While sitting on the train this mornming, I decided that I would take photos throughout the day. I got about 15 of the train journeys to and from the Rink, and while we were at the Hog's Head for Dave's 21st birthday.
Having said this, my hosting is still down, so I will link the pictures into the post later on, or maybe even find a new hosting company.
(Any suggestions would be welcome)
Timmy "Discovered the monochrome setting on his camera" Magic
Sunday, October 16, 2005
Friday, October 14, 2005
expressions 2005 - the day after the night before
Yesterday evening was Expressions 2005.
It was good!
Guest soloists for the evening were Philip Cobb (cornet/trumpet) and Nick Hanover (vocal) and they were both great. Both offered a variety of pieces, including show tunes, jazz, swing and classic hymns.
Regent Hall Band accompanied both soloists in their pieces, and played Dean Jones's "Soulsa", "Let There Be Praise" and their main piece for the evening, "Credo" by Lorne Barry
Brett Baker's website says this about the piece:
'‘Credo’ (Lorne Barry) was introduced in the UK at the 2003 Territorial Music School, and had an immediate impact. The strength of melody and scope of colour make it a very satisfying piece, for performer and listener'
While World of Brass says:
'Credo, by Lorne Barry, introduces some interesting sounds on its spiritual journey. The old gospel song "Tis so sweet to trust in Jesus" is the main thematic basis of the work and the ending leaves the listener in no doubt that one’s trust can be place in Jesus.'
The piece itself contains a couple of tunes, thought they are not immediately recognisable. The main theme is a song which is no longer (or may never have been) included in the Salvation Army Song Book.
As far as I could judge the reactions, it was well received and one audience member suggested it was the best of the 'Expressions' that they had been to.
From a personal point of view, my playing went well, and I coped with all my tough glockenspiel solos!
Timmy "Wounded setting up for Expressions" Magic
It was good!
Guest soloists for the evening were Philip Cobb (cornet/trumpet) and Nick Hanover (vocal) and they were both great. Both offered a variety of pieces, including show tunes, jazz, swing and classic hymns.
Regent Hall Band accompanied both soloists in their pieces, and played Dean Jones's "Soulsa", "Let There Be Praise" and their main piece for the evening, "Credo" by Lorne Barry
Brett Baker's website says this about the piece:
'‘Credo’ (Lorne Barry) was introduced in the UK at the 2003 Territorial Music School, and had an immediate impact. The strength of melody and scope of colour make it a very satisfying piece, for performer and listener'
While World of Brass says:
'Credo, by Lorne Barry, introduces some interesting sounds on its spiritual journey. The old gospel song "Tis so sweet to trust in Jesus" is the main thematic basis of the work and the ending leaves the listener in no doubt that one’s trust can be place in Jesus.'
The piece itself contains a couple of tunes, thought they are not immediately recognisable. The main theme is a song which is no longer (or may never have been) included in the Salvation Army Song Book.
As far as I could judge the reactions, it was well received and one audience member suggested it was the best of the 'Expressions' that they had been to.
From a personal point of view, my playing went well, and I coped with all my tough glockenspiel solos!
Timmy "Wounded setting up for Expressions" Magic
Wednesday, October 12, 2005
video playing ipod
As expected, Steve Jobs of Apple today revealed the new iPod, capable of video playback. From next week, the new, thinner, video enabled iPods will be available in the US, while no dates were given for a European release.
Also announced was a new and more powerful desktop, the iMac G5, which will be shipped with software named Front Row. This will allow use in a similar fashion to Windows Media Centre PC's.
For more in-depth information, check out these links
Apple
BBC News article on the new iPod
Think Secret - Mac Insider News
Engadget
Wired News
Timmy "It's called iTunes" Magic
Also announced was a new and more powerful desktop, the iMac G5, which will be shipped with software named Front Row. This will allow use in a similar fashion to Windows Media Centre PC's.
For more in-depth information, check out these links
Apple
BBC News article on the new iPod
Think Secret - Mac Insider News
Engadget
Wired News
Timmy "It's called iTunes" Magic
Tuesday, October 11, 2005
bbc licence fee prices
While I was browsing the BBC News website, as I often do of an afternoon, I came across this article:-
BBC Licence fee changes
The BBC are hoping to increase the price of the TV licence by 2.3% above inflation, a rise of £3.14 per annum until 2013.
It did set me thinking though. Why should I pay my licence fee?
We have, no doubt, all seen the adverts that the BBC put out at prime time encouraging people to avoid a £1000 fine buy spending £126.50 on a TV Licence. So why this tax on TV watching?
As a loyal Sky customer (my subscription was a Christmas present in 1996), I already pay enough for my TV watching habits. I was pleased that terrestrial TV lost the rights to the Test cricket, and that Champions League football is shown almost exclusively on Sky. That way I am guaranteed to see my favourite sports without excessive corporate sponsorship and advert breaks.
So my money is not being spent on popular live sports, and the BBC rarely show expensive Hollywood films, so where is it going? Does the BBC really need £126 from the 2-3 million households in the UK to maintain their website? (Incidentally the biggest in the world.)
In an age of alternatives, where the BBC is not the only thing on, is a licence fee necessary and relevant? By refusing to use a car, one pays no fuel tax. By refusing to smoke, the consumer pays no cigarette tax. Yet even if I were to tune my TV permanently away from the BBC, I would still be subject to a licence fee.
Timmy "Not watching the Snooker" Magic
BBC Licence fee changes
The BBC are hoping to increase the price of the TV licence by 2.3% above inflation, a rise of £3.14 per annum until 2013.
It did set me thinking though. Why should I pay my licence fee?
We have, no doubt, all seen the adverts that the BBC put out at prime time encouraging people to avoid a £1000 fine buy spending £126.50 on a TV Licence. So why this tax on TV watching?
As a loyal Sky customer (my subscription was a Christmas present in 1996), I already pay enough for my TV watching habits. I was pleased that terrestrial TV lost the rights to the Test cricket, and that Champions League football is shown almost exclusively on Sky. That way I am guaranteed to see my favourite sports without excessive corporate sponsorship and advert breaks.
So my money is not being spent on popular live sports, and the BBC rarely show expensive Hollywood films, so where is it going? Does the BBC really need £126 from the 2-3 million households in the UK to maintain their website? (Incidentally the biggest in the world.)
In an age of alternatives, where the BBC is not the only thing on, is a licence fee necessary and relevant? By refusing to use a car, one pays no fuel tax. By refusing to smoke, the consumer pays no cigarette tax. Yet even if I were to tune my TV permanently away from the BBC, I would still be subject to a licence fee.
Timmy "Not watching the Snooker" Magic
expressions 2005
It's that time of year again, Expressions is nearly upon us.
If anybody is at a loose end (or even if you aren't) on Thursday evening at 7.45 pm, then Regent Hall Band and Songsters, together with soloists Philip Cobb and Nick Hanover, will be live in concert at the Rink.
Tickets are a measly £6 and will be available on the door.
Text or email me if you want more information!
Timmy "express yourself" Magic
If anybody is at a loose end (or even if you aren't) on Thursday evening at 7.45 pm, then Regent Hall Band and Songsters, together with soloists Philip Cobb and Nick Hanover, will be live in concert at the Rink.
Tickets are a measly £6 and will be available on the door.
Text or email me if you want more information!
Timmy "express yourself" Magic
Friday, October 07, 2005
cultural london
Last weekend I decided I was going to embark on a weekend of culture in London, to see if it can be done by someone who is not a tourist and generally takes the opportunities for granted.
After a fairly lazy Saturday morning, I made the toss up between the Tate Britain at Millbank and the Tate Modern at Bankside (which oddly enough is on the opposite side of the river to the Bank of England.) The fates decided in the coin throw that I would journey to the Tate Modern. This however turned out not to be quite the experience I was hoping for.
I was looking forward to seeing the Frida Kahlo exhibition, but decided not to spend £10 of my hard earned money on it and the queue was massive.
Apart from a couple of pieces and a few artists I had heard of, it was generally rubbish by people who could be anybody as far as I am concerned. There was a pretty cool Jackson Pollock,
a passable Damien Hirst
and a nice video project of rotting fruit by someone I can't remember.
After Army on Sunday, I went with some other people from the corps to the Royal Albert Hall, where Wynton Marsalis was playing his newest commission, All Rise, with the London Philharmonic Orchestra, the Lincoln Center Jazz Orchestra and the London Adventist Chorale, all conducted by Kurt Masur. Principally I was disappointed because I was expecting Blue to be performing.
The other reason that I was a bit disappointed was because it was weird. The fusion between jazz and classical music is one that Wynton Marsalis himself has mastered, having a successful career in both markets, but didn't quite work in this piece.
The programme notes state that the work is in 12 movements, mirroring the 12 bar blues. I found that to be a few to many, and could have coped better with 8 movements. While the orchestral parts were excellently written, they didn't quite mix with the jazz sections. While the classical influences were noticeable, such as Stravinsky in faster sections and Gustav Mahler in the slower sections, it seemed to me that Marsalis, like the rest of his family, suits the jazz scene better.
Thankfully the jazz sections werephenomenall, taking in music from across the spectrum, encompassing New Orleans jazz, ragtime, salsa and samba. This, along with the encore of Embraceable You in Marsalis' inimitable style proved to be the saving grace of what would otherwise be an uninspiring evening.
Timmy "Glad I only paid £4 for the ticket" Magic
After a fairly lazy Saturday morning, I made the toss up between the Tate Britain at Millbank and the Tate Modern at Bankside (which oddly enough is on the opposite side of the river to the Bank of England.) The fates decided in the coin throw that I would journey to the Tate Modern. This however turned out not to be quite the experience I was hoping for.
I was looking forward to seeing the Frida Kahlo exhibition, but decided not to spend £10 of my hard earned money on it and the queue was massive.
Apart from a couple of pieces and a few artists I had heard of, it was generally rubbish by people who could be anybody as far as I am concerned. There was a pretty cool Jackson Pollock,
a passable Damien Hirst
and a nice video project of rotting fruit by someone I can't remember.
After Army on Sunday, I went with some other people from the corps to the Royal Albert Hall, where Wynton Marsalis was playing his newest commission, All Rise, with the London Philharmonic Orchestra, the Lincoln Center Jazz Orchestra and the London Adventist Chorale, all conducted by Kurt Masur. Principally I was disappointed because I was expecting Blue to be performing.
The other reason that I was a bit disappointed was because it was weird. The fusion between jazz and classical music is one that Wynton Marsalis himself has mastered, having a successful career in both markets, but didn't quite work in this piece.
The programme notes state that the work is in 12 movements, mirroring the 12 bar blues. I found that to be a few to many, and could have coped better with 8 movements. While the orchestral parts were excellently written, they didn't quite mix with the jazz sections. While the classical influences were noticeable, such as Stravinsky in faster sections and Gustav Mahler in the slower sections, it seemed to me that Marsalis, like the rest of his family, suits the jazz scene better.
Thankfully the jazz sections werephenomenall, taking in music from across the spectrum, encompassing New Orleans jazz, ragtime, salsa and samba. This, along with the encore of Embraceable You in Marsalis' inimitable style proved to be the saving grace of what would otherwise be an uninspiring evening.
Timmy "Glad I only paid £4 for the ticket" Magic
Subscribe to:
Posts (Atom)
