Sources YOUTUBE et GOOGLE (recette 247)
heures minutes secondes
Sources YOUTUBE et GOOGLE (recette 247)
heures minutes secondes
Sources Wikipedia & Youtube
Andrews, a child actress and singer, appeared in the West End in 1948 and made her Broadway debut in The Boy Friend (1954). Billed as “Britain’s youngest prima donna“, she rose to prominence starring in Broadway musicals such as My Fair Lady (1956) playing Eliza Doolittle and Camelot (1960) playing Queen Guinevere. On 31 March 1957, Andrews starred in the premiere of Rodgers and Hammerstein‘s written-for-television musical Cinderella, a live, colour CBS network broadcast seen by over 100 million viewers. Andrews made her feature film debut in Walt Disney‘s Mary Poppins (1964) and won the Academy Award for Best Actress for her performance in the title role. The following year she starred in the musical film The Sound of Music (1965), playing Maria von Trapp and won the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical.
Between 1964 and 1986, Andrews starred in various films working with directors including her husband Blake Edwards, George Roy Hill, and Alfred Hitchcock in The Americanization of Emily (1964), Hawaii (1966), Torn Curtain (1966), Thoroughly Modern Millie (1967), Star! (1968), The Tamarind Seed (1974), 10 (1979), S.O.B. (1981), Victor/Victoria (1982), That’s Life! (1986), and Duet for One (1986). After 1986 her workload decreased, appearing in two films in 1991 and not again until 2000. After the turn of the new millennium, however, her career had a revival. From 2001 to 2004 Andrews starred in The Princess Diaries (2001) and The Princess Diaries 2: Royal Engagement (2004). From 2004 to 2018 she lent her voice to the Shrek and Despicable Me animated films and Aquaman (2018). In 2017 she co-created and hosted a children’s educational show titled Julie’s Greenroom, for which she received two Daytime Emmy Award nominations. Beginning in 2020, Andrews voiced the narrator Lady Whistledown in the Netflix series Bridgerton. She has also worked hosting performance shows such as Great Performances and narrating documentaries such as the 2004 Emmy-winning series Broadway: The American Musical.
In 2002, Andrews was ranked No. 59 in the BBC’s poll of the 100 Greatest Britons. In 2003, she revisited her first Broadway success, this time as a stage director, with a revival of The Boy Friend. Apart from her musical career, she is also an author of children’s books and has published two autobiographies, Home: A Memoir of My Early Years (2008) and Home Work: A Memoir of My Hollywood Years (2019).
Julia Elizabeth Wells was born on 1 October 1935 in Walton-on-Thames, Surrey, England. Her mother, Barbara Ward Wells (née Morris; 1910–1984) was born in Chertsey and married Edward Charles “Ted” Wells (1908–1990), a teacher of metalwork and woodwork, in 1932.
Andrews was conceived as a result of an affair her mother had with a family friend. Andrews discovered her true parentage from her mother in 1950, although it was not publicly disclosed until her 2008 autobiography.
With the outbreak of World War II, her parents went their separate ways and were soon divorced. Each remarried: Barbara to Ted Andrews, in 1943, and Ted Wells in 1944 to Winifred Maud (Hyde) Birkhead, a war widow and former hairstylist at a war work factory that employed them both in Hinchley Wood, Surrey. Wells assisted with evacuating children to Surrey during the Blitz, while Andrews’s mother joined her husband in entertaining the troops through the Entertainments National Service Association. Andrews lived briefly with Wells and her brother, John in Surrey. In 1940, Wells sent her to live with her mother and stepfather, who Wells thought would be better able to provide for his talented daughter’s artistic training. According to Andrews’s 2008 autobiography Home, while Andrews had been used to calling her stepfather “Uncle Ted”, her mother suggested it would be more appropriate to refer to her stepfather as “Pop”, while her father remained “Dad” or “Daddy” to her, a change which she disliked. The Andrews family was “very poor” and “lived in a bad slum area of London,” at the time, stating that the war “was a very black period in my life.” According to Andrews, her stepfather was violent and an alcoholic. He twice, while drunk, tried to get into bed with his stepdaughter, resulting in Andrews fitting a lock on her door.
As the stage career of her mother and stepfather improved, they were able to afford better surroundings, first to Beckenham and then, as the war ended, back to the Andrews’s hometown of Hersham. The family took up residence at the Old Meuse, in West Grove, Hersham, a house (now demolished) where Andrews’s maternal grandmother had served as a maid. Andrews’s stepfather sponsored lessons for her, first at the independent arts educational school Cone-Ripman School (ArtsEd) in London, and thereafter with concert soprano and voice instructor Madame Lilian Stiles-Allen. Andrews said of Stiles-Allen, “She had an enormous influence on me,” adding, “She was my third mother – I’ve got more mothers and fathers than anyone in the world.” In her memoir Julie Andrews – My Star Pupil, Stiles-Allen records, “The range, accuracy and tone of Julie’s voice amazed me … she had possessed the rare gift of absolute pitch”, though Andrews herself refutes this in her 2008 autobiography Home. According to Andrews, “Madame was sure that I could do Mozart and Rossini, but, to be honest, I never was”. Of her own voice, she says, “I had a very pure, white, thin voice, a four-octave range – dogs would come from miles around.” After Cone-Ripman School, Andrews continued her academic education at the nearby Woodbrook School, a local state school in Beckenham.
Termed “Britain’s youngest prima donna”, Andrews’s classically trained soprano voice, lauded for its “pure and clear” sound, has been described as light, bright and operatic in tone. When a young Andrews was taken by her parents to be examined by a throat specialist, the doctor concluded that she had “an almost adult larynx.” Despite the continual encouragement to pursue opera by her voice teacher, English soprano Lilian Stiles-Allen, Andrews herself felt that her voice was unsuited for the genre and “too big a stretch”. At the time, Andrews described her own voice as “extremely high and thin”, feeling that it lacked “the necessary guts and weight for opera”, preferring musical theatre instead.
As Andrews aged, so did her voice, which began to naturally deepen. Losing her vast upper register, her “top notes” became increasingly difficult to sing while “her middle register matured into the warm golden tone” for which she has become known, according to Tim Wong of The Daily Telegraph.
Musically, she had always preferred singing music that was “bright and sunny”, choosing to avoid songs that were sad or otherwise written in a minor key, for fear of losing her voice “in a mess of emotion”. She cited this as another reason for avoiding opera.
Additional informations about “the sound of music” : The original Broadway cast. The original Broadway cast was started by Mary Martin. Her singing style was very different than Julie Andrews’s style.
(Mary Martin was Larry hagman’s mother)
Sources Youtube / Wikipedia
LONDON — Tucked in a trendy co-working complex in West London, just past the food court and the payment processing start-up, is perhaps the most technologically backward-looking record company in the world.
The Electric Recording Co., which has been releasing music since 2012, specializes in meticulous recreations of classical and jazz albums from the 1950s and ’60s. Its catalog includes reissues of landmark recordings by Wilhelm Furtwängler, John Coltrane and Thelonious Monk, as well as lesser-known artists favored by collectors, like the violinist Johanna Martzy.
But what really sets Electric Recording apart is its method — a philosophy of production more akin to the making of small-batch gourmet chocolate than most shrink-wrapped vinyl.
Its albums, assembled by hand and released in editions of 300 or fewer — at a cost of $400 to $600 for each LP — are made with restored vintage equipment down to glowing vacuum-tube amplifiers, and mono tape systems that have not been used in more than half a century.
The goal is to ensure a faithful restoration of what the label’s founder, Pete Hutchison, sees as a lost golden age of record-making. Even its record jackets, printed one by one on letterpress machines, show a fanatical devotion to age-old craft.
“It started as wanting to recreate the original but not make it a sort of pastiche,” Hutchison said in a recent interview. “And in order not to create a pastiche, we had to do everything as they had done it.”
Electric Recording’s attention to detail, and Hutchison’s delicate engineering style in mastering old records, have given the label a revered status among collectors — yet also drawn subtle ridicule among rivals who view its approach as needlessly expensive and too precious by half.
An original Lyrec T818 tape machine that the label has painstakingly renovated, in its London studio.Credit…Tom Jamieson for The New York Times
Hutchison, 53, whose sharp features and foot-long beard make him look like a wayward wizard from “The Lord of the Rings,” dismissed such critiques as examples of the audiophile world’s catty tribalism. Even the word “audiophile,” he feels, is more often an empty marketing gimmick than a reliable sign of quality.
“Audiophiles listen with their ears, not with their hearts,” Hutchison said. He added: “That’s not our game, really.”
“The game is trying to do something that is anti-generic, if you like,” he said. “What we’re doing with these old records is essentially taking the technology from the time and remaking it as it was done then, rather than compromising it.”
To a large degree, the vinyl resurgence of the last decade has been fueled by reissues. But no reissue label has gone to the same extremes as Electric Recording.
In 2009, Hutchison bought the two hulking, gunmetal-gray machines he uses to master records — a Lyrec tape deck and lathe, with Ortofon amplifiers, both from 1965 — and spent more than $150,000 restoring them over three years. He has invested thousands more on improvements like replacing their copper wiring with mined silver, which Hutchison said gives the audio signal a greater level of purity.
The machines allow Hutchison to exclude any trace of technology that has crept into the recording process since a time when the Beatles were in moptops. That means not only anything digital or computerized, but also transistors, a mainstay of audio circuitry for decades; instead, the machines’ amplifiers are powered by vacuum tubes (or valves, as British engineers call them).
“We’re all about valves here,” Hutchison said on a tour of the label’s studio.
Mastering a vinyl record involves “cutting” grooves into a lacquer disc, a dark art in which tiny adjustments can have a big effect. Unusually among engineers, Hutchison tends to master records at low volumes — sometimes even quieter than the originals — to bring out more of the natural feel of the instruments.
He demonstrated his technique during a recent mastering session for “Mal/2,” a 1957 album by the jazz pianist Mal Waldron that features an appearance by Coltrane. He tested several mastering levels for the song “One by One” — which has lots of staccato trumpet notes, played by Idrees Sulieman — before settling on one that preserved the excitement of the original tape but avoided what Hutchison called a “honk” when the horns reached a climax.
“What you want to hear is the clarity, the harmonics, the textures,” he said. “What you don’t want is to put it on and feel like you’ve got to turn it down.”
These judgments are often subjective. But to test Hutchison’s approach, I visited the New Jersey home of Michael Fremer, a contributing editor at Stereophile and a longtime champion of vinyl. We listened to a handful of Electric Recording releases, comparing them to pressings of the same material by other companies, on Fremer’s state-of-the-art test system (the speakers alone cost $100,000).
Hutchison bought the two hulking, gunmetal-gray machines he uses to master records — both from 1965 — and spent more than $150,000 restoring them over three years.Credit…Tom Jamieson for The New York Times
I am often skeptical of claims of vinyl’s superiority, but when listening to one of Electric Recording’s albums of Bach’s solo violin pieces played by Martzy, I was stunned by their clearness and beauty. Compared to the other pressings, Electric Recording’s version had vivid, visceral details, yielding a persuasive illusion of a human being standing before me drawing a bow across a violin.
“It’s magical what they’re doing, recreating these old records,” Fremer said as he swapped out more Electric Recording discs.
Hutchison is a surprising candidate to carry the torch for sepia-toned classical fidelity. In the 1990s, he was a player in the British techno scene with his label Peacefrog; the label’s success in the early 2000s with the minimalist folk of José González helped finance the obsession that became Electric Recording.
Hutchison’s conversion happened after he inherited the classical records owned by his father, who died in 1998. A longtime collector of rock and jazz, Hutchison was entranced by the sound of the decades-old originals, and found newer reissues unsatisfying. He learned that Peacefrog’s distributor, EMI, owned the rights to many of his new favorites. Was it possible to recreate things exactly has they had been done the first time around?
After restoring the machines, Electric Recording put its first three albums on sale in late 2012 — Martzy’s solo Bach sets, originally issued in the mid-1950s.
Hutchison decided that true fidelity applied to packaging as well as recording. Letterpress printing drove up his manufacturing costs, and some of the label’s projects have seemed to push the boundaries of absurdity.
In making “Mozart à Paris,” for example, a near-perfect simulacrum of a deluxe 1956 box set, Hutchison spent months scouring London’s haberdashers to find the right strand of silk for a decorative cord. The seven-disc set is Electric Recording’s most expensive title, at about $3,400 — and one of the few in its catalog that has not sold out.
Hutchison defends such efforts as part of the label’s devotion to authenticity. But it comes at a cost. Its manufacturing methods, and the quality-control attention paid to each record, bring no economies of scale. So Electric Recording would gain no reduction in expenses if it made more, thus negating the question Hutchison is most frequently asked: Why not press more records and sell them more cheaply?
“We probably make the most expensive records in the world,” Hutchison said, “and make the least profit.”
Electric Recording’s prices have drawn head-scratching through the cliquey world of high-end vinyl producers. Chad Kassem, whose company Acoustic Sounds, in Salina, Kan., is one of the world’s biggest vinyl empires, said he admired Hutchison’s work.
“I tip my hat to any company that goes the extra mile to make things as best as possible,” Kassem said.
But he said he was proud of Acoustic Sounds’s work, which like Electric Recording cuts its masters from original tapes and goes to great lengths to capture original design details — and sells most of its records for about $35. I asked Kassem what is the difference between a $35 reissue and a $500 one.
He paused for a moment, then said: “Four hundred sixty-five dollars.”
Yet the market has embraced Electric Recording. Even amid the coronavirus pandemic, Hutchison said, its records have been selling as fast as ever, although the company has had some production hiccups. The only manufacturer of a fabric that Hutchison chose for a Mozart set in the works, by the pianist Lili Kraus, has been locked down in Italy.
The next frontier for Electric Recording is rock. Hutchison recently got permission to reissue “Forever Changes,” the classic 1967 psychedelic album by the California band Love, and said that the original tape had a more unvarnished sound than most fans had heard. He expects that to be released in July, and “Mal/2” is due in August.
But Hutchison seemed most proud of the label’s work on classical records that seemed to come from a distant era. He pulled out a 10-inch mini-album of Bach by the French pianist Yvonne Lefébure, originally released in 1955. Electric Recording painstakingly recreated its dowel spine, its cotton sleeve, its leather cover embossed in gold leaf.
“It’s a nice artifact,” Hutchison said, looking at it lovingly. “It’s a great record as well.”
Source : The New York Times
Saturday 19th of May 2018
Sources BFM TV
TOP 100 of countries / Listeners for MARCH 2018
Listeners by country and by connection for RADIO SATELLITE
Reminder: Radio Satellite plays “instrumental” music (#JamesLast, #FaustoPapetti, #EnnioMorricone, #Zamfir….)
Radio Satellite2 : Plays Oldies Pop Rock music and also Some soft jazz programs and blues. (#Eric_Clapton, #Elton_john, #JohnDenver, #Abba, #BeeGees, #TheCarpenters, #TheEverlyBrothers, #The_Statler_Brothers, #Beatles, #BarryWhite, #TomJones and more…)
One afternoon, after killing one of his targets, he hesitates in killing the pet parrot, Roger, and instead takes him as a gift to his mother, Louisa (Eileen Atkins) an intimidating woman who was, until recently, also Victor’s housemate.
In celebration of his 55th birthday, she gives him a leather bound book with newspaper clippings of each of his kills from his first to his most recent, leaving pages for future hits to be included.
She also expresses concern that he might be homosexual, wondering why he hasn’t produced a successor.
Rose (Emily Blunt) is a not-so-average girl with a talent for thievery.
Her most recent theft involves the sale of a fake Rembrandt painting (painted by her friend in the Restoration Department of the National Gallery) to Ferguson (Rupert Everett), managing to swindle him out of £900,000.
Ferguson soon discovers the swap and hires the best hitman, Victor Maynard, to dispose of her. Victor takes the case and immediately tracks Rose down, missing several opportunities to kill her, and accidentally killing a random stall customer in a changing room.
He follows her to a balcony opposite her hotel room and tries to shoot her through the window, but is interrupted by the arrival of the front doorman.
Victor sets up a microphone and headset to keep her under surveillance, but falls asleep, unable to listen to their noisy lovemaking. He wakes the following morning, just as she is leaving. He has the opportunity to shoot but pauses.
His mother, Louisa, is disappointed by this missed target (and has apparently killed Roger with a knitting needle) and suggests that Victor apologize to his employer and offer to do the hit for free. He tracks Rose down in a parking garage where he sees another hitman ready to kill her. He takes the preemptive shot, killing the other assassin.
He and Rose get into her car, only to be forced out again by Mike (Gregor Fisher), another assassin hiding in the back seat of her Mini. Mike throws Victor’s gun away and lines them up on the wall to be shot and killed, but instead is wounded by Tony (Rupert Grint), an apparently homeless young man who had picked up the dead man’s gun. Saying it was his first time handling a firearm, he impresses Victor enough to consider a protégé.
But he sends Tony home and Victor and Rose flee. Mike starts firing at them and they nearly run over Tony on his way out of the garage, forcing him to join the ride.
Rose offers Victor his price of £30,000 a week for her protection, believing that he is merely a private detective. They travel to a luxury hotel where they can lay low, but by chance get a room on the same floor as Ferguson. Ferguson hires Dixon (Martin Freeman), reputed to be second only to Maynard in proficiency, to kill Rose and Maynard. After several close calls, Mike, who is also Ferguson’s bodyguard, discovers their whereabouts when he spots a pair of boots that Rose had stolen from his dead partner.
Tony is ambushed in the bathroom and nearly drowned in the bathtub by Mike, but he turns the tables and accidentally shoots Mike’s ear off before the three of them escape the hotel. Ferguson and Mike pursue them in a high-speed chase through the streets of London until Mike loses control and crashes the car, sending the pair to the hospital.
They travel to Maynard’s home, an exclusive farm deep in the countryside, where his furniture is shrink-wrapped and his cat, Snowy, resides with him. Maynard takes Tony on as his apprentice in “private detective” work.
One night (after a sensual foot-massage between Victor and Rose), Rose is attacked by Louisa (Victor’s mother), who had come back to the house to finish what her son had started. He eventually talks her down and after she leaves, the three of them work on becoming friends.
Rose and Tony help Victor celebrate his birthday, and, after a brief period of sexual confusion between Tony and Maynard, Victor falls in love with and sleeps with Rose. Afterwards, his attitude becomes more friendly, and Victor peels off the plastic coverings on all of his furniture and opens up the house. Meanwhile, Rose looks around Victor’s room, finding the leather book that his mother had given him and learning that she was actually his target for assassination.
She also finds Victor’s father’s first gun, a Broomhandle Mauser, and steals it for protection. She runs out of the house after making it clear that she trusts neither Victor nor Tony, and returns to the National Gallery, only to find her friend dead and Dixon and his assistant, Fabian (Geoff Bell), waiting for her.
They quickly return to Victor’s home, and Tony and Victor gain the upper hand when Louisa appears, killing Fabian with a machine gun. Dixon withdraws the old gun Rose had taken from Victor’s room and fires at Victor. It backfires, sending the bolt into his skull. Victor, Tony and Rose bury the pair in the back yard and return to their lives.
Three years later, Victor and Rose are married with a son named Angel and Tony has moved in with them. While Angel is playing one morning, Tony comes outside asking Victor and Rose where the cat had gone off to. They look at Angel in awe as he is innocently patting soft dirt into the yard, suggesting he killed and buried the cat. Victor smiles with pride.
Sources : Wikipedia / Youtube
Exploding studio equipment, hundreds of noisy cats and dogs entering the studio while a guest is being interviewed, inept builders undertaking extension work in the studio and totally destroying it in the process,
Batman trying to help out but making things considerably worse, and being transported to various locations across the world that are fraught with danger are some of the disastrous situations facing guests on this show. Let the mayhem commence…
CLICK TO LISTEN => JOHN LENNON
SOURCES : http://www.vintag.es/
He started life as Harry Webb and spent some of his childhood years in India. Cliff Richard was inspired by the music of Elvis Presley and at age 16, formed a band, ‘The Quintones’, with school friends and performed at their local Youth Club. From there, Cliff Richard went from strength to strength and became a global star.
Having moved to India to help build a system of railways, Rodger Webb married Dorothy Dazely in 1939 and the following year the couple had a baby boy – Harry Rodger Webb.
Born in The King’s English Hospital in Lucknow, Harry was educated in Howrah, until his family moved to England in 1948, following Home Rule in India.
After a privileged life in India, the Webbs faced poverty, and were forced to sleep on mattresses at the houses of various relatives. In 1951, they were given a council house in Chesthunt, and after just failing the eleven-plus exam, Harry was enrolled in the newly built Cheshunt County Secondary School.
For his 16th birthday, Harry got his first guitar, going on to form ‘The Drifters’ in 1958, with Terry Smart and Norman Mitham. After a number of low-key London gigs, Ian Samwell joined the band and they recorded their first demo, covers of Elvis’ ‘Lawdy Miss Clawdy’ and Jerry Lee Lewis’ ‘Breathless’.
After recording their first hit single, ‘Schoolboy Crush/Move It’, they were quickly signed by Columbia. The song hit No.2 in the British charts, and went on to sell over a million copies.
Now going under the name Cliff Richard, an appearance on the TV show ‘Oh Boy!’ catapulted Cliff to sex symbol status.
In 1958, Hank Marvin and Bruce Welch joined ‘The Drifters’, and by 1959 the band changed their name to ‘The Shadows’. It was also around this time that Cliff made his film debut in ‘Serious Charge’. The film produced the hit ‘Living Doll’, Cliff’s first number one hit.
Cliff’s second movie, ‘Expresso Bongo’, was more successful and critically acclaimed. As the albums and hit singles rolled out, Cliff Richard was building a devoted fan base that would secure his chart success some 40 years later.
In 1961, Cliff starred in ‘The Young Ones’, and the accompanying single shot straight into number one in the charts. The second film with Cliff in the leading role was another musical, ‘Summer Holiday’, which saw him star alongside Una Stubbs.
1968 saw the last album recorded by Cliff with ‘The Shadows’, and Cliff went on to tour with his own gospel album. In 1970, Cliff launched his first television show, featuring a mix of music and comedy. In the same year, he made his stage debut in Peter Shaffer’s ‘Five Finger Exercise’, a play focusing on a ‘deep friendship’ between a student and his tutor. The play was originally considered controversial for its veiled homosexual themes but despite this, reviews were favourable.
One of the most talked about aspects of Cliff’s life is his relationships. A much publicised relationship with tennis star Sue Barker in 1981 ended within a year. Cliff has also been linked with actress Una Stubbs.
In 1986, Cliff and The Young Ones re-recorded ‘Living Doll’ and made it to the top of the charts. In the same year he appeared in the West End musical ‘Time’, and by the end of the decade he had released his highest selling album of all time, ‘Private Collection’, which went on to be certified four-times platinum in the UK alone!
‘Mistletoe & Wine’ become Cliff’s first Christmas-themed No.1 in 1988 and by 1989, Cliff became the first British artist to release 100 singles. Cliff continued to tour and break records throughout the 1990s, and in 1995 he became Sir Cliff Richard – the first pop star to be honoured with a full Knighthood.
Despite selling records by the lorry load, Cliff ran into trouble getting airplay from various radio stations, including a ban by the BBC for his track ‘Misunderstood Man’, which was deemed “too raucous” for listeners.
Perhaps the most significant project for Cliff in the nineties was the fulfilment of his lifelong dream to play the character of Heathcliff in Emily Bronte’s masterpiece, ‘Wuthering Heights’. The show was a runaway success, and gave Cliff his highest selling video ever, topping the UK video charts for two months upon its 1998 release.
In 1999, ‘The Millennium Prayer’ reached number one, regardless of no airplay and scathing reviews. Despite a lack of support in the press, Cliff continues to make music and his recent album and DVD release cracked the top twenty.
Cliff now divides his time between his homes in the UK, Barbados and Portugal, where he has taken to making his own wine.