14 Iconic Songs We Had Ice Dance To at the Olympics

Sunday night, the Olympics ice dancing competition was owned by America’s Shibutani twins. Regrettably, Coldplay and their mambo-inspired moves medley made them. They would’ve been bumped up a location if they’d picked among our picks. Shib Twins, please think about the tunes we would’ve ice enjoyed to when given the chance.

1. “Heart Of Glass” – Blondie

Catch me in a sequin-covered get-up skating for this gem. Cue the shimmies and dramatic spotlight.

2. “Move Your Feet” – Junior Senior

I surprised nobody has skated for the particular catchy jam. It is definitely called for by this song, although I don’t think I have seen anybody do the patch to get an ice dance.

3. “The Fight Is Over” – Jenny Hval

A slow-starting routine suspended in feminist theory… and ballet! I see that a skater for this ice dance.

4. “Oblivion” – Grimes

This heavenly amount will make a cute funding monitor for the ice princess meets with pixie dreams.

5. “Once In A Lifetime” – Talking Heads

Why yes I will probably be sporting a giant lawsuit for this particular operation, thank you for inquiring.

6. “Uh Huh” from Julia Michaels

IMAGINE landing an axel jump to that “uh huh.” Fierce.

7. “Id Engager” – of Montreal

Disco. Drama. Funk. On Ice!

8. “Joga” – Björk

An appropriately icy and emotive song. Although, you put yourself at chance of becoming overpowered and immobilized by Björk crooning through the Icelandic String Octet.

9. “Teenage Witch” – John Maus

Sparkles and a witch hat accompany this alien synth. And maybe a mask. Along with a fog machine. Carve a portal site with your skates and vanish.

10. “Huge Beautiful Blue Sky” – Ought

Let us hear it for apathy, angst, and ICE SKATING! Envision a interpretive, deeply impassioned dance.

11. “Can’t Get You Out Of My Head” – Kylie Minogue

My partner and I’ll recreate the very groovy, robo-sexual dance wearing the costumes, for our olympic routine.

12. “Heads Will Roll” – Yeah Yeah Yeahs

I will sever the judges’ heads strengthening my place and standing out in my competitors. Give ’em the old razzle dazzle!

13. “Augustine” – Hybrid Orange

Poetic and jazzy. To tell the truth, Dev Hynes put his motions to do the job and should only put on a pair of ice skates. Insert a triple salchow and we’ve got a gold medalist.

After a soundtrack for graduations and bar mitzvahs alike, A Daft Punk robot head is recommended for this particular non-ironic skate.

Photo through YouTube

Star of city viral piano playing Movie Understands hundreds of songs but Not had an Audio lesson

The piano-playing celebrity of a remarkable road performance video which went viral hasn’t had a music lesson. . .and he doesn’t have a piano!

Christopher Scamp, 30, has a repertoire of hundreds of tunes nd and with a medley played with out Forsyth Music Shop, on Friday, in Manchester city centre.

He combined classics, pop music and Christmas tunes and also a video of his performance was seen 3 million times around Facebook.

The musician told the MEN how he adores as he doesn’t own a piano of their own, giving performances and returned to delight crowds.

Christopher Scamp playing the Piano outside Forsyth's music shop with Oliver Edgington

Christopher Scamp playing the Cable out Forsyth’s music store with Oliver Edgington

Christopher, from Liverpool, said: “Nobody else in my household is in to music but I always have been and I learned to play with in my room only picking things up.

“I will play a couple hundred tunes and I will do them all the way through but tend to just mix parts of them collectively as not everyone has the patience for a complete song.

“I’ve never had a music lesson but I have this remarkable love for entertaining men and women. It got an unbelievable reaction and there’s a lot more to come”

Because the video went viral, has had requests to play Cuba and Las Vegas.

He is currently trying to save enough cash to buy his piano and intends to proceed on Britain’s Got Talent.

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The piano was put out Forsyth Music Shop by shop bosses for anyone who wishes to have a go to play.

Among the amounts Christopher played on Sunday have been from Oasis anthem Let it Go, Do not Look Back in Anger Frozen, and Let it be with the Beatles.

Christopher, who’s a full-time carer because of his mother, included: “Once I play with it only comes automatically like my palms are doing it not my brain.

“I will understand what I’m doing for the following five or for tunes and I will go into a bubble in which I’m not thinking about anything else”

Forsyth Music Shop, on Deansgate, celebrated its 160th birthday this year and is currently owned by the Forsyth family’s generation.

Manager Michael Welton, 43, said: “Christopher came on Friday and just started playing. We get a fair number of folks but it became clear that this was something distinct.

“He pulled a bunch and it was off the top of his mind with tunes blended together.”

Songs From Your Suck — Randy Steele — Indie Music Reviews

Songs From Your Suck — Randy Steele

BANDCAMP: https://randysteele.bandcamp.com/releases

Songs From Your Suck — Randy Steele, is a solo album by a number of the members of this Slim Pickens Bluegrass group from Chattanooga, Tennessee. The Suck is a reference to Suck Creek which comes into the Tennessee River close to Randy’s house. From the early days prior to TVA dammed the rivers, it was a notorious part of rapids which could break boats and such. Just below was Moccasin Bend, where Cherokee raids were often waiting, and the Muscle Shoals in Alabama was yet another dangerous section of this river. He enjoyed it phonetically and I believed it’d be a simple name to remember.

Randy Steele makes his concept clear, however, the evidence is in those tunes that move just about anyplace bluegrass can without sacrificing its own floor, but it has it all from folk to blues and contemporary Americana stylings. It conveys an entry that’s difficult to find in hardcore bluegrass circles, but Steele and his group are well-known in their own area, as well as staged overseas. Not being a new comer consistently helps but getting new to me it makes all the difference due to the freshness of the tunes and how far they travel away from the usual bluegrass norms. It strikes over very well that way.

One of my favorite tunes is “One Man Stringer” but it is toward the close of the record. However, it’s very important to point out at which it is hard to top and at which it really peaks, and I find it to be an obvious choice for one, but this record was out for a while. Don’t miss this particular track, it is an outstanding display of exactly what these musicians perform. But you’ll find out from the get go, which Randy Steele and CO perform the perfect business by bluegrass by incorporating just the ideal amount of folk and blues, and of course that the nation music audio from which their legacy stems. All of these are compelling tracks, each single one of these.

“Northbound 29” has got the show on the street using a truck driving tune that sizzles to the bone. Randy Steele’s voice reminds 60’s artist Tony McPhee of the Groundhogs, which I’m reminded of, but it doesn’t mean he even understands who McPhee is. However, it’s exactly the same singing style that can be possessed by a great deal of such singers of the past and present. It’s well worth mentioning because of a highlight though. “Mobile Shortly” is a natural highlight about missing home, which placed third at the Bluegrass Songwriting Competition. And that’s one of the strongest factors about Randy Steele, second to none bluegrass songwriting.

The latter tune is a soothing trail with all these zen pulled into one track that anyone can muster. It checks out in each sector with this fine record of world class tunes. “1983” is where the fun gets the most focus, with a look back on the year 1983, informed in his infectious way, with some choice string bending of which these tunes are all augmented with. If bluegrass is the thing, this is a must hear, but even though, it will go far in bringing you around to exactly what the south has to offer, which can be a number of the very best music in history. “To Your New Perspective” closes the record with a sign of that down homeness to show that about it.

Jeff Turner

‘A Night of Piano Music’ at ABAC First Tuesday Concert

TIFTON — Three amazing pianists will exhibit a full range of functions in “A Night of Piano Music” in the First Tuesday Concert on Feb. 6 in 7 p.m. in the Annals of Faiths in Abraham Baldwin Agricultural College.   This concert is open to the general public at no charge.

Pianists Andy Lagrimas and Adam Booher will cover the whole spectrum of classical music, from Baroque to Modern, in bits composed for solo pianists and four-handed piano duets. The show will contain ABAC alumnus Avery Atnip.

“My colleague and I will be doing works by Scarlatti, Schubert, Chopin, Debussy, and Brahms.” Lagrimas stated.

Lagrimas obtained his Ph.D. in Piano and Music Education from Florida State University (FSU) in 2016.   He’s now in his second year in ABAC as a assistant professor of piano and theory.  

A native of Nashville, Tenn., Booher began studying piano at age eight.   He obtained his bachelor’s degree from Lipscomb University and his master’s degree from FSU.   Booher currently teaches piano and music theory at Florida College.

Atnip obtained his associate degree from ABAC in 2015 and is currently a senior music major in the Armstrong campus of Georgia Southern University.

The First Tuesday series, currently in its 16th year, features regional professional musicians on the first Tuesdays of five weeks during the year. Dr. Susan Roe, head of the ABAC Department of Fine Arts, is that the Very First Tuesday program director.  

To Learn More on this First Tuesday Concert Series, touch Roe in sroe@abac.edu.

Rhythm of the Dance: Native Songs, Dancing epic coming into Uniontown

Since St. Patrick’s Day is celebrated, a little of Ireland will soon be arriving to Uniontown.

“Rhythm of the Dance” will appear on phase 7 p.m. March 18 at the State Theatre Center for the Arts, 37 E. Main St., Uniontown.

“That is a way to show the entire world about Irish culture,” said band leader Shane Moran.

Moran explained the series underwent a complete revamp three years ago, which makes it today with a successful new format. The lineup now consists of just two female singers, five artists (a number of whom also sing), and between 18 and 20 dancers, Moran explained.

“The most important issue is it is now completely live, there is new outfits, it is more contemporary looking, the collection has shifted and today, behind the artists and point, there is a massive 80-foot screen with a projector,” Moran explained, noting that the projector will display audiences moving images of Ireland, including the well-known cliffs.

“You truly feel as if you’re there,” he explained.

According to this “Rhythm of the Dance” website, the two-hour series uses “contemporary art forms of dance and music” to tell the journey of the Irish Celts throughout history.

“Mixing traditional dancing and music together with the most up to date stage technologies, the series is a million year-old story executed with all of the benefits of the modern day stage series,” the website states.

Along with the revamped arrangement comes new choreography that Moran says is “unbelievable.”

He goes as far as saying that’s the highlight of this series — all of the Irish dance.

“The live music and measures are so complicated,” he said, applauding the dancers that often performing the 90-minute series 5-6 days per week.

“It is insanity,” he added with a laugh.

The five artists, Moran on the four-string Irish banjo included, create a mixture of noises from traditional Irish instruments like the wooden flute and Bodhran — a Irish percussion instrument made of extended goatskin. Additionally, there are accordion and fiddle players.

Because the music is 100% live with the new format, ” Moran explained the audiences have come to be increasingly enthused. He explained the “liveness” of it entails the crowd the most.

“It is real, it is raw, and it is Irish,” he explained. “There’s no artificial stuff.”

Erica Miller, theater director at the State, said they reserved the series there many years ago. She said they’re worried for its recurrence, since it is typically a favorite series.

“It is Irish dance and music, and it is going to be a fun night,” Miller explained, adding that it is a fantastic time of year to enjoy the series, because the famous Irish vacation St. Patrick’s Day is just the day before.

“People love these types of displays, and this is a fantastic way to attract a bit of Irish right here to Uniontown,” Miller explained.

After the series, Moran explained the performers frequently greet audience members, showing them their own tap reveals and instruments, while signing autographs and taking photos.

“It is only a fantastic night of pleasure, and you really feel as if you’re there,” Moran said.

Prices are $35, $36 and $40, and are available online or by calling 724-439-1360.

Bali with its Dance and Music

Bali with Its Own Dance and Music

The Indian pilgrims of 1,000 decades ago expressed great significance about finding a island so full of brilliant ritual and celebration. This was their amazement they handed Bali island with the title WALI, a Sanskrit through the ages, and evidence indicates it has been understood of a “resort” for both the mortal and the immortal. The word WALI remains in Balinese today as the term for those plays or dances deemed holy enough to be offered to the Gods. No big cremation, temple festival, wedding, or sacred rite is complete with no Topeng Mask Play, Wayang Kulit Shadow puppets or some “Parwa” Opera performance.  

With temple festivals and religious rites occurring someplace on the island virtually every single day, The Balinese don’t have any shortage of arenas for expressing their numerous talents. A large temple festival looks like a 3-ring circus for the arts. In one corner, on a raised pavilion, the priests will probably be sitting on a little tray taking turns reciting and translating the verses out of the ancient palm-leaf novels. In a different pavilion a gamelan orchestra will be playing with full splendor to welcome devotees and also to accompany a variety of rituals. A little choir is going to probably be crouched below and around the High priest’s platform, singing hymns to match the priest’s holy incantations.

The ceiling of the pavilions is likely to be painted using the stories in the Hindu epics, column, shrines, and walls are all carved in complex patterns; anyplace figurines declare to shrines or gateways they shield. In the front of the temple a legong a playful Mask Drama is actually advance. Everywhere are wrapped tall banners and painted clothing, the inner courtyard is ablaze with rows of two-meter-high woven palm-leaf plagues and pilled fruit offerings. The celebration of art and the celebration of life is just one.  

Just like all the religion, the arts are coloured with all the many cultures which have impressed the Balinese. The costumes and expressions of several dances suggest southern India. The Barong, the carved dragons, and indicate gold-leaf timber carvings show the impact of Chinese. A number of those olden-day kings of oriental Bali were so impressed with all the gothic designs and imperial specifics of European structures, that to the day their palaces are known at joking as Puri Paris along with Puri Amsterdam.  

Traditionally, the theatre space as such doesn’t exist in Bali. Everywhere is a potential theatre. If the village hall is too little to get a Mask Play company, then a space is going to be cleared in a nearby field, the frame of the stage, built, a curtain background hung, mats laid for the orchestra and the series is ready to go. If one could remain long in Bali, then the extensive array of dances, mythological effigies, puppets and plays with will finally occur within earshot, however to get a visitor it’s frequently tough to stay still.  

According to Hindu belief the universe was made from the chord AUM, the sound of the Hindu trinity Brahma, Wisnu, Siva. Hindu societies are famous for their celebration of religion through dance and music. Bali is no exception. There’s music to follow extended processions to the sea, songs to lure down the gods from their heavenly peaks, special melodies to induce a trance, musical comedies for the masses and night operas for its elite. You will find frog dances, monkey dances, bumble-bee dances, epic ballets, war dances, dance to pick a mate and dances to exorcise evil spirits. And for each occasion customs. Venue as well as the tool vice as much for the interest of the audience as does the material of their performances themselves.  

When there’s an image that Bali is famous it’s that of the beautiful princess with towering crown of golden leaf and frangipani flowers, her sweaty body wound in exotic clothing of gold and silver. Painted fans putting rubber bearings as she awakens to the enchanting sound of gamelan gong orchestra. More astonishing than the magnificent splendor of the dancers is the abundance of music and dance forms of the little island. You will find 60-piece bronze percussion orchestra, little “angklung” bamboo gamelan ensembles, miniature xylophone quintets that are carried on s multi-storied pier in funeral processions, orchestras made up entirely of flutes or mouth harped and choral symphonies composed of just chants and grunts.  

Traditionally, all of the music is free and public performed in open spaces for the pleasure of all. Each village, palace, and lots of temples have their own gamelan orchestra which are committed to numerous local festivals but are usually invited to perform in larger parties which occur on a regional or island wide level. Virtually every village and lots of independent families own collections of holy “props” for which they are renowned, a pair of sprays, legong, head-dressed, Wayang shadow puppets or a single among the monster “animal” effigies called “Barong”. These are saved village or house temples awaiting the occasion when they’ll come to life and perform in the village square or move seeing far-fetched temples re-enacting ritualistic migrations in yesteryear.    

Dancers, musicians and puppeteers are trained from a young age and like most of the arts in Bali talent is passed from father to son. Often one hears out of a famous artist he could dance before he can walk. One or two nights a week the “Banjar” community hallways will be the scene of gamelan clinic. Here the youthful learn by imitation and also the exact youthful sleep among the bashing of gongs, drums and cymbals. The orchestra remains in the pavilion for anyone who so desires to clinic. Dancing is educated in family courtyards where educators induce their protege’s limbs into the various postures of their dance. Dancers have their debuts at temple festivals. Stage fright is speed.  

One wonders just how an island so small can encourage such a cast. The Balinese are nimble at assimilating attractive overseas components and then weaving them into their already rich, fabric or ritual. Over the centuries they have compiled a magnificent repertoire dance and music. The arrival of the fleeing Javanese court in the 16th century with their match of musicians and artists added to already highly developed art forms. If we look at the amount of recently recognized gamelan ensembles and revived dance companies mushrooming throughout the island because the coming of tourism the world of dance and drama can be regarded as experiencing a minor renaissance.