Big Brother bully Alexandra De-Gale has become the target of vandals after being prematurely axed from the show for 'threatening behaviour'.
BB's most unpopular housemate EVER is currently in hiding at a hotel after a vandals daubed 'fake', 's***' and 'bitch' on her BMW.
In a second attack, her Croydon home was pelted with stones and eggs, windows were smashed and more abusive graffiti was keyed on her car.
A police spokesperson confirmed: "We have received reports of criminal damage and are investigating."
Alex was sensationally booted out of the house after boasting to Darnell that she would seek revenge against housemates in the outside world.
Channel 4 accused the mother-of-one of “repeatedly breaking the programme’s rules” by behaving in “unacceptable and intimidating manner towards fellow housemates”.
In a post-exit interview with Davina, Alex insisted she was simply being "assertive."
Wednesday, 25 June 2008
Tuesday, 24 June 2008
George Michael Teeses His Fans
George Michael feels real good with Dita Von Teese by his side.
When the British pop singer launches his 25 Live tour tonight in San Diego, he'll also debut a new video during his...
Monday, 23 June 2008
Backstreet Boys - Doroughs Dad Dies
BACKSTREET BOYS star HOWIE DOROUGH is in mourning after his father died in his sleep.
Hoke Dorough was diagnosed with lung and brain cancer earlier this year (08).
The pop star and his bandmates scrapped shows in South Africa so that Dorough could be with his father.
In a statement, the singer says, "Our family just wants to say thanks for all your prayers for my father, Hoke Dorough. His strong will helped him to fight cancer for the past three months.
"I was blessed to be able to spend the last month with him and create some memories that I will take with me forever.
"Unfortunately, within the last few days he took a turn for the worse. He passed away Sunday morning peacefully in his sleep and is no longer suffering."
Howie adds that his father spent his final week returning to his native Georgia with his son and family members.
Dorough recalls, "My family and I rented a RV and took him to his hometown in Georgia where he had a family and high school reunion of over 50 people.
"He held on (for) the whole trip and had an amazing time, bringing things back full circle."
See Also
Gubaidulina, Sofia
Artist: Gubaidulina, Sofia
Genre(s):
Pop
Classical
Discography:
Sonata For Double Bass and Piano (Berio)
Year: 2000
Tracks: 1
Astreja- Music From Davos
Year: 1992
Tracks: 4
Stufen (1972-1990)
Year: 1990
Tracks: 1
Hommage a T.S. Eliot, For Octet and Soprano
Year: 1987
Tracks: 7
Viola Concerto
Year:
Tracks: 1
Seven Words, Silenzio, In Croce
Year:
Tracks: 13
Offertorium
Year:
Tracks: 8
Detto II For Cello and Chamber - Misterioso For Percussion
Year:
Tracks: 2
Concordia
Year:
Tracks: 10
Minnie Driver expecting her first child
Mahavishnu Orchestra
Artist: Mahavishnu Orchestra
Genre(s):
Jazz: Fusion
Instrumental
Jazz
Discography:
Between Nothingness and Eternity
Year: 1998
Tracks: 3
Visions Of The Emerald Beyond
Year: 1975
Tracks: 13
Inner Worlds
Year: 1975
Tracks: 10
Vision Of The Emerald Beyond
Year: 1974
Tracks: 13
Apocalypse
Year: 1974
Tracks: 5
The Lost Trident Sessions
Year: 1973
Tracks: 6
Birds Of Fire
Year: 1972
Tracks: 10
The Inner Mounting Flame
Year: 1971
Tracks: 8
One of the premier spinal fusion groups, the Mahavishnu Orchestra was considered by to the highest degree observers during its premier to be a rock lot, but its sophisticated improvisations actually set its high-energy music 'tween rock-and-roll and jazz. Founder and leader John McLaughlin had late played with Miles Davis and Tony Williams' Lifetime. The original lineup of the group was McLaughlin on electric guitar, violinist Jerry Goodman, keyboardist Jan Hammer, electric bassist Rick Laird, and drummer Billy Cobham. They recorded three intense albums for Columbia during 1971-1973 and then the personnel office changed completely for the instant version of the group. In 1974, the band consisted of fiddler Jean-Luc Ponty, Gayle Moran on keyboards and vocals, electric bassist Ralphe Armstrong, and drummer Michael Warden; by 1975 Stu Goldberg had replaced Moran and Ponty had left. John McLaughlin's dual interests in Eastern faith and playing acoustic guitar resulted in the lot break up in 1975. Surprisingly, an effort to revive the Mahavishnu Orchestra in 1984 (exploitation Cobham, saxophonist Bill Evans, keyboardist Mitchell Forman, electric bassist Jonas Hellborg, and percussionist Danny Gottlieb) was unsuccessful; one Warner Bros. album resulted. However, when one thinks of the Mahavishnu Orchestra, it is of the original lineup, which was very influential throughout the seventies.
Diamanda Galas
Artist: Diamanda Galas
Genre(s):
Trance: Psychedelic
Vocal
Industrial
Alternative
Avantgarde
Discography:
La Serpenta Canta (CD 2)
Year: 2004
Tracks: 8
La Serpenta Canta (CD 1)
Year: 2004
Tracks: 7
Defixiones: Will and Testament (CD 2)
Year: 2003
Tracks: 9
Defixiones: Will and Testament (CD 1)
Year: 2003
Tracks: 8
Schrei X
Year: 1996
Tracks: 24
Scheri X
Year: 1996
Tracks: 24
The Sporting Life
Year: 1994
Tracks: 11
The Divine Punishment - Saint Of The Pit
Year: 1994
Tracks: 7
Vena Cava
Year: 1993
Tracks: 8
The Singer
Year: 1992
Tracks: 10
Plague Mass
Year: 1991
Tracks: 10
Masque Of The Red Death (CD 2) - You Must Be Certain Of The Devil
Year: 1989
Tracks: 8
Masque Of The Red Death (CD 1) - Divine Punishment - Saint Of The Pit
Year: 1989
Tracks: 7
You Must Be Certain Of The Devil
Year: 1988
Tracks: 8
You Must Be Certain Of Devil
Year: 1988
Tracks: 8
The Litanies Of Satan
Year: 1988
Tracks: 2
The Divine Punishment
Year: 1986
Tracks: 7
Malediction and Prayer
Year:
Tracks: 12
A ferociously confrontational van performing artist noted for her bawling, four-octave vocal range, Diamanda Galas was born and elevated in San Diego, California. The daughter of Greek Orthodox parents, her singing was roundly discouraged, although her prowess as a classical piano player was nurtured; finally, her strict upbringing resulted in a reckless, drug-fueled early days prior to her ingress into the University of California's music and visual liberal arts syllabus.
Galas made her playing debut in 1979 at France's Festival d'Avignon, which light-emitting diode to an invitation to accept the lead role in composer Vinko Globokar's politically-charged opera Un Jour Comme un Autre. In subsequent solo performance-art pieces like Wild Women With Steak Knives and Tragouthia apo to Aima Exon Fonos, Galas further honed her unequalled, smashing vocal style, elysian by the Schrei ("scream") opera house of German expressionism (a bod employing a system of four microphones and a series of echoes and delays).
Galas made her recorded debut in 1982 with The Litanies of Satan, a provocative put to work comprised of a outspoken adjustment of a verse form by Charles Baudelaire. After the prison-themed performance piece Panoptikon (documented on a self-titled 1984 release), she began development a trilogy of albums known collectively as The Masque of the Red Death; released independently betwixt 1986 and 1988 as The Divine Punishment, Saint of the Pit and You Must Be Certain of the Devil, the three records catalogued Galas' litany against the AIDS epidemic, which claimed her blood brother, dramatist Philip-Dimitri Galas, in 1986.
With 1990's The Singer, she made her outset elusive advances into the realm of pop music; reprising some of the same creed material which snaked through The Masque of the Red Death, the track record too featured her covers of Willie Dixon's "Insane Asylum" and Screamin' Jay Hawkins' "I Put a Spell on You." 1993's Vena Cava, an a cappella cause, preceded 1994's The Sporting Life, a collaborationism with previous Led Zeppelin bassist John Paul Jones. A track record of Galas' 1994 receiving set work Schrei X followed in 1996, in tandem bicycle with her number one rule book collection, The Shit of God. She returned two years later with Malediction and Prayer.
Silent film "In the Land of the Head Hunters" returns to Moore after 94 years
In 1914, a unique Northwest film made its world premiere simultaneously at the Moore Theatre in Seattle and the Casino Theatre in New York. A vision of life among the Kwakwaka'wakw tribal communities in British Columbia, it played briefly in theaters before disappearing from view.
Now, 94 years later, it's back: "In the Land of the Head Hunters," the only feature-length film made by acclaimed photographer Edward Curtis (1868-1952), returns to the Moore Tuesday night in a fully restored print, complete with live orchestral accompaniment and a post-screening dance performance. The evening is co-presented by the Burke Museum, Seattle International Film Festival and Seattle Theatre Group.Curtis, who was based in Seattle for much of his life, primarily devoted his long career to photographing Native Americans in the western U.S. and western Canada. Many of those now-iconic photographs appeared in his landmark 20-volume book series, "The North American Indian." Aaron Glass, a postdoctoral fellow at the University of British Columbia who is one of three executive producers of the restored film, described the books as "a monumental photographic salvage project." Curtis, like many others at the time, thought that Native people would soon disappear — "if not physically, then at least culturally and linguistically," said Glass. He traveled and visited tribes for several decades, taking photographs and recording stories, songs and other information.
"In the Land of the Head Hunters" was made as a commercial enterprise, Glass said. "[Curtis] made it in the hopes that it would make money in order to help fund his book projects, which he saw as his serious life's work."
The film is a silent melodrama that intertwines a love triangle, a series of aboriginal battles and excerpts from Kwakwaka'wakw ceremonial performances. (The title was sensationalized for commercial purposes.) Curtis filmed it primarily in two B.C. locations, from which he drew his all-Kwakwaka'wakw cast: Fort Rupert, a community at the north end of Vancouver Island, and Blunden Harbor, a village (now uninhabited) on an inlet across from Vancouver Island.
With a commissioned score by composer John J. Braham, the completed film opened in New York and Seattle. Though records are sketchy, it appears to have been released in a few other North American cities, but didn't seem to catch on with audiences.
"Basically, after a couple of years, the movie had made no money and was no longer being distributed," Glass said. In 1924, Curtis sold his copyright and print of the film to the American Museum of Natural History in New York, which was interested in the film from an anthropological standpoint.
From there, the story of "In the Land of the Head Hunters" takes a mysterious turn. The Museum of Natural History has no record of the film, and no trace of it was seen until 1947, when a film collector in Illinois was given a few damaged reels from a friend, found in a theater trash bin. He didn't know what the film was, but gave it to the Field Museum in Chicago, thinking it might be of interest for its Northwest Coast collection.
And there it sat, until art historian Bill Holm (now art professor emeritus of the University of Washington and the Burke Museum) and anthropologist George Quimby (director of the Burke from 1968 to 1983) undertook the first restoration of the film. Quimby, a former curator at the Field Museum, brought the "Head Hunters" print with him when he moved to Seattle, and he and Holm worked on the project for a number of years, finally releasing a restored version in 1974. The restoration included significant changes to the film, which was incomplete and assumed to be the only existing print, and a new soundtrack (of sound effects and songs by Kwakwaka'wakw members) as the original score was presumed lost.
The current restoration came about because of two significant discoveries. Glass, working on his dissertation, discovered the sheet music for Braham's original score at the Getty Film Institute, and the UCLA Film and Television Archive found in its vaults some reels labeled "Edward Curtis" that turned out to be sections of "Head Hunters." These reels, in original nitrate, were of special interest because they retained the elaborate color tinting Curtis had intended. (The Field's version had been transferred to black and white.)
What will unspool at the Moore on Tuesday (after its world premiere at the Getty in L.A. last week) is, says Glass, closer to what audiences in 1914 saw. The current restoration is "three-quarters Field Museum and one-quarter UCLA, but the tinting and toning is extrapolated for the whole thing. It's not meant to simulate color film; it's more like hand-tinted old photographs. What we've restored are the original title, original intertitles (some of which we had to reconstruct), the original color as much as we can approximate it and the original score."
"In the Land of the Head Hunters" will screen at the Moore accompanied by Braham's original score, performed by a small orchestra made up of local musicians and led by Owen Underhill, conductor of the Turning Point Ensemble in Vancouver. After the screening, the Gwa'wina Dancers will perform a routine based on the dances in the film (at times presenting a version more true to tradition than that shown in the film). The group, a professional ensemble whose members represent many of the 16 tribes of the Kwakwaka'wakw, will also discuss their ancestors' participation in the film with the audience.
Moira Macdonald: 206-464-2725 or mmacdonald@seattletimes.com
See Also
Katharine McPhee
Artist: Katharine McPhee
Genre(s):
Dance: Pop
Discography:
Katharine McPhee
Year: 2007
Tracks: 12
Though Taylor Hicks' far-out soul made him 2006's American Idol, second best Katharine McPhee's definitive good looks and part and affinity for traditional pop made her a warm challenger throughout the season. In fact, she was matchless of the first semifinalists to make it to the final 12. A native of Sherman Oaks, CA, McPhee began singing at age two. Her mother, Patricia McPhee, is an established vocalizer in her have right-hand, playacting and recording as Peisha McPhee. She helped Katharine develop as a vocalizer and gave her more formal preparation than many American Idol hopefuls experience. Though McPhee panax quinquefolius and acted passim her childhood and senior high school age, she began pickings singing more in earnest in college, attention Boston Conservatory as a musical house major. After iII semesters, however, she leftfield for Los Angeles to auditory modality for film and telly work. McPhee scored roles in the film Crazy, a musical around Hank Garland, and an MTV series, You Are Here, which didn't make it to the gentle wind. She as well appeared in productions of Annie Get Your Gun and The Ghost and Mrs. Muir earlier auditioning for American Idol in 2005.
Once McPhee made the last 12, her performances of songs such as "Somebody to Watch Over Me," "Come Rain or Come Shine," and "Smuggled Horse and the Cherry Tree" made her i of the favorites of American Idol judges and viewers. After the American Idol season ended, McPhee was signed by show divine Simon Fuller's 19 Recordings Limited label and released her first base individual, Somewhere Over the Rainbow/My Destiny; it became the second gear best-selling individual of 2006. That summer, after bouts with bronchitis and laryngitis, she joined the rest of the finalists and Hicks on the American Idols LIVE! go and also toured with Andrea Bocelli, world Health Organization appeared on American Idol as a guest approximate. McPhee began recording her self-titled debut album in the fall, working with collaborators such as Timbaland's production married person, Nate "Danja Hand" Hills, Chad Hugo of the Neptunes, and ballad maker Kara DioGuardi. "Over It," which was written by the songwriting team of Billy Steinberg, Josh Alexander, and Ruth-Anne Cunningham, arrived a few weeks before Katharine McPhee was released in early 2007.
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