«Smart Housekeeping» by Rupa Chatterjee
English | EPUB | 4.2 MB
English | EPUB | 4.2 MB
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Charles Wright & the Watts 103rd Street Rhythm Band is a pioneering American soul and funk band. Formed in the early 1960s, they had the most visibility from 1967 to 1973 when the band had 9 singles reach Billboard's pop and/or rhythm and blues charts, such as "Do Your Thing" (#11 Pop, #12 R&B), "Till You Get Enough" (#12 R&B, #67 Pop), and "Love Land" (R&B #23, Pop #16). They are best known for their biggest hit on Warner Bros. Records, 1970's "Express Yourself" (#3 R&B, #12 Pop), a song that has been sampled by rap group N.W.A and others. The original line-up comprised of bandleader Charles Wright (vocals, guitar, piano), Al McKay (guitar), Gabe Flemings (piano, trumpet), Melvin Dunlap (bass), James Gadson (drums), John Rayford and Bill Cannon (both sax), and Ray Jackson (trombone). McKay left in 1969 to join Earth, Wind & Fire and was replaced by Benorce Blackmon.
When Written on Skin had its premiere at the 2012 Festival d'Aix-en-Provence, conducted by George Benjamin himself, it received a standing ovation. The opera's arrival at Covent Garden in 2013 was eagerly anticipated, and provided audiences with the opportunity to experience the work of two of Britain's greatest living artists. Benjamin previously collaborated with playwright Martin Crimp on Into the Little Hill, a magical retelling of the Pied Piper fairytale, and for this new work they joined forces with acclaimed stage director Katie Mitchell. For all three, the production marked their main-stage debut at the Royal Opera House. The tale, inspired by a medieval legend, tells of an ill-fated troubadour, drawn into a liaison with an innocent maiden. But they are observed by the jealous eye of her protector, who wreaks a shocking revenge on the young couple.
Heading into Band of Horses’ sixth album, frontman Ben Bridwell wanted to do things differently. He’d been hanging out with some younger musicians in his adopted home of Charleston, South Carolina, and liked their style. “They were making really beautiful sounding records in, like, a storage shack, basically,” he tells Apple Music. One in particular, Wolfgang Zimmerman, had sparked Bridwell’s imagination to the point that Bridwell found himself sneaking out to make demos with Zimmerman on the sly, away from the rest of the band. “It wasn’t a plot to overthrow the record,” Bridwell says. “But in the end, it did feel a bit like a mutiny.” The result is music that feels less like a departure from the band’s core sound than a reaffirmation of it: the anthemic choruses, the windswept grit, the mix of joy and melancholy.