#bob telson

[negrolicity]

Welcome to Me

[gcmyers]

Barefoot

Call of the Blue Moon–At Principle Gallery, Alexandria When the sun goes down here and darkness falls The blanket of winter leaves no light at all You search for shelter to calm the storm Shaking with an instinct just to stay warm I’d walk through the snow barefoot If you’d open up your door I’d walk through the snow barefoot –Barefoot, k.d. lang and Bob Telson I hadn’t heard this song,…

[michiakisato]

ちなみに、オリジナルが収録されたアルバムも素晴らしいです。無国籍なサウンドを堪能できます。

[woahchelle]

"Think no longer that you are in command here, but rather think how, when you were, you served your own destruction." -The Gospel at Colonus (an African-American musical version of Sophocles's tragedy, Oedipus at Colonus)

[gatheringbones]

[“Onstage in Amsterdam a few nights later, she closes the show with “Big-Boned Gal,” introducing the song with the kind of thunderous, rollicking drumroll that ushers in the elephants at the circus. Sashaying across the stage in a hilarious parody of feminine wiles, lang belts the lyrics with her usual high voltage: “She was a big-boned gal / From southern Alberta / You just couldn’t call her small / And you can bet every Saturday night / She’d be headed for the legion hall. . . . You could tell she was ready / by the look in her eye. . . . She walked with grace / As she entered the place / Yeah, the big-boned gal was proud!” The song is the kind of irresistible country rocker that makes you want to get up and dance, and lang also makes it extremely funny, but like most of her work it resonates on deeper levels as well. She takes everything a woman is not supposed to be—big, funny, fearlessly defiant, physically powerful—and makes it not only O.K. but glorious. What appears on the surface to be just another good-time country song turns into a thrilling statement of triumphant self-assertion.

When she finishes, the audience erupts. By this time lang has shed her jacket to show a loose, flowing white blouse that drapes fluidly over her body, revealing the womanly fullness of her hips for the first time. A black bra is just barely visible underneath. The audience is screaming and jumping up and down; they will not desist. When lang comes back for her first encore, it’s “Crying,” the Roy Orbison classic she has made her own. Her rendition is awesome; this is the number that brought down the house when she sang it on the Songwriters’ Hall of Fame TV special after Orbison’s death. You watch with your heart in your mouth, wanting it never to end. When it does, all hell breaks loose again. Lang’s final encore is “Barefoot,” the song she wrote with Bob Telson for Salmonberries. “I’d walk through the snow barefoot / If you’d open up your door,” she sings, the soaring purity of her voice conjuring up the vast, frozen bleakness of the Far North, the ache of a lonely heart, the ineffable yearning for a love to thaw the soul. The song’s chorus is a haunting wolf howl that vaults through the octaves, reverberating in an unforgettable cry of longing. It’s a passage to defeat almost any singer, but lang makes it seem effortless, her tones so rich and full you feel as if they’re pouring over you like honey. Long after the concert is over, her melodies linger in y our mind, echoing with the unearthly power of the wolf howl.

By this time a cluster of fans has found the stage door; charged with hope, they wait eagerly, their faces raised to the balmy breeze ruffling the canal in front of the theater. Lang is wandering down a corridor backstage, fretting over the fact that she forgot to introduce her drummer and brooding about whether the concert was good enough, a question that wouldn’t even occur to anyone else but that tortures her after every performance. Compared with her electrifying presence onstage, she seems only half there—not tired but simply absent, a faraway look in her eyes. A large part of her has just shut down, and will not reawaken until the next time she gets onstage in front of an audience.”]

k.d. lang cuts it close, by leslie bennetts, vanity fair, 1993

[venomasides]

The Raid | Day 30

For the ARK AU. Jesse is permitted to remain awake as Blazing Fury burns the home she’s come to know. 

Jesse slouches on her knees, struggling against the ropes that bind her hands like coarse serpents. Her head hangs forward, hair mussed, forming a disheveled frame for the face staring up at Aiden.

“You bastard!” She lets him know it loud and clear, voice rising above the rumblings of dragons. “You son of a Bitch!” 

Aiden frowns. He stands above her as barely more than a silhouette against the night. 

He’s never heard her curse like that before. 

A scorpion- the same one used to keep the other members of Brightstone sedated -leisurely approaches, red telson bobbing on its gangly tail. In one quick flick from Aiden’s fingers, the insect halts. 

Another tiny motion is made, this time for Gill. The order is received. Pierre, their fire wyvern, snakes his head towards the evacuated house. Behind them, Maugre takes flight. 

The fire wyvern’t throat glows. Then, from his throat, erupts a harsh orange plume of fire. Heat rushes upon the house like a tsunami, splattering against planks and dry stone. Flame-spit sticks like mortar, effortlessly burning through the first wall it meets. The dragon huffs again, dragging flame across the wall until the face of the house is entirely aflame. 

A high-pitched shriek sounds further on the plateau. A similar firelight, this time born of a lightning wyvern’s plasma, cuts through reinforced stables as if they’re built from tissue paper. The wails of woken tames are heard deep into the forest. 

From the corner of her eye, Jesse spots a wolf running for cover, its pelt smothered with glowing blue. Aiden’s thylacoleo tackles it to the ground, the way it once did when their tames would play together. 

This time, teeth come bearing down on the wolf’s neck until it falls limp. 

Jesse looks over her shoulder back to the burning home. Debris fall within it, creating a plume of sparks as planks and belongings clatter to the ground to be further scorched. She pants in the growing heat. 

With the light of their burning home, Jesse can finally see the look in Aiden’s eyes. 

Horror. 

He looks down at her, eyes shifting while the rest of his face stays stiff as stone. 

“You’d best start prayin’, Aiden.” She says it like a threat, because it is. “I won’t be.” 

“I know.” the Raider’s voice stays low. “I didn’t want to do this.” 

Jesse’s jaw goes slack. Her words are obvious- But why? -yet the words don’t come. 

“I’ll fix this. I- I swear to fucking God I will, I’ll get us out of this mess. I’m sorry.” 

[popsixsquishcicerolipschitz]

Music+Cinema:  Out of Rosenheim/Calling You - Bagdad Café (Lyrics) 

-Bagdad Café (Out of Rosenheim) 1987, un film lumineux de Percy Adlon dans une réalisation jubilatoire et attendrissante, en grande partie grâce au jeu naturel et chaleureux des acteurs Marianne Sägebrecht, CCH Pounder, Jack Palance. Musique envoûtante de Bob Telson. - La chanson Calling You, interprétée par Jevetta Steele, a fait le tour du monde. Elle résume et évoque parfaitement l'atmosphère atypique de ce film magique. - Voici les paroles en anglais et français de la chanson "Calling You":

 A desert road from Vegas to nowhere Someplace better than where you`ve been A coffe machine that needs some fixing In a little cafe just around the bend. I am calling you Can`t you hear me? I am calling you 

 A hot dry wind blows right through me The baby`s crying so I can`t sleep But we both know the change is coming Come in closer, sweet release. 

 I am calling you Can`t you hear me? I am calling you -------------------------------------------- 

Une route du désert allant de Vegas à nulle part Une endroit meilleur que ceux où tu as été Une cafetière qu'il faudrait réparer Dans un petit café au détour de la route. 

 Je t'appelle Ne m'entends-tu pas ? Je t'appelle 

 Il souffle un vent chaud et sec qui me transperce Le bébé pleure et je n'arrive pas à dormir Mais nous savons tous les deux que ça va changer Pour bientôt, douce délivrance. 

 Je t'appelle Ne m'entends-tu pas ? Je t'appelle 

[cbjustmusic]

Jevetta Steele and Lara Fabian performing “Calling You”, a song from the film Baghdad Cafe. _______________________________ Calling You Songwriter: Bob Telson

A desert road from Vegas to nowhere, Some place better than where you've been A coffee machine that needs some fixing In a little cafe just around the bend

I am calling you Can't you hear me? I am calling you

A hot dry wind blows right through me The baby's crying and I can't sleep, But we both know a change is coming, Coming closer sweet release

I am calling you I know you hear me I am calling you Oh

I am calling you I know you hear me I am calling you

[statesofexception]

Bob Telson & Lee Breuer — ‘The Gospel at Colonus’ (1985)

Live at the American Musical Theatre Festival, Philadelphia

[clemsfilmdiary]

The Best of June 2022

Best Discovery: Crimes of the Future

           Runners Up: Chan Is Missing, The Girl from the Other Side, A Treasure on Bird Island

Best Rewatch: Bagdad Cafe

           Runners Up: Ghost Dog: The Way of the Samurai, The Remains of the Day, Something Wild, Thieves Like Us, Under the Blossoming Cherry Trees

Most Enjoyable Fluff: The Contender

           Runners Up: Aurora Teagarden: Haunted by Murder, The Perfect Bride: Wedding Bells, Summer Lovers

Oddity of the Month: Dr. M

Best Male Performance: Anthony Hopkins in The Remains of the Day

           Runners Up: Keith Carradine in Thieves Like Us, Jeff Daniels in Something Wild, Marc Hayashi and Wood Moy in Chan Is Missing, Viggo Mortensen in Crimes of the Future, Fernando Rey in Tristana, Forest Whitaker in Ghost Dog: The Way of the Samurai

Best Female Performance: Emma Thompson in The Remains of the Day

           Runners Up: Joan Allen in The Contender, Shelley Duvall in Thieves Like Us, Melanie Griffith in Something Wild, Shima Iwashita in Under the Blossoming Cherry Trees, CCH Pounder and Marianne Sägebrecht in Bagdad Cafe, Léa Seydoux in Crimes of the Future

Best Supporting Performance or Cameo: Kristen Stewart in Crimes of the Future

           Runners Up: Mia Farrow in Radio Days, Louise Fletcher and Bert Remsen in Thieves Like Us, Ray Liotta in Something Wild, Jack Palance in Bagdad Cafe

Most Enjoyable Ham: Marilu Henner in Aurora Teagarden: Haunted by Murder

           Runners Up: Eartha Kitt, Oliver Reed and Claudia Udy in Master of Dragonard Hill, Kavan Smith in The Perfect Bride: Wedding Bells

Best Mise-en-scène: Crimes of the Future

           Runners Up: Bagdad Cafe, Dr. M, Ghost Dog: The Way of the Samurai, The Girl from the Other Side, Ilya Muromets, The Man Who Fell to Earth, Radio Days, The Remains of the Day, Thieves Like Us, A Treasure on Bird Island, Under the Blossoming Cherry Trees

Best Locations: The Man Who Fell to Earth (lake and abandoned mining town)

           Runners Up: Bagdad Cafe (dusty southwestern roadside), Crimes of the Future (grimy post-apocalyptic Athens), Thieves Like Us (soft “pearly green” Mississippi landscapes), Under the Blossoming Cherry Trees (ghostly cherry blossom grove)

Best Score: Crimes of the Future (Howard Shore)

           Runners Up: Bagdad Cafe (Bob Telson), Ghost Dog: The Way of the Samurai (RZA), The Girl from the Other Side (Shunsuke Watanabe), The Remains of the Day (Richard Robbins), A Treasure on Bird Island (Zdenek Liska), Under the Blossoming Cherry Trees (Tōru Takemitsu)

Best Cartoon: There's Something About a Soldier

Best Leading Hunk: Pablo Schreiber in Lorelei

           Runners Up: Jeff Daniels in Something Wild, Niall Matter in Aurora Teagarden: Haunted by Murder, Franco Nero in Sardinia... Kidnapped, Alexander Skarsgård in The Northman, Patrick Warburton in Master of Dragonard Hill

Best Supporting Hunk: James Brolin in Gas Food Lodging

           Runners Up: bear extra in Bagdad Cafe, Aaron Eckhart in The Pledge, Scott Speedman in Crimes of the Future

Assorted Pleasures:

- Sketchy, shimmering effects animation in The Girl from the Other Side

- Nostalgic WWII-era production design in Radio Days

[choses-dingen]

"Bagdad café" un petit film devenu culte

Réalisé par Percy Aldon, un cinéaste peu connu, et sorti en 1987, Bagdad Café a rencontré un succès populaire immense. Contre toute attente, le film a connu un retentissement international. Il était à (re)découvrir le mercredi 9 mars dans Classic Ciné sur La Trois.

Que raconte Bagdad Café ?

Le sable, la chaleur, aucune âme qui vive à des kilomètres à la ronde. Et pourtant, ce Bagdad-là se situe bien en Californie, quelque-part au milieu de nulle part, dans le désert de Mojave. Bagdad Café, c'est l'histoire de ce café qui n'a plus de café, de la petite station-service et du motel crasseux adjacents qui se regroupent sur les bords d'une Route 66 déclassée, abandonnée. Déserte. Enfin presque. Après une scène de ménage Jasmin Münchgstettner atterrit au Bagdad Café, motel minable entre Disneyland et Las Vegas. La patronne Brenda, une femme à vif, autoritaire, tapageuse et insatisfaite règne sur tout un petit monde de routiers et de personnages énigmatiques. Elle vient de virer son paresseux bonhomme lorsque débarque cette grosse allemande très chic, à pied dans le désert brûlant, comme sortie de nulle-part. Tout sépare ces deux femmes. Elles vont pourtant s'apprivoiser et l'étrange Jasmin  va progressivement organiser sa vie autour de ce hameau perdu, carrefour des « truckers », des routards, des artistes, des paumés, des saltimbanques et autres originaux en tous genres.

Peu à peu, Jasmin se fait apprécier de tous et remet même le café à flot grâce à "Magic", une boite de magie avec laquelle elle monte des tours assistée de Brenda. Entre les deux femmes va naître une solide amitié.

Ce qui a également bien aidé le film à se faire connaître à sa sortie, c'est l'incroyable succès de sa bande originale : « Calling You » avec la voix envoûtante de Jevetta Steele .

En 1988, la chanson est diffusée partout, et se positionne même à la huitième place du Top 50. Composée par Bob Telson, elle est également nommée pour l'Oscar de la meilleure chanson originale. Calling You est définitivement entrée dans l'histoire de la musique, notamment grâce aux reprises de chanteuses internationales comme celle de Céline Dion.

[negrolicity]

The Gospel at Colonus

This is the Oedipus story retold in the form of a Black worship service. The themes of suffering, death and redemption are very much akin to Christic beliefs. Enjoy!

[splendidenolwenn]

ALBUM | “Cinéma” - Renaud Capuçon

Souvenez-vous, il y a quelques jours on nous annonçait la participation de Nolwenn Leroy à l’album “Cinéma” de Renaud Capuçon...

En ce 21 septembre, le voile se lève enfin et “Calling You” est dès à présent disponible !

Découvrez sans plus attendre cette collaboration très élégante qui unit la voix de Nolwenn aux notes du violon de Monsieur Capuçon... 🎤🎻🎶

[bandstolookup]

chet haze

cliffdiver

gorro

kronos quartet

lianne la havas

lake street dive

k.d. lang

ruth laredo

last forever

lorraine hunt lieberson

cheikh lô

orlando cachaito lópez

los zafiros

the low anthem

sergiu luca

the greenhornes

girlpope

yo-yo ma

the magnetic fields

clint mansell

mariza

ingram marshall

jessica lea mayfield

audra mcdonald

subradio

starbenders

mai yamane

aka mana

cosmic collective

joshua bassett

foreign affairs

aaron taos

hadji gaviota

KORTS

the relights

king kuda

the courts

sarpa salpa

naked next door

aylands heath

hoofa

feet

rusted root

choir boy

¿téo?

stats

zyklon

lords of the weight

larkins

banton

the vitrines

billy bibby

jools

the looted youth

bobby mcferrin

kate and anna mcgarrigle

brad mehldau

natalie merchant

stephen merritt

pat metheny

edgar meyer

manuel guajiro mirabal

joni mitchell

ivan moravec

joan morris

jelly roll morton

nico muhly

le mystere des voix bulgares

youssou n'dour

new jersey percussion ensemble

new york city ballet orchestra

randy newman

thomas newman

nickel creek

alex north

paul o'dette

christopher o'riley

conor oberst

odessa balalaikas

offa rex

olivia chaney

orchestra baoba

fernando otero

eddie palmieri

andrzej panufnik

carlos paredes

mandy patinkin

nicholas payton

krzysztof penderecki

george perle

sam phillips

ástor piazzolla

robert plant

pokrovsky ensemble

omara portuondo

punch brothers

mike chapman

court gamelan of pura paku alaman

nasser rastegar-nejad

radio tarifa

joshua redman

steve reich

joshua rifkin

karl ristenpart

william neil roberts

leonard rosenman

rostam

christopher rouse

rustavi choir

frederic rzewski

sabri brothers

nadji salerno-sonnenberg

scritti politti

compay segundo

philip selway

SFJAZZ collective

duncan sheik

sierra maestra

dmitry sitkovestky

stephen sondheim

st. germain

teresa stich-randall

teresa sterne

teresa stratas

morton subotnick

sanford sylvan

tōru takemitsu

the tango project

taraf de haïdouks

bob telson

chris thile

virgil thomson

ali farka touré

allen toussaint

rokia traoré

michael tree

jeff tweedy

shye ben tzue

tony allen

dawn upshaw

värttinä

laura veris

caetano veloso

vladimir viardo

cuong vu

sara watkins

wilco

brian wilson

daniel wohl

word of mouth chorus

world saxophone quartet

charles wuorinen

iannis xenakis

akiko yano

ymusic

los zafiros

patrick zimmerli

junexa

saving escape

harmless habit

john zorn

amadou and mariam

silent theory

the phoenix within

* conor oberst

visit neptune

bad boy chiller crew

genesis owusu

cortex

nice peter

ralph castelli

roar

WOOM

2:54

ALASKALASKA

echo beach

childhood

courtney barnett

paul kuzbik