would be a certain Julian Dyne. A young producer and musician from the Kiwi-land of a little over two years on the label BBE Music debut "Pins & Digits" and published for friends of leftfield electronica and instrumental hip-hop excursions to marvel needed. His style and no pleasure in discovering new sounds and harmonies between the beats he has not only preserved but expanded upon and deepened. Now his second album, "Glimpse" and there he goes the way a composer of tools such as hip-hop and electronic gadgets for a futuristic soundtrack is available. He slips and of course with the current paths of the Glitchhop and dubstep - without his own style to lose. The whole album is on lengths really so big that you ask with residual lack of understanding why this has to wonder boy will not have long made with Hudson Mohawke Rusko ode to a level of hype! Who are the above-mentioned young sex offenders from the UK and in addition may be the future-oriented radio boards of SA-RA Creative Partners may be accessed here really blind. An album to put into it - and somehow magical.
There would be a certain Julian Dyne. A young producer and musician from the Kiwi-land of a little over two years on the label BBE Music debut "Pins & Digits" and published for friends of leftfield electronica and instrumental hip-hop excursions to marvel needed. His style and no pleasure in discovering new sounds and harmonies between the beats he has not only preserved but expanded upon and deepened. Now his second album, "Glimpse" and there he goes the way a composer of tools such as hip-hop and electronic gadgets for a futuristic soundtrack is available. He slips and of course with the current paths of the Glitchhop and dubstep - without his own style to lose. The whole album is on lengths really so big that you ask with residual lack of understanding why this has to wonder boy will not have long made with Hudson Mohawke Rusko ode to a level of hype! Who are the above-mentioned young sex offenders from the UK and in addition may be the future-oriented radio boards of SA-RA Creative Partners may be accessed here really blind. An album to put into it - and somehow magical.
Tuesday, February 14, 2012
The descent from the temple of art
It was a premiere celebrity-filled, for the first time in the history of the three most famous theaters in the city, it gave them all three together on one stage: Martin Kušej, director of the Bavarian State play, Johan Simons, director of the Munich Studio Theater and Christian Stueckl, Director People spoke of the theater as part of the event series "inside and outside" on "theater and a city-living room."
Initiated this discussion by a introductory talk by Prof. Dr. Julian Nida-Rumelin, was professor of philosophy at the LMU, and acted as moderator, Prof. Dr. Christopher Balme, director of the Institute of Theatre Studies at LMU.
The motto of this matinee seemed to be a quote from Herbert Achternbusch: "You have no chance, but I use them!" That Johan Simons mentioned in passing. Theater that never reaches the "audience" of a television blockbuster, has always been beyond dispute. The really interesting questions this morning were in fact, what the population go to the theater? How it manages to inspire the younger generation? And what role does the culture of politics? But: Does / should a production be influenced city-specific, or if there is a trend towards a European or even world enter the theater?
With the "mask of the philosopher," opened Professor D. Nida-Rumelin the event and its principles for a good city seemed so simple as essential: the city is the humanistic individualism, which is a non-free control by others and self-design, promote, cooperate and cultural openness and help serve as a space for cultural encounters, the place of design.
The panel discussion was not only focused on such abstract topics, rather it was a good opportunity to get to know three principal directors of the city's buildings. Whether Stückl difficult legacy to Ruth Drexel, recipes on web Kušej Martin and Simon's battle against the TV-this round of talks was a love letter to theater and to the city of Munich. And it was a question discussed especially in detail: How do you get other population groups as the "educated classes" for his performances? Kušej argued in this context for an opening of the theater with new formats, the lift down the theater from the base of the "temple of art". The folk theater has already done this step, "young radical" with its theaters, there are new directors a platform and a new, young, multicultural audience will thank him. But it's always changing the role of the theater itself? Prof. Dr. Nida Rümelin criticized at this point, the cultural policy, which promotes culture in public schools too little and thus hinders the two-way street theater city on their side. And so very wrong this view is not too sure, almost every theater has a boys club now and the People's Theatre presents, for example, almost every new production of teaching material. Simon mentioned here a survey of young people who complain, especially the length and complexity of the theater. Here is the otherwise rather reserved acting director properly tempered and calls pieces of six hours and the end of populism, based on the television culture. And Martin Kušej sees long-term black, shallowness and stupidity be stopped without the help of the policy is difficult.
So overall pessimistic outlook for the Metropolitan Theatre?
Overall, all participants spoke in favor of opening the theater to Europe from out of a "world theater" was the speech and Prof. Dr. Balme was considered that it spite of TV and Internet nowadays so many forms of theater like never before existed in Germany. The theater is not so vulnerable, and these three directors have done their homework on the subject of opening, the policy is now your turn to support this development. And how close are we already in a cosmopolitan theater, and Prof. Dr. Balme very aptly remarked: The round consisted of a New Zealander, a Dutchman, one Austrian, one of Upper Bavaria and Munich.
Initiated this discussion by a introductory talk by Prof. Dr. Julian Nida-Rumelin, was professor of philosophy at the LMU, and acted as moderator, Prof. Dr. Christopher Balme, director of the Institute of Theatre Studies at LMU.
The motto of this matinee seemed to be a quote from Herbert Achternbusch: "You have no chance, but I use them!" That Johan Simons mentioned in passing. Theater that never reaches the "audience" of a television blockbuster, has always been beyond dispute. The really interesting questions this morning were in fact, what the population go to the theater? How it manages to inspire the younger generation? And what role does the culture of politics? But: Does / should a production be influenced city-specific, or if there is a trend towards a European or even world enter the theater?
With the "mask of the philosopher," opened Professor D. Nida-Rumelin the event and its principles for a good city seemed so simple as essential: the city is the humanistic individualism, which is a non-free control by others and self-design, promote, cooperate and cultural openness and help serve as a space for cultural encounters, the place of design.
The panel discussion was not only focused on such abstract topics, rather it was a good opportunity to get to know three principal directors of the city's buildings. Whether Stückl difficult legacy to Ruth Drexel, recipes on web Kušej Martin and Simon's battle against the TV-this round of talks was a love letter to theater and to the city of Munich. And it was a question discussed especially in detail: How do you get other population groups as the "educated classes" for his performances? Kušej argued in this context for an opening of the theater with new formats, the lift down the theater from the base of the "temple of art". The folk theater has already done this step, "young radical" with its theaters, there are new directors a platform and a new, young, multicultural audience will thank him. But it's always changing the role of the theater itself? Prof. Dr. Nida Rümelin criticized at this point, the cultural policy, which promotes culture in public schools too little and thus hinders the two-way street theater city on their side. And so very wrong this view is not too sure, almost every theater has a boys club now and the People's Theatre presents, for example, almost every new production of teaching material. Simon mentioned here a survey of young people who complain, especially the length and complexity of the theater. Here is the otherwise rather reserved acting director properly tempered and calls pieces of six hours and the end of populism, based on the television culture. And Martin Kušej sees long-term black, shallowness and stupidity be stopped without the help of the policy is difficult.
So overall pessimistic outlook for the Metropolitan Theatre?
Overall, all participants spoke in favor of opening the theater to Europe from out of a "world theater" was the speech and Prof. Dr. Balme was considered that it spite of TV and Internet nowadays so many forms of theater like never before existed in Germany. The theater is not so vulnerable, and these three directors have done their homework on the subject of opening, the policy is now your turn to support this development. And how close are we already in a cosmopolitan theater, and Prof. Dr. Balme very aptly remarked: The round consisted of a New Zealander, a Dutchman, one Austrian, one of Upper Bavaria and Munich.
Monday, February 13, 2012
Impro.Preis.Festival in the black box at Gasteig
When Impro.Preis festival in Munich, the Munich hairdryer verliehenAm 02 03/03/2012 Triffen and in the black box on the stars of the Munich Gasteig improvisational scene for Impro.Preis.Festival. The program includes two gala evenings are with unexpected guests, invited for generation of improvisers is an ensemble consisting of nine newcomers from the scene at the beginning of a great improv career. No one knows what happened, but the most poignant moments are rewarded - with the "Munich hair dryer," the price of professional improv groups. The winners will be chosen by a jury and the audience nominate their favorites with the audience award.
The "Munich hairdryer" to meet the most renowned improvisational theater groups in the city to shine on stage at all levels of their art: the best story, the most impressive ensemble performance and the most beautiful solo will be awarded the same prize. 2012 awards ceremony will be staged as part of a two-day festival, which opens for new talent from the Munich improv scene. The organizer is the fast food theater in collaboration with the Cultural Office of the City of Munich.
The Impro.Preis.Festival is 2012 in the Black Box at Gasteig stattZum Festival opener at 02.03. present the fast food, theater, and La tatwort Triviata a gala of improvisation. Each ensemble is inspired by acclamation to an unprecedented show. In this respect nothing is excluded, not even that arises after the ensemble improvisation spontaneously across a brand new theater format.
Saturday is the generation of improvisers, nine young talents from the Munich-based improv group throwaway, stage polka, Come on, Paul!, Mixxit, cities, countries, improvise, improvised, and Twist board. With a professional mentor to prepare for the day on their first improv show before they prove themselves in the evening in the competition for the Young Investigator Award.
That same evening, put the pros one more thing: For its second gala of improvisation, they must work together to solve a problem, they get on the eve of the audience asked. As the joint premiere looks like is completely open. But when do the actresses of fast food and word and deed with the musicians of La Triviata common cause, the usual genre assignments fail anyway. There is something completely different result, that's certain. Then one of the magic of the moment and the artists will take inspiration from the audience!
The undoped art prize "Münchner foehn" is awarded for the second time - in the categories "Best Story", "Best / r players / in", "Best Ensemble Performance" and "Best Entertainment". And the audience vote for the Audience Award.
Visit also the Impro.Preis.Festival at 02 03.03.2012 and in the black box at the Gasteig in Munich. The team from Munich Blog wishes much fun.
The "Munich hairdryer" to meet the most renowned improvisational theater groups in the city to shine on stage at all levels of their art: the best story, the most impressive ensemble performance and the most beautiful solo will be awarded the same prize. 2012 awards ceremony will be staged as part of a two-day festival, which opens for new talent from the Munich improv scene. The organizer is the fast food theater in collaboration with the Cultural Office of the City of Munich.
The Impro.Preis.Festival is 2012 in the Black Box at Gasteig stattZum Festival opener at 02.03. present the fast food, theater, and La tatwort Triviata a gala of improvisation. Each ensemble is inspired by acclamation to an unprecedented show. In this respect nothing is excluded, not even that arises after the ensemble improvisation spontaneously across a brand new theater format.
Saturday is the generation of improvisers, nine young talents from the Munich-based improv group throwaway, stage polka, Come on, Paul!, Mixxit, cities, countries, improvise, improvised, and Twist board. With a professional mentor to prepare for the day on their first improv show before they prove themselves in the evening in the competition for the Young Investigator Award.
That same evening, put the pros one more thing: For its second gala of improvisation, they must work together to solve a problem, they get on the eve of the audience asked. As the joint premiere looks like is completely open. But when do the actresses of fast food and word and deed with the musicians of La Triviata common cause, the usual genre assignments fail anyway. There is something completely different result, that's certain. Then one of the magic of the moment and the artists will take inspiration from the audience!
The undoped art prize "Münchner foehn" is awarded for the second time - in the categories "Best Story", "Best / r players / in", "Best Ensemble Performance" and "Best Entertainment". And the audience vote for the Audience Award.
Visit also the Impro.Preis.Festival at 02 03.03.2012 and in the black box at the Gasteig in Munich. The team from Munich Blog wishes much fun.
Friday, February 10, 2012
Kurt Kroemer with "The Rat Race" in the main auditorium of the LMU
Kurt Kroemer guest in March at the LMU in MünchenAm 18.03.2012, the German comedian and actor Kurt Kroemer to visit in the main auditorium of the Ludwig-Maximilians-University Munich (LMU) and presents its new program "Rat Race". This program returns from the Berlin Neukölln back to his roots, for direct contact with the audience, no frills, "Ruff Ruff, the stage and then look watts times comes." Kurt Kroemer has established him as the Lord. Just pure. Kroemer naked.
The newly crowned Grimme Award winner in the category "Best Entertainment" guarantees his audience during his show "The Rat Race" total excitement and seats will be under power. May be expected - nothing. Kurt Kroemer wants to maintain years of programmed TV and stadium appearances his greatest quality again, the spontaneity on stage. And you can count on always - the direct dialog of the original Berlin with his guests and the audience produces hilarious jokes and slapstick hoot churning. None of the others will go without tears of joy and laughter induced stomach cramps home when the bulky entertainer with his classic "power's jut neighbors!" Adopted.
Kurt Kroemer was born in Berlin in 1974. After school he began an apprenticeship as a haberdasher, work part as a janitor, construction worker, waiter and dishwasher, newspapers sold in pubs and finished first appearances in the way "Apparently Variety Berlin." In 1995 he managed to rise to the famous Berlin "chameleon-vaudeville", where his work was honored with the Newcomer Award. He went through numerous appearances on nationwide cabaret and theater stages a name, and won the 2000 "Cologne Comedy Cup."
A year later, Kurt Kroemer was with his first solo program "We've had nothing but time" at the Berlin Ufa-Fabrik. In the same year he thrilled with the program "Well you old Kackbratze".
Kurt Kroemer guest in March at the LMU in the MünchenMit "Kurt Kroemer-Show", his first own TV show, he started in 2004 and received two nominations for the 2006 Adolf Grimme Prize. That same year, Kroemer was awarded the German Comedy Award for "Newcomer of the Year." In 2007 he received the German Film Award in the category "Best Comedy", the German Cabaret Award and the Berlin Prize at the German cabaret festival, and again an Adolf Grimme Award nomination for his show "For Krömers". He also took over and directed by Thomas Ostermeier Meier in the Berlin stage role in "Room Service".
2008 again a Grimme Award nomination was for his television program "Kromer - The International Show" ready. In the fall of 2008 he went with "de la Kröm Kröm" to a sold-out tour of Germany, which ran until 2010. This is also the year in which Kurt Kroemer nominated for the fifth time for the Grimme Prize and his first major TV show "Shall We Dance?" Was broadcast. He is also seen in the lead role of Johnny Chicago 'in the same piece of folk theater in Berlin.
The year 2011 started well for the artist: He finally became the Grimme Prize for his "International Show" (RBB) in the category "Entertainment" category. In the movie "An island called Udo," he also took its first film role.
2012 Kurt Kroemer is on a larger tour of Germany again seen in his element - completely naked. Come and visit The Rat Race on 03/18/2012 in the main auditorium of the University of Munich. The team from Munich Blog wishes much fun.
The newly crowned Grimme Award winner in the category "Best Entertainment" guarantees his audience during his show "The Rat Race" total excitement and seats will be under power. May be expected - nothing. Kurt Kroemer wants to maintain years of programmed TV and stadium appearances his greatest quality again, the spontaneity on stage. And you can count on always - the direct dialog of the original Berlin with his guests and the audience produces hilarious jokes and slapstick hoot churning. None of the others will go without tears of joy and laughter induced stomach cramps home when the bulky entertainer with his classic "power's jut neighbors!" Adopted.
Kurt Kroemer was born in Berlin in 1974. After school he began an apprenticeship as a haberdasher, work part as a janitor, construction worker, waiter and dishwasher, newspapers sold in pubs and finished first appearances in the way "Apparently Variety Berlin." In 1995 he managed to rise to the famous Berlin "chameleon-vaudeville", where his work was honored with the Newcomer Award. He went through numerous appearances on nationwide cabaret and theater stages a name, and won the 2000 "Cologne Comedy Cup."
A year later, Kurt Kroemer was with his first solo program "We've had nothing but time" at the Berlin Ufa-Fabrik. In the same year he thrilled with the program "Well you old Kackbratze".
Kurt Kroemer guest in March at the LMU in the MünchenMit "Kurt Kroemer-Show", his first own TV show, he started in 2004 and received two nominations for the 2006 Adolf Grimme Prize. That same year, Kroemer was awarded the German Comedy Award for "Newcomer of the Year." In 2007 he received the German Film Award in the category "Best Comedy", the German Cabaret Award and the Berlin Prize at the German cabaret festival, and again an Adolf Grimme Award nomination for his show "For Krömers". He also took over and directed by Thomas Ostermeier Meier in the Berlin stage role in "Room Service".
2008 again a Grimme Award nomination was for his television program "Kromer - The International Show" ready. In the fall of 2008 he went with "de la Kröm Kröm" to a sold-out tour of Germany, which ran until 2010. This is also the year in which Kurt Kroemer nominated for the fifth time for the Grimme Prize and his first major TV show "Shall We Dance?" Was broadcast. He is also seen in the lead role of Johnny Chicago 'in the same piece of folk theater in Berlin.
The year 2011 started well for the artist: He finally became the Grimme Prize for his "International Show" (RBB) in the category "Entertainment" category. In the movie "An island called Udo," he also took its first film role.
2012 Kurt Kroemer is on a larger tour of Germany again seen in his element - completely naked. Come and visit The Rat Race on 03/18/2012 in the main auditorium of the University of Munich. The team from Munich Blog wishes much fun.
Thursday, February 9, 2012
Some news from Sting
Sting macht mit seiner Back To Bass Tour auch im Kesselhaus in München HaltAm 28.02.2012 kommt der Weltstar Sting mit seiner “Back To Bass“-Tour nach München, genauer gesagt ins Kesselhaus. Der nordamerikanische Part seiner Konzertreise war bereits ein voller Erfolg und nichts anderes ist von der anstehenden Europa-Tournee zu erwarten. Anlass der Tour ist das 25-jährige Jubiläum seiner Solo-Karriere. Der Fokus aller Songs des aktuellen Programm ist – wie der Name “Back To Bass” bereits vermuten lässt – auf den Bass zurückgeführt. So werden alle Hits auf ihren einzigartigen Kern reduziert und so pur präsentiert, wie seit Jahren nicht mehr. Begleitet wird Sting von einer fünfköpfigen Band, mit seinem langjährigen Gitarristen Dominic Miller, Rufus Miller (Gitarre), Vinnie Colaiuta (Schlagzeug), Peter Tickell (elektrische Geige) und Vokalistin Jo Lawry.
Bevor er seine Solo-Karriere startete, sammelte Sting bereits zahlreiche Erfolge mit der Rock-Pop-Band The Police, welche er 1977 zusammen mit Stewart Copeland und Andy Summers in London gründete. Bereits ein Jahr später schafften die Drei es mit mehreren Alben an die Spitzen der Charts. In den frühen 80er Jahren gewann die Formation sechs Grammys. Das letzte gemeinsame The Police Album, “Synchronicity“, erschien 1983. Zwei Jahre später startete Sting (bürgerlicher Name: Gordon Matthew Thomas Sumner) dann mit dem Album “The Dream of the Blue Turtles” solo durch. Bereits die erste Single-Auskopplung “If You Love Somebody Set Them Free” wurde ein großer Erfolg und das Album erreichte innerhalb eines Jahres dreifach Platin. Damit war der Grundstein für eine Karriere gelegt, die mit Klassikern wie “Desert Rose”, “Every Breath You Take” und “Fields Of Gold” für unvergessbare Momente der Pop-Geschichte gesorgt hat.
Sting macht mit seiner Back To Bass Tour auch im Kesselhaus in München HaltVor nicht all zu langer Zeit war Sting übrigens wieder mit seinen alten Kollegen von The Police auf Welttournee unterwegs. Nachdem die Band bei den Grammy Awards 2007 aufgetreten war, kündigte man prompt besagte Welttournee an, welche noch im Frühsommer des gleichen Jahres in Kanada startete. Dass Sting seine Wurzeln bei The Police nicht leugnet sieht man auch an der Songauswahl für die kürzlich erschienene Box Set Collection anlässlich seines 25-jährigen Bühnenjubiläums. Passenderweise trägt dieses Set den simplen Namen “25 Years“. Neben seinen größten Hits mit The Police finden sich auf “25 Years” alle Highlights seiner Solo-Karriere wieder – von Sting persönlich ausgewählt. “25 Years” fasst erstmals Meilensteine und Raritäten von Stings Solo-Karriere zusammen und enthält drei CDs, alle exklusiv für dieses Projekt re-mastered. Weiterhin gehört dazu eine bisher unveröffentlichte DVD, “Rough, Raw & Unreleased“, die in New York Citys Irving Plaza gefilmt wurde. Außerdem enthält die Kollektion einen Bildband mit seltenen Fotos und Songtexten.
Auch wenn Sting seine größten Erfolge seiner Musik zu verdanken hat, so ist er nicht ‘nur’ Musiker, sondern gelegentlich auch Schauspieler. Am bekanntesten dürfte er für seine Rolle als “Feyd-Rautha Harkonnen” im Film “Dune” aus dem Jahre 1984 sein. Sein Filmdebüt hatte er bereits fünf Jahre zuvor mit “Quadrophenia“. Wer ihn allerdings bei seiner wahren Passion, dem Musizieren, live beobachten möchte, hat dazu auf der “Back To Bass“-Tour bald die Möglichkeit.
Besuchen auch Sie Stings Konzert am 28.02.2012 im Kesselhaus in München. Das Team vom München Blog wünscht viel Vergnügen.
Bevor er seine Solo-Karriere startete, sammelte Sting bereits zahlreiche Erfolge mit der Rock-Pop-Band The Police, welche er 1977 zusammen mit Stewart Copeland und Andy Summers in London gründete. Bereits ein Jahr später schafften die Drei es mit mehreren Alben an die Spitzen der Charts. In den frühen 80er Jahren gewann die Formation sechs Grammys. Das letzte gemeinsame The Police Album, “Synchronicity“, erschien 1983. Zwei Jahre später startete Sting (bürgerlicher Name: Gordon Matthew Thomas Sumner) dann mit dem Album “The Dream of the Blue Turtles” solo durch. Bereits die erste Single-Auskopplung “If You Love Somebody Set Them Free” wurde ein großer Erfolg und das Album erreichte innerhalb eines Jahres dreifach Platin. Damit war der Grundstein für eine Karriere gelegt, die mit Klassikern wie “Desert Rose”, “Every Breath You Take” und “Fields Of Gold” für unvergessbare Momente der Pop-Geschichte gesorgt hat.
Sting macht mit seiner Back To Bass Tour auch im Kesselhaus in München HaltVor nicht all zu langer Zeit war Sting übrigens wieder mit seinen alten Kollegen von The Police auf Welttournee unterwegs. Nachdem die Band bei den Grammy Awards 2007 aufgetreten war, kündigte man prompt besagte Welttournee an, welche noch im Frühsommer des gleichen Jahres in Kanada startete. Dass Sting seine Wurzeln bei The Police nicht leugnet sieht man auch an der Songauswahl für die kürzlich erschienene Box Set Collection anlässlich seines 25-jährigen Bühnenjubiläums. Passenderweise trägt dieses Set den simplen Namen “25 Years“. Neben seinen größten Hits mit The Police finden sich auf “25 Years” alle Highlights seiner Solo-Karriere wieder – von Sting persönlich ausgewählt. “25 Years” fasst erstmals Meilensteine und Raritäten von Stings Solo-Karriere zusammen und enthält drei CDs, alle exklusiv für dieses Projekt re-mastered. Weiterhin gehört dazu eine bisher unveröffentlichte DVD, “Rough, Raw & Unreleased“, die in New York Citys Irving Plaza gefilmt wurde. Außerdem enthält die Kollektion einen Bildband mit seltenen Fotos und Songtexten.
Auch wenn Sting seine größten Erfolge seiner Musik zu verdanken hat, so ist er nicht ‘nur’ Musiker, sondern gelegentlich auch Schauspieler. Am bekanntesten dürfte er für seine Rolle als “Feyd-Rautha Harkonnen” im Film “Dune” aus dem Jahre 1984 sein. Sein Filmdebüt hatte er bereits fünf Jahre zuvor mit “Quadrophenia“. Wer ihn allerdings bei seiner wahren Passion, dem Musizieren, live beobachten möchte, hat dazu auf der “Back To Bass“-Tour bald die Möglichkeit.
Besuchen auch Sie Stings Konzert am 28.02.2012 im Kesselhaus in München. Das Team vom München Blog wünscht viel Vergnügen.
Monday, February 6, 2012
Thousand words a thousand pictures
That literary magazines not only for the more sedate gentlemen ages are designed, the online magazine The principle of the most economical explanation has been put in an impressive five back issues to the test.
Once again, the texts leave the virtual room. Next Sunday, 5.2. from 17 clock to give the publisher the honor and the best texts. In a reading with Katrin Baumer of Nadaville fill the paint shop in the public works in their own words. For music to the ears on top of that Clemens and his band provides Techmer Marvpaul who recently released her first debut album.
Thousands of images is the motto of the series of events that take place in connection with which the readings. Design students at the University of Munich developed their very own thousands of pictures on various topics in different techniques. From drawings to photographs and films, the range of exhibits, from 4 to 26 February in the paint shop to see the celebration of the work are. Admission is free and there is every Saturday and Sunday on top of that new literature and music from Munich.
Once again, the texts leave the virtual room. Next Sunday, 5.2. from 17 clock to give the publisher the honor and the best texts. In a reading with Katrin Baumer of Nadaville fill the paint shop in the public works in their own words. For music to the ears on top of that Clemens and his band provides Techmer Marvpaul who recently released her first debut album.
Thousands of images is the motto of the series of events that take place in connection with which the readings. Design students at the University of Munich developed their very own thousands of pictures on various topics in different techniques. From drawings to photographs and films, the range of exhibits, from 4 to 26 February in the paint shop to see the celebration of the work are. Admission is free and there is every Saturday and Sunday on top of that new literature and music from Munich.
Wednesday, February 1, 2012
What was the singer really like? Michael Jackson's brother tells the tale
Michael Jackson went to his grave pop's greatest enigma. He was arguably the most famous man in the world, but his own world seemed so utterly alien – the theme-park mansion, the plastic surgery, the rumours of paedophilia, the children conceived by artificial insemination, the erratic behaviour, not to mention the almost inhuman degree of talent – that it was impossible to work out what the man at the centre of it all was actually like. There's a chance that, after living 41 of his 51 years in the public eye, Jackson was as confused as anybody else. Yet two memoirs – one by his elder brother, the other by his former personal manager – claim to offer a definitive picture.
Neither does, although his brother's book is the more substantial and, initially at least, the more insightful of the two. Reading the section about Jackson's early life you wonder not why he became so weird, but how he didn't end up even weirder. His mother was a devout Jehovah's Witness – aged 12, Jackson was required to record an album of songs for Christmas, a holiday he'd never been permitted to celebrate – who swabbed her children with alcohol, smeared their faces with Vaseline in the belief it made them look "nice and shiny" and protected them from the winter cold by putting boiled potatoes in their coat pockets.
Meanwhile, the best that can be said of Joseph Jackson is that he isn't quite the grimmest figure in the pantheon of tyrannical fathers vicariously living their dreams of pop stardom through their children: that remains the Beach Boys' patriarch Murry Wilson, who beat his son Brian about the head so viciously he allegedly deafened him in one ear. Still, Jackson whipped his children with a belt and the cord from an electric kettle and forced them to spend hours pointlessly carrying cinder blocks from one side of the garden to the other. The Jackson 5 would rehearse for up to five hours a night after school – if one of them got a dance step wrong their father would order the offender to break a branch off a nearby tree and would then hit him with it. When he learned that the teenage Michael was self-conscious about the size of his nose, he began calling him Big Nose. Whatever else you think of how Jackson's face looked by the time his plastic surgeons had finished with it, you certainly couldn't have called him that.
It reads like a misery memoir, but Jermaine claims not to see it that way. He presents all this ghastly evidence then spends pages admonishing as "ridiculous" those who suggest that his father's abuse scarred his most famous son for life. Never mind that Michael was still telling interviewers that the thought of his father made him feel sick with fear. No: their father's discipline instilled in them a will to succeed; furthermore without it, the Jackson boys might have ended up involved with the gangs that ran riot in their corner of Indiana.
This kind of contradiction turns out to be the book's recurring motif. At one juncture, Jermaine angrily complains that Michael's famous relationship with Bubbles the chimpanzee was "no different" to that of "millions of dog and cat owners the world over", before going on to describe Jackson dousing the chimpanzee in Poison by Christian Dior and supplying him with his own wardrobe: Bubbles was apparently better dressed than Jermaine's children. But You Are Not Alone's detail on what you might call the Wacko years, those after Thriller's record-breaking success, is sketchy: after unexpectedly calling time on a trying final Jacksons tour, Michael seems to have gone out of his way to avoid his family. My Friend Michael (William Morrow, £16.99) handily takes up the slack. It's subtitled An Ordinary Friendship With an Extraordinary Man, but there seems to be nothing ordinary about the friendship at all. Frank Cascio was four when he first met Jackson: his father was the manager of the New York hotel where the singer stayed. The first time Jackson was accused of child molestation, Cascio's father's reaction was to pull his son out of school and send him to Tel Aviv to keep Jackson company on tour. He ended up an employee, trying to sort out business affairs so chaotic that they brought a man who had sold 750m records to the brink of financial ruin.
It's a largely uncritical account, and yet Jackson still cuts a strangely pathetic figure: a middle-aged man addicted to prescription drugs, obsessed with pranks and water balloon fights, hopelessly chasing the childhood that had been denied him. The most intriguing things about Cascio's book are the disparities with Jermaine's account. Both are adamant that he was not a child molester: so adamant in Jermaine's case that, during his brother's 2003 trial, he rang up CNN, demanded to be put on air and shouted "My brother is not eccentric!", which, with the best will in the world, feels a bit like ringing up CNN and shouting "I am not shouting!" But while Jermaine insists that Lisa Marie Presley was the love of Jackson's life, Cascio claims the singer told him their marriage was nothing more than a business arrangement.
Neither of them has much to say about the music, nor the remarkable burst of creativity that began with the Jacksons' 1978 album Destiny and culminated in the world-beating Thriller and Bad, nor the slow decline in quality that set in thereafter. They take it as read that his final album Invincible didn't sell as well as its predecessors because of a shadowy music industry conspiracy against him, never considering the more prosaic reason that it isn't very good. Jackson seems to have always had appalling taste in everything but music and choreography. The description of his singlehanded remodelling of the family home Hayvenhurst in You Are Not Alone is unwittingly hilarious ("a painted mural filled one wall … a cartoon version of Michael perched high in a tree reading a book with the title The Secret of Life"). Just as his increased wealth allowed him to pursue his passion for schlock to new heights at his Neverland ranch, so his success ensured it would gradually seep into his music as well: "Earth Song", with its deathless question "what about elephants – have we lost their trust?", Invincible's creepy "The Lost Children" and "Speechless". He was so rich and famous no one could tell him to lay off the children's choirs and tone down the Messiah complex a little. He was still at it just before his death: "I'm the light of the world", he sang on "This Is It", intended as the theme song for his 2009 London concert residency, but released posthumously.
You Are Not Alone's description of preparations for those concerts makes for a harrowing counterpoint to the glossy, posthumous documentary based around them. The book claims, not entirely convincingly, that indications of Jackson's ill-health in the year before his death – photographs of him being pushed in a wheelchair, his visible frailty at the press conference to announce the London shows – were "all part of a clever plan" to make his comeback seem more stunning. But midway through rehearsals his health declined dramatically, possibly as a result of being administered on a nightly basis the general anaesthetic that eventually killed him. In Jermaine's telling, a man barely capable of standing was pressured by promoters fearful of losing money into continuing work. Michael Jackson, it seems, ended his career as he began it: impossibly talented but terrified, bullied into singing and dancing whether he wanted to or not.
Neither does, although his brother's book is the more substantial and, initially at least, the more insightful of the two. Reading the section about Jackson's early life you wonder not why he became so weird, but how he didn't end up even weirder. His mother was a devout Jehovah's Witness – aged 12, Jackson was required to record an album of songs for Christmas, a holiday he'd never been permitted to celebrate – who swabbed her children with alcohol, smeared their faces with Vaseline in the belief it made them look "nice and shiny" and protected them from the winter cold by putting boiled potatoes in their coat pockets.
Meanwhile, the best that can be said of Joseph Jackson is that he isn't quite the grimmest figure in the pantheon of tyrannical fathers vicariously living their dreams of pop stardom through their children: that remains the Beach Boys' patriarch Murry Wilson, who beat his son Brian about the head so viciously he allegedly deafened him in one ear. Still, Jackson whipped his children with a belt and the cord from an electric kettle and forced them to spend hours pointlessly carrying cinder blocks from one side of the garden to the other. The Jackson 5 would rehearse for up to five hours a night after school – if one of them got a dance step wrong their father would order the offender to break a branch off a nearby tree and would then hit him with it. When he learned that the teenage Michael was self-conscious about the size of his nose, he began calling him Big Nose. Whatever else you think of how Jackson's face looked by the time his plastic surgeons had finished with it, you certainly couldn't have called him that.
It reads like a misery memoir, but Jermaine claims not to see it that way. He presents all this ghastly evidence then spends pages admonishing as "ridiculous" those who suggest that his father's abuse scarred his most famous son for life. Never mind that Michael was still telling interviewers that the thought of his father made him feel sick with fear. No: their father's discipline instilled in them a will to succeed; furthermore without it, the Jackson boys might have ended up involved with the gangs that ran riot in their corner of Indiana.
This kind of contradiction turns out to be the book's recurring motif. At one juncture, Jermaine angrily complains that Michael's famous relationship with Bubbles the chimpanzee was "no different" to that of "millions of dog and cat owners the world over", before going on to describe Jackson dousing the chimpanzee in Poison by Christian Dior and supplying him with his own wardrobe: Bubbles was apparently better dressed than Jermaine's children. But You Are Not Alone's detail on what you might call the Wacko years, those after Thriller's record-breaking success, is sketchy: after unexpectedly calling time on a trying final Jacksons tour, Michael seems to have gone out of his way to avoid his family. My Friend Michael (William Morrow, £16.99) handily takes up the slack. It's subtitled An Ordinary Friendship With an Extraordinary Man, but there seems to be nothing ordinary about the friendship at all. Frank Cascio was four when he first met Jackson: his father was the manager of the New York hotel where the singer stayed. The first time Jackson was accused of child molestation, Cascio's father's reaction was to pull his son out of school and send him to Tel Aviv to keep Jackson company on tour. He ended up an employee, trying to sort out business affairs so chaotic that they brought a man who had sold 750m records to the brink of financial ruin.
It's a largely uncritical account, and yet Jackson still cuts a strangely pathetic figure: a middle-aged man addicted to prescription drugs, obsessed with pranks and water balloon fights, hopelessly chasing the childhood that had been denied him. The most intriguing things about Cascio's book are the disparities with Jermaine's account. Both are adamant that he was not a child molester: so adamant in Jermaine's case that, during his brother's 2003 trial, he rang up CNN, demanded to be put on air and shouted "My brother is not eccentric!", which, with the best will in the world, feels a bit like ringing up CNN and shouting "I am not shouting!" But while Jermaine insists that Lisa Marie Presley was the love of Jackson's life, Cascio claims the singer told him their marriage was nothing more than a business arrangement.
Neither of them has much to say about the music, nor the remarkable burst of creativity that began with the Jacksons' 1978 album Destiny and culminated in the world-beating Thriller and Bad, nor the slow decline in quality that set in thereafter. They take it as read that his final album Invincible didn't sell as well as its predecessors because of a shadowy music industry conspiracy against him, never considering the more prosaic reason that it isn't very good. Jackson seems to have always had appalling taste in everything but music and choreography. The description of his singlehanded remodelling of the family home Hayvenhurst in You Are Not Alone is unwittingly hilarious ("a painted mural filled one wall … a cartoon version of Michael perched high in a tree reading a book with the title The Secret of Life"). Just as his increased wealth allowed him to pursue his passion for schlock to new heights at his Neverland ranch, so his success ensured it would gradually seep into his music as well: "Earth Song", with its deathless question "what about elephants – have we lost their trust?", Invincible's creepy "The Lost Children" and "Speechless". He was so rich and famous no one could tell him to lay off the children's choirs and tone down the Messiah complex a little. He was still at it just before his death: "I'm the light of the world", he sang on "This Is It", intended as the theme song for his 2009 London concert residency, but released posthumously.
You Are Not Alone's description of preparations for those concerts makes for a harrowing counterpoint to the glossy, posthumous documentary based around them. The book claims, not entirely convincingly, that indications of Jackson's ill-health in the year before his death – photographs of him being pushed in a wheelchair, his visible frailty at the press conference to announce the London shows – were "all part of a clever plan" to make his comeback seem more stunning. But midway through rehearsals his health declined dramatically, possibly as a result of being administered on a nightly basis the general anaesthetic that eventually killed him. In Jermaine's telling, a man barely capable of standing was pressured by promoters fearful of losing money into continuing work. Michael Jackson, it seems, ended his career as he began it: impossibly talented but terrified, bullied into singing and dancing whether he wanted to or not.
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