It's snowing in the UK and that means everything stops. Roads are shut, schools are closed, trains don't run and the shops are full of panic-buyers. This Christmas, I thought I'd slow down like the rest of the snow-swept nation and freeze my turntables with some icy chilled melodies. I didn't feel the need to go above 100bpm so get relaxed, pump up the stereo and keep your eye on the thermometer. Merry Christmas one and all.
1. Minus 8 - Everybody's Gotta Learn Sometime feat. Virag (Original Mix) [Compost Records]
2. St. Raphael - Multiplexer [Ministry of Sound Germany]
3. Mandalay - Beautiful (7' Canny Mix) [V2 Records]
4. Les Jumeaux - Miracle Road [ITN Corporation]
5. Stan Getz - Street Tattoo [Columbia]
6. Thievery Corporation - Sweet Tides (Original Mix) [Eighteenth Street Lounge Music]
7. Levitation - More Than Ever People [Peppermint Jam]
8. Minus Blue - Ocean Sky [Ariola]
9. PM FM - Sento (Original Version) [Ministry of Sound Germany]
10. Mark's & Henry's - (The Making of) Jill [Native Dance Records]
11. Lamb - Transfatty Acid [Fontana]
12. Balearic Paradise - Night in Ibiza (Lounge Cafe Mix) [Audio Lotion Recordings]
13. John Martyn - Sunshines Better (Talvin Singh Mix) [Manifesto]
14. Sunset - Sunset Romance (Original Mix) [Wax N Soul Records]
15. Ben Onono - Tatouage Bleu (Avec Chet) [Mercury]
16. Jerome Isma-Ae - Underwater Love (Original Mix) [Armada Music]
17. Spiller - Cry Baby (Royksopp's Malselves Memorabilia Mix) [Positiva]
18. Massive Attack - Daydreaming [Wild Bunch Records]
:::BUY VINYL::: @ http://www.plastic-music.co.uk
http://soundcloud.com/wezg/wez-g-snow-white-winter-chill
http://wezg.podomatic.com/entry/2009-12-23T08_45_16-08_00
http://www.last.fm/music/Wez+G/_/Snow+White+Winter+Chill
http://www.mediafire.com/?ymhqytyey3o
Wednesday, 23 December 2009
Wez G - Snow White Winter Chill
Thursday, 17 December 2009
Wez G - Shaman of the Tribe
Wez G - Shaman of the Tribe
In ancient times, every tribe had a shaman who was the medecine man and spiritual leader of the community. Often under the influence of locally produced drugs such as Mescaline or Ayahuasca or Iboga, in ecstatic trances, the shaman would bring back from the spiritual world key knowledge that would help his fellow tribesmen. As society developed, so did organised religion and the shamen were locked up and kept away as 'madmen' while priests and vicars served the rulers and books took over from the ancient medecines. In recent times we have seen club culture develop and society has taken an about turn. Banging to the beat of a shamanic drum, DJs have taken the place of the local choirs as people seek to trance out in the company of others in raves and nightclubs. We have gone full circle and today's shaman is the DJ. Welcome to a mix of tribal sounds from the 21st Century. Go into a trance and in your state of bliss remember the ancients...
1. Blue States & The Adi Tribe - Hello Kombai [Kensaltown Records]
2. Saint Etienne - Only Love Can Break Your Heart (Foxbase Beta Mix) [White]
3. Primal Scream - Loaded (Terry Farley Re-Mix) [Junior Boys Own]
4. Cosmic Boogie - Railroad Man (Ashley Beedle's Soul Train Edit) [White]
5. Black Science Orchestra - New Jersey Deep [Junior Boys Own]
6. Massive Attack - Unfinished Sympathy (Kamouflage Loves Fred remix) [White]
7. Last Rhythm - Last Rhythm (Tom Middleton Mix) [White]
8. Armand Van Helden - The Witch Doctor (Eddie Thoenick remix) [White]
9. Bon Jovi - Living on a Prayer (Denis A remix) [White]
10. Little Boots - Earthquake (Sasha remix) [679 Recordings]
11. Denis A - Heaven [Plastic Music]
12. The Luna Project - I Wanna Be Free (Original Factory Mix) [White]
13. Adam Freeland & The Suri Tribe - Kin [Kensaltown Records]
14. Hybrid & The Suri Tribe - Komoru [Kensaltown Records]
15. Moodswings - Redemption Song [React]
:::BUY VINYL::: @ http://www.plastic-music.co.uk
http://soundcloud.com/wezg/wez-g-shaman-of-the-tribe
http://wezg.podomatic.com/entry/2009-12-16T16_11_38-08_00
http://www.last.fm/music/Wez+G/_/Shaman+of+the+Tribe
http://www.mediafire.com/?z0iyjnennzd
Monday, 7 December 2009
Wez G - On The Road
Wez G - On The Road
‘… one night we suddenly went mad together again; we went to see Slim Gaillard in a little Frisco nightclub. Slim Gaillard is a tall, thin Negro with big sad eyes who’s always saying ‘Right-orooni’ and ‘How ’bout a little bourbon-arooni.’ In Frisco great eager crowds of young semi-intellectuals sat at his feet and listened to him on the piano, guitar and bongo drums. When he gets warmed up he takes off his undershirt and really goes. He does and says anything that comes into his head. He’ll sing ‘Cement Mixer, Put-ti Put-ti’ and suddenly slow down the beat and brood over his bongos with fingertips barely tapping the skin as everybody leans forward breathlessly to hear; you think he’ll do this for a minute or so, but he goes right on, for as long as an hour, making an imperceptible little noise with the tips of his fingernails, smaller and smaller all the time till you can’t hear it any more and sounds of traffic come in the open door. Then he slowly gets up and takes the mike and says, very slowly, ‘Great-orooni … fine-ovauti … hello-orooni … bourbon-orooni … all-orooni …how are the boys in the front row making out with their girls-orooni … orooni … vauti … oroonirooni …”
'Jack Kerouac' in "On The Road".
Kerouac was part of the Beat Generation, a group of poets and writers who toured 1950s America. My old boss used to call me a 'Beatnik' and in a way I am a bit of a modern day hippy. DJs are today's beat generation and this mix suggests a journey, so hop on your bike, in your car, on your plane, boat or helicopter and turn on, tune in and drop out...
1. Kate Bush - Running up That Hill [EMI Records]
2. Luke Chable - Melburn (Original) [Bedrock Breaks]
3. Wez G - D for Damager [Shuffle Records] FREE DOWNLOAD: http://www.last.fm/music/Wez+G/_/D+for+Damager
4. Nick Muir - G Platz (James Harcourt Remix) [Audio Therapy]
5. The Junkies - Quartro Uno Sei (Original Mix) [Noir Music]
6. Erphun - Tu Sueno [Rekluse]
7. Danny Howells - GVibe [Dig Deeper]
8. Bent - Always (Ashley Beedle's Black Mahavishnu Remix) [Godlike and Electric]
9. The Ravens - Strange Little Girl [White]
10. Doves - Jetstream (Sasha Subdub) [White]
11. Syco - Danaka [Additive Records]
12. X-Press 2 - Tranz Euro Xpress (The Ride) [Junior Boys Own]
13. Giorgos Gatzgristos - Pencils for the Weak [Bedrock]
14. Stanton Warriors - Good Vibrations [White]
:::BUY VINYL::: @ http://www.plastic-music.co.uk
http://soundcloud.com/wezg/ontheroad
http://wezg.podomatic.com/entry/2009-12-06T23_09_36-08_00
http://www.last.fm/music/Wez+G/_/On+The+Road
http://www.mediafire.com/?zmmmyzdmmhi
Friday, 13 November 2009
Wez G - Jetstream Psychosis
It's easy to fly into the clouds and I seem to spend half my life dreaming in the Jetstream. There's been a break in the podcast so here it is back and mad as ever to steer you like a rocket through the atmosphere on a psychotic journey of house music. Starting with some mellow Bent classics the mix steers into some first class progressive beats. Enjoy the Jetstream Psychosis...
http://soundcloud.com/wezg/jetstream-psychosis
http://wezg.podomatic.com/entry/2009-11-13T12_02_55-08_00
http://www.last.fm/music/Wez+G/_/Jetstream+Psychosis
http://www.mediafire.com/?zmjwzzhjzgn
:::TRACKLISTING:::
1. Bent - Comin' Back (Reverso 68 dub) [Godlike and Electric]
2. X-Press 2 - Enjoy the Ride (Ashley's Magic Session Remix) [White]
3. Bent - Magic Love (Ashley Beedle's Black Magic Vocal Remix) [Godlike and Electric]
4. Sandee - Notice Me [DA Records]
5. Royksopp - This Must Be It (Rex The Dog's K-Dart Remix) [Wall of Sound]
6. Fedde Le Grand - Scared of Me (Hardwell Mix) [White]
7. BT - Rose of Jericho (Sultan & Ned Shepherd Remix) [White]
8. Pole Folder - Hate Myself (Sasha Instrumental) [La Tour]
9. Doves - Jetstream (Sasha Remix) [White]
10. Danny Howells - Psychotic Bump [Dig Deeper]
11. Giorgos Gatzgristos - Binary Star System [Bedrock]
12. Erphun - Order of Chaos [Rekluse]
13. Stanton Warriors - Young MC Booty [White]
:::BUY VINYL::: @ http://www.plastic-music.co.uk
Saturday, 1 August 2009
Wez G - Ten Foot Tahitian
This is a blast from the past. I recorded it in November 2005 though it contains tracks from much earlier. I named the mix after the massive waves that roll into Tahiti which lays claim to being the place where surfing began. It recreates part of the six hour set I did when I played at Tikisoft in Papeete, the capital of French Polynesia. It was a perfect day. The sun was shining. I went swimming with the sharks and stingrays in the morning and then got stuck into the island's decks for a marathon set. The mix is summery and reflects the sounds of one of the earth's best untouched paradises. House Music. It's a global groove...
1.Late Night Alumni - Nothing Left to Say [Hed Kandi]
2.Hysterix - Talk to Me [Deconstruction]
3.Seelenluft feat. Michael Smith - Manila [Backyard Recordings]
4.Playgroup - Behind the Wheel (dj-kicks electroca$h mix) [Global Underground]
5.Desert - Moods [Stress]
6.Yello - To The Sea [Mercury]
7.Chemical Brothers - Hold Tight London [Freestyle Dust]
8.Adam Johnson - Four squares [Global Underground]
9.Paul Oakenfold - Southern Sun (Gabriel & Dresden mix) [Perfecto]
10.Leftfield featuring John Lydon - Open Up [Hard Hands]
11.Underworld - Dark and Long [Ministry of Sound]
12.Kelli Ali - Kids (Rui Da Silva remix) [One Little Indian]
13.Trafik feat. Rachel Lamb - Surrender [Global Underground]
14.Ultraviolet - Kites [Big Life]
http://wezg.podomatic.com/entry/2009-08-01T07_08_33-07_00
http://soundcloud.com/wezg/wez-g-ten-foot-tahitian
http://www.last.fm/music/Wez+G/Wez+G+-+Ten+Foot+Tahitian
http://www.mediafire.com/?9wmh9ltzkhn
Wez G on the Web http://djwezg.com
:::BUY VINYL::: @ http://plastic-music.co.uk
Friday, 24 July 2009
Wez G - Shufflin' It Up
This mix is a little different to usual. I've been having some Ableton lessons from DirtBox Crew ( http://artist.to/dirtboxcrew ) who play Spiral Tekno & Drum n Bass. I thought it would be nice to whack one of their tunes into the podcast... Trouble is - I usually play about 130bpm house and their music is 180bpm, so there's a few pitch shifts in this mix. Goes from house to Techno to drum n bass and ends with some nice old skool hardcore. At Shuffle ( http://groups.to/shuffle ) we try to be musically openminded and hate the pigeon-holing and stuck-up-yer-arse attitude that is all too prevalent in the music industry. So here you have Wez G, Shufflin' It Up. Hope you enjoy! http://djwezg.com
:::TRACKLISTING:::
1.Radiohead - Street Spirit (Funkagenda Mix) [White]
2.Johan Ilves - Wrong Number (Greg Kobe Remix) [Whoop Records]
3. Moby - Pale Horses (Gui Boratto's Last Window Remix) [Little Idiot]
4. Stan Kolev - Shana (Deep Cinema Mix) [Plastica]
5. Sasha - Chemistry [White]
6. Sam Ball - Kamekaze (Original) [i-fi Music]
7. Erphun - 2wo Butterflies (Quivver Remix) [Therapy Music]
8. Ulrich Schnauss - On My Own [Global Underground]
9. Dirtbox Crew - Dirty Data Recorders [Kaotek Wreckords]
10. Die - Play it for Me [V Recordings]
11. Roni Size - Brown Paper Bag (Original) [Talkin' Loud Classics]
12. Roni Size & Die - The Calling [V Recordings]
13. Rhythm Quest - Closer to Your Dreams (Hybrid Mix) [Network Records]
:::BUY VINYL::: @ http://www.plastic-music.co.uk
Saturday, 4 July 2009
Wez G - Summer Shiftin'
Wez G - Summer Shiftin'
Summer is upon us. Festival season, bar-b-q's, beaches and sunshine. This mix has a lot of remixes of big bands and also showcases some of the talent we are working with at Shuffle. Following the tracklisting are links to buy some of the tracks. Also - this is the first mix which includes a Wez G production... Doesn't quite fit with the standard of the rest of the music but I'm happy with Paptrap at this early stage. Get a loud sound system, load up on some bevvies and blast your neighbours away to the sounds of 'Summer Shiftin'!
1. Minus Blue ft. Emma Saville - Be As One (Original) [Phunctional Loungin]
2. Chris Reece - Overflow (Original Mix) [Enormous Tunes]
3. Chris Isaak - Dubbed Out Games (Trentmoller Remix) [White]
4. Telefon Tel Aviv - You Are The Worst Thing in the World (Sasha Invol2ver remix) [White]
5. DJ Lion - Mania (Underground Sound of Bulgaria) [Remixator Records]
6. Wez G - Paptrap [Shuffle Records]
7. Andrelli Blue - Transparent feat. Hila (Jody Wisternoff Remix) [Armada Music]
8. Victor Imbres & Tricia Lee Kelshall - Feel That (Original Mix) [Greenlight Recordings]
9. PJ Doherty - The Voice [Harlem Trax]
10. Radiohead - Everything in its Right Place (Paul Oakenfold New 2008 Remix) [White]
11. Danny Howells - Laid Out (Fully Horizontal Mix) [Dig Deeper]
12. Michael Jackson - Smooth Criminal (Acapella) [White]
13. Denis A - Cuba (Original Mix) [DAR]
14. Michael Jackson - Mama Say, Mama Say (Wanna Be StartinG Something Sample Loop) [White]
15. U2 - With Out U Or With U 2008 (S.T. Unreleased Remix) [White]
You can buy/download the following tracks using the links:
Wez G - Paptrap - Free Download: http://www.last.fm/music/W
Friday, 12 June 2009
Getting digitized?
As I’ve clearly stated in the past: I’m a vinyl junkie. An analogue dinosaur. In the field of dance music we have often been the very first genre to embrace new technology. Indeed, more than any other musical variety, dance music and audio technology are intertwined. I have watched all this change and although it interests me a lot, when it comes to performance I am an absolute Luddite. Turning up at clubs to watch my dancefloor heroes play on CD decks makes me want to send the sparkling lights and fancy buttons hurling to the ground. Like a nineteenth century cotton mill, the pioneer CDJs 1000, lying in bits would bring a smile of satisfaction to my face. I’m told they’re sexy. I just feel that CD DJing is cheating – not so much the technology aspect, as in principal it is the same technique as vinyl DJing, but that the audience is cheated. I watch with horror as my favourite record shops close down as everyone turns to the cheaper alternative… Anyway – I have stuck to my guns regarding CDs and remain a vinylist.
However, it’s not just CDs that have changed the face of DJing. One of my favourite DJs is Sasha. I remember reading several years ago how he was embracing Ableton for production. I remember picking up a (vinyl) copy of Involver in 2004 and being blown away by the ‘new’ sound. The thick bass, the really electronic feel, floor-friendly loops, perfectly cut vocals… It is an ambition to produce music and I’ve always liked the sound of Ableton. I dabbled with Cubase a few years ago but Ableton seems to be the software daddy. Shock horror – I realised that Ableton could be used for DJing. I was at a gig at the Q bar, Cardiff, and the DJ had a laptop and a complex looking MIDI controller. He was playing an Ableton Live DJ set… I trainspotted for a bit, to check how it all works… DJs are anoraks at heart and get a high watching others at work. It is the quickest way to improve your style, by studying others in action. I started to interrupt the guy by bombarding him with questions. It all looked posh and he seemed a bit snobbish, with all his fancy equipment… He was very vague and seemed to be avoiding my answers. I didn’t appear to be spending much time at all cueing… OK – fair enough… Some DJs don’t need to cue much. I’ve seen Norman Jay cue a record, when someone dropped a glass from the balcony onto the decks at Ministry of Sound, in literally under 2 seconds, without a glitch in the music. Jeff Mills is notorious for spinning about 5 records every minute throughout the duration of a DJ set, bunging the vinyl over his shoulder as he slams in dub plate after dub plate of the most experimental techno. Thing is – as I soon learnt. You DON’T beat match with Ableton. It is all automatic. How can this be DJing? I felt properly cheated. It’s like losing your lifesavings in Las Vegas then realising you have been playing with a marked deck.
It put me off Ableton. I’m a DJ, not a jukebox. However, I continued reading and reading about the program and it seems that virtually all of my production heroes are ranting religiously about its power. I knew that at some stage I would be on board. I’d have to be, if I want to actually make some decent tunes, realise the dream…
I picked up a book and got studying. Ableton 6 landed on my lap and I churned out a couple of tunes. Very basic, very nasty really, but an attempt nonetheless. It is a powerful program, for sure, it just gets very confusing. I let it fester on my PC for a while and decided to wait for a bit of inspiration. The social side of DJing is important. Swapping label notes in a grotty record shop, booth banter, interacting with off-their-face clubbers. I think that the growth of social networks has helped the whole dancefloor community. I have a DJ category for friends on facebook and there are over 200 people in there. I was a self-taught vinyl DJ but always absorbed advice from my peers which proved fundamental. I decided to invest in a bit of MIDI equipment for potential use with Ableton and through a mutual friend, managed to find the local Ableton guru. I needed to get sweaty in the studio with someone, and get shown how it all operates. A few tips wouldn’t go amiss. As boring as DJing may appear to non-musos, it really is an exciting subject and digesting books and technical manuals just isn’t the done thing.
So, I loaded up on tinnies and made my way out to visit Dave Wired, techno legend extraordinaire. When I was a teenager, I used to get off my box at the Muts Nuts @ The White Lion, Chepstow, where Dave usually hammered out the last set of Techno every Saturday night. The White Lion music agenda was very underground and for a sleepy Welsh village to host one of the cutting edge forums for Goa trance, minimal techno and esoteric electronic, was quite a blessing. Dave’s style influenced me in the first place so it was important that he would be my teacher.
DJ Wired’s style can be described, if I had to tag it, as ‘nosebleed techno’ which is pretty far removed from my 130 bpm progressive house or ‘handbag’ as my mates in the pub refer to it. 180bpm beats; four top the floor with some occasional breaks. It is fast stuff and not for the feint-hearted. I don’t play this music, or indeed listen to it much, but I do appreciate it. Dave stopped DJing two years ago. Hung up the headphones. He gigs all over the world – from Europe to South America. It’s all a LIVE Ableton set these days. Not DJing, but playing his own productions. Live manipulation of his own tracks in a set that smashes hell out of global festival audiences in the tens of thousands. To hear him talk, as a sceptic of the digital revolution, I was initially unimpressed. I still cannot get my head around the idea of a DJ not using vinyl. After a few beers, we headed into the studio. This is where I truly began to realise the power of Ableton. As I said, I’ve had a dabble. But – Dave loaded up a live set which was MASSIVE. He started it rolling and I was entranced as I witnessed what could only be described as a high voltage electric storm on his laptop screen. Beats, bass and the odd vocal, all dynamically shifting. It’s hard to keep track with your eyes what’s happening. The bass bins do the talking though. The music comes slamming out and sounds shit hot. Everything is done on the fly. You prepare each individual sound in the studio, load up a host of audio clips and mash them all up. Mixing, although everything is beat synched, takes on a whole new phenomenon. You can start the next track my clipping out, say, for example the hi-hats of the track playing, add in the hats from the next track, and start looping some vocal from your sample library. Ableton has a massive host of plugins and effects which makes the most expensive Allen&Heath mixer look primitive. Autopan the kicks of one track mirroring the one you’re mixing in, flange up the mids and whack in a few breaks to liven it up. Glitch a few beats, reverse them on the fly and some of the most amazingly complex mixes can be made. To be fair – there is no time for cueing up beats. As a DJ I often cite myself as an original artist for blending two tracks together, ‘in the mix’ to create something new. Very often though, I hardly even change the EQs. Seeming tracks together in an Ableton becomes a whole new mixing experience. It provides an endless challenge and the possibilities are infinite.
I am happy in a way as I try to learn this new technology. It will consume my entire life. I can see why Ableton can be classified as a religion and I am still a new convert. The sacrament may be sample editors and MIDI manuals but I think that the future of dance music really does lie with Ableton. I won’t be hanging up my headphones just yet, but the appeal of becoming a producer means that the digital lure is starting to bite. In a world of hypocrites I am just following nature’s path. If you are interested in electronic music then Ableton is the new drug of choice.
Thursday, 28 May 2009
Wez G - Angels & Demons
Wez G - Angels & Demons
This mix spans from laidback tribal grooves through to slamming Laurent Garnier techno. It starts off with a hot off the press forthcoming single from Shuffle Music's very own Tricia Lee Kelshall in her awesome collaberation with up and coming producer, Adam Sheridan. Thanks to Enzo at http://www.plastic-music.co.uk for the Italian promos, part of the Plastic Fantastic Label Management project. Check out the revamped Wez G website at http://www.wezg.org.uk
1. Adam Sheridan feat. Tricia Lee Kelshall - State of Calm (Chillout Mix) [White]
2. Presslaboys - Angel (Neverdogs & Davide Ruberto Mix) [Presslab Records]
3. Sergio Fernandez - Sarkis (Saeed Younan Remix) [Baroque]
4. Crystal Waters vs Alex Celler - Under Gypsy Woman (Sebastian Leger remix) [White]
5. Franz Ferdinand - No You Girls (Jon Disco Reversion) [Domino Recording co]
6. Dirty Knight - Black Spot on the Sun [White]
7. Djuma Soundsystem - Bipolar (Original Mix) [Rebirth Records]
8. Cristiano Vinci & Massimo Licari - Vision (Superjuno Mix) [Presslab Electro]
9. Dean Coleman - I Want You (Sultan & Ned Shepard Mix) [White]
10. Daft Funk - Around The World [White]
11. Glenn Morrison - Orange Glow EP (Charlie May Remix) [Therapy Music]
12. Worst Case Scenario - Hot Beef [Rekids]
13. Laurent Garnier - Gnanmankoudji (Horny Monster Mix) [PIAS Recordings]
Thursday, 21 May 2009
Punta Del Este
Ibiza has for long been engrained on the roadmap for travelling clubbers across the globe. In Privelege it has the largest nightclub on the planet. All the top DJs fare their way on the White Isle every summer and the closing parties have become part of nightlife’s folklore. Goa, on the west coast of India, experienced a massive rise in club tourism during the nineties. Its full moon beach parties with flowing melodic trance earned it the accolade of those slightly more adventurous beatniks. There is a war among the travelling clubber cognoscenti to find the best place on the globe for their holiday partying. Oneupmanship is a a reality… In the chillout room of Ministry of Sound or Spundae, nothing sounds better than casually dropping into the conversation about how you ‘discovered’ the latest craze in the dance music world. In this article I aim to explore one of the more exciting emerging resorts in the world which isn’t particularly familiar to European or North American clubbers. Punta Del Este is ‘the St Tropez of South America.’
On the southern tip of Uruguay this small town of about 10000 inhabitants, has long been the destination of wealthy South American playboys. Whether you are an Argentinian cattle rancher or a Colombian drug baron, the chances are your summer hols involve a nice trip to the Punta Del Este. During the southern hemisphere summer months, from December through to February, the population of this ‘village’ swells to a million holidaymakers…
The population is mainly European in heritage which gives this coast an Ibizan feel. About ninety percent of people proudly trace their European ancestry, mainly to Italy and Spain. However, unlike other resort towns on the continent which cater to predominantly Europeans and North Americans, Punta del Este maintains its Latin American character. Yachts dot the harbour and glitzy bars and restaurants compliment the luxury hotels. The comfortable surroundings all pave the way for the most hedonistic nightlife in the Western hemisphere.
British superclub Cream started doing events in the Punta Del Este a few years ago. Indeed, when their main club in Liverpool closed its doors, Cream still continued in Uruguay, drawing in the crème de la crème of international DJs. It is a regular tour spot and a lot of DJs such as Sasha, Paul Oakenfold and Tiesto, enjoy catching some winter sun while laying down the party beats in some truly fabulous nightclubs…
Maybe, Uruguay, doesn’t automatically feature highly on your to-do list of holiday vacations. Outside of their archaic multiple world cup winning football teams, Uruguayans remain very much an unknown quantity in the eyes of much of the world. Don’t let that dissuade you though. Surely a destination that you don’t read about in the red-top gutter press must have an appeal. Drunken yobbish behaviour symbolises much of Ibiza, Goa is subject to corrupt law enforcement and is full of tales of traveller woe. Try something different. Cheap Spanish carriers can take you across the Atlantic for about a few hundred pounds. Exotic and stylish, with quality music. Punta del Este is the clubbing destination for the distinguished aficionado.
On the southern tip of Uruguay this small town of about 10000 inhabitants, has long been the destination of wealthy South American playboys. Whether you are an Argentinian cattle rancher or a Colombian drug baron, the chances are your summer hols involve a nice trip to the Punta Del Este. During the southern hemisphere summer months, from December through to February, the population of this ‘village’ swells to a million holidaymakers…
The population is mainly European in heritage which gives this coast an Ibizan feel. About ninety percent of people proudly trace their European ancestry, mainly to Italy and Spain. However, unlike other resort towns on the continent which cater to predominantly Europeans and North Americans, Punta del Este maintains its Latin American character. Yachts dot the harbour and glitzy bars and restaurants compliment the luxury hotels. The comfortable surroundings all pave the way for the most hedonistic nightlife in the Western hemisphere.
British superclub Cream started doing events in the Punta Del Este a few years ago. Indeed, when their main club in Liverpool closed its doors, Cream still continued in Uruguay, drawing in the crème de la crème of international DJs. It is a regular tour spot and a lot of DJs such as Sasha, Paul Oakenfold and Tiesto, enjoy catching some winter sun while laying down the party beats in some truly fabulous nightclubs…
Maybe, Uruguay, doesn’t automatically feature highly on your to-do list of holiday vacations. Outside of their archaic multiple world cup winning football teams, Uruguayans remain very much an unknown quantity in the eyes of much of the world. Don’t let that dissuade you though. Surely a destination that you don’t read about in the red-top gutter press must have an appeal. Drunken yobbish behaviour symbolises much of Ibiza, Goa is subject to corrupt law enforcement and is full of tales of traveller woe. Try something different. Cheap Spanish carriers can take you across the Atlantic for about a few hundred pounds. Exotic and stylish, with quality music. Punta del Este is the clubbing destination for the distinguished aficionado.
Thursday, 7 May 2009
Swine Flesh
Wez G - Swine Flesh - DJ Mix Download
http://wezg.podomatic.com/entry/2009-05-07T13_03_27-07_00
http://www.mediafire.com/?eitneamdtzh
Ooh dear... We're all going to die from Pig Flu... While we wait for the disease to engulf the planet, you can get prepared by listening to the Wez G podcast. House music is like a disease and this dirty, dark, melodic, progressive number will have you rolling around in your sty's muck... Some old classics thrown in to meet some upfront cutting edge vinyl slices. Corking, Porking House Music, to make your ears bleed...
1. Perfecto Allstarz - Reach Up [Papa's Got A Brand New Pig Bag] (Indian Summer Remix) [Perfecto]
2. Apparat - Arcadia (Sasha Invol2ver Mix) [White]
3. Charlie May - Demons Among Us [5ThirtyWest]
4. Undisputed Truth - Let the Drums Speak (Ground Earth Mix) [Plastica]
5. Bedrock - Beautiful Strange (John Digweed & Nick Muir's Even Stranger Remix) [Bedrock Records]
6. Sunscreem - Love You More (Band of Gypsies) [S12]
7. Deadmau5 - Cat on a Leash [Mau5trap]
8. The Prodigy - Invaders Must Die (Stereo Mono Remix) [White]
9. Da Hool - Meet Her at the Love Parade (Nalin & Kane Mix) [Manifesto]
10. Kraftwerk - Tour De France (2009 Kraft mix) [White]
11. André Sobota - Self Constructive (Original) [Spectrum]
12. Lexicon Avenue - Psycho Killer [White]
13. Rone - Flesh (Sasha Invol2ver Mix) [White]
http://www.mediafire.com/?eitneamdtzh
Ooh dear... We're all going to die from Pig Flu... While we wait for the disease to engulf the planet, you can get prepared by listening to the Wez G podcast. House music is like a disease and this dirty, dark, melodic, progressive number will have you rolling around in your sty's muck... Some old classics thrown in to meet some upfront cutting edge vinyl slices. Corking, Porking House Music, to make your ears bleed...
1. Perfecto Allstarz - Reach Up [Papa's Got A Brand New Pig Bag] (Indian Summer Remix) [Perfecto]
2. Apparat - Arcadia (Sasha Invol2ver Mix) [White]
3. Charlie May - Demons Among Us [5ThirtyWest]
4. Undisputed Truth - Let the Drums Speak (Ground Earth Mix) [Plastica]
5. Bedrock - Beautiful Strange (John Digweed & Nick Muir's Even Stranger Remix) [Bedrock Records]
6. Sunscreem - Love You More (Band of Gypsies) [S12]
7. Deadmau5 - Cat on a Leash [Mau5trap]
8. The Prodigy - Invaders Must Die (Stereo Mono Remix) [White]
9. Da Hool - Meet Her at the Love Parade (Nalin & Kane Mix) [Manifesto]
10. Kraftwerk - Tour De France (2009 Kraft mix) [White]
11. André Sobota - Self Constructive (Original) [Spectrum]
12. Lexicon Avenue - Psycho Killer [White]
13. Rone - Flesh (Sasha Invol2ver Mix) [White]
Is the DJ an artist?
DJing is a relatively new phenomenon. Sure, DJs have existed on the radio for some time, playing song selections on the radio, or providing the soundtrack to weddings and fortieth birthday parties. However, mixing as an art form emerged in the late seventies, early eighties, when DJs such as Frankie Knuckles in America, started doing live edits to underground disco music, seaming tracks together to enhance the flow of the music and boost their party-hard audiences. This was initially done using tape machines. A pair of scissors and some cellotape and your wannabee jock could splice together songs. It was a rudimentary art form but it worked. Modern DJing was born out of this tape splicing when someone realised that the highend Technics 1200 turntable which had been around since the early seventies, had a pitch control unit which enabled DJs to manipulate songs further, and begin to actually beat match and mix them together. DJing was alive and disco and early house music provided the new soundtrack of a generation. Hip Hop jumped quickly on board and the workability of the Technics turntable meant a whole new form of skilled DJs cutting and scratching tracks. Bodypopping and breakdancing was all to the beat of the Technics turntable. I need not continue with the evolution of dance music. Suffice it to say, it has run hand in hand with innovation and technology.
DJing became a career option. The problem is, as is very often the case with emerging sciences, how do you categorise a DJ? Are they musicians, artists, skilled, unskilled? Are they on the same level of employment in a nightclub as a barman or cloakroom attendant? Surely they are not creative as they just use other people’s artistic skills… Are they artists in their own right? Is a DJ on a par with a violinist or a concert pianist?
When you are in the company of musicians and mention that you are a DJ, scorn is usually poured upon you. You aren’t fit to lace their boots – they are skilled, you are just an operator…. I beg to differ. DJs may use other people’s music for their art (though self-produced DJ tracks are becoming more common during a mixset). Using other people’s creative material is not a new phenomenon in the field of music. Take for example a concert pianist or violinist. Surely they often play symphonies by Beethoven or Mozart compositions. They didn’t necessarily create the material. They add part of their own character to a rendition of an already written piece of music, but they are not being completely original. A DJ may play a record but by manipulating the pitch, by choosing when to cut it with another record, the DJ changes the song and adds part of his personality to the show. It takes skill to pluck a Cello’s strings, or stick to a complex rhythm pattern on a set of drums, but DJing has its own set of skills. Scratching, beat matching, cutting and chopping, pitch blending all form part of a successful DJ’s repertoire. To me the most skilful part of being a DJ isn’t the ’manual skills’ as I refer to them but the ‘mental skills’. A good DJ is not averse to a bit of brainwork and to me set programming is fundamental. A skilled DJ programs his set, his tune selection, with the utmost precision. Each track should follow musically into the next, the music program should be interesting, challenging, entertaining, seamless. It should take the listener on an auditory journey. The difference between a good and bad DJ set very often lies in the set programming. The set of technical skills varies very little between performance DJs. The wheat is separated from the chaff by the occult skills of planning and sequencing tracks.
Consider another form of art. Photography is a relatively new phenomenon in the field of visual art. It involves a new technology. However, photographers are similar to painters. It involves a different set of technical skills to use a camera successfully. But in using his tools a photographer chooses a maybe otherwise dull scene to shoot, capturing the art he sees in that image in the camera lense. He presents the image in a way to portray his feelings, his emotions, his perception of the world. Nowadays, photography is widely accepted as a professional art form and indeed a prosperous career.
I think that DJing is certainly more acceptable these days. Musicians recognise the need for good DJ talent to perhaps compliment their work. DJs such as Paul Oakenfold were touring with U2 and the Happy Mondays back in the early Nineties. We are seeing today independent DJ artists like Mark Ronson or Sasha emerge in their own right as pop stars / music performers.
DJing is the photography of the music world. It is an art form. Often misunderstood it is part of a DJ’s role to define what it is to be a DJ, to be an artist, to be a musician. We should revel in our new science. Our artistic legacy inspires tomorrow’s musicians. New technologies make DJing one of the most evolving forms of music. It has never been a more exciting time to be a DJ. We are tomorrow’s musical artists.
DJing became a career option. The problem is, as is very often the case with emerging sciences, how do you categorise a DJ? Are they musicians, artists, skilled, unskilled? Are they on the same level of employment in a nightclub as a barman or cloakroom attendant? Surely they are not creative as they just use other people’s artistic skills… Are they artists in their own right? Is a DJ on a par with a violinist or a concert pianist?
When you are in the company of musicians and mention that you are a DJ, scorn is usually poured upon you. You aren’t fit to lace their boots – they are skilled, you are just an operator…. I beg to differ. DJs may use other people’s music for their art (though self-produced DJ tracks are becoming more common during a mixset). Using other people’s creative material is not a new phenomenon in the field of music. Take for example a concert pianist or violinist. Surely they often play symphonies by Beethoven or Mozart compositions. They didn’t necessarily create the material. They add part of their own character to a rendition of an already written piece of music, but they are not being completely original. A DJ may play a record but by manipulating the pitch, by choosing when to cut it with another record, the DJ changes the song and adds part of his personality to the show. It takes skill to pluck a Cello’s strings, or stick to a complex rhythm pattern on a set of drums, but DJing has its own set of skills. Scratching, beat matching, cutting and chopping, pitch blending all form part of a successful DJ’s repertoire. To me the most skilful part of being a DJ isn’t the ’manual skills’ as I refer to them but the ‘mental skills’. A good DJ is not averse to a bit of brainwork and to me set programming is fundamental. A skilled DJ programs his set, his tune selection, with the utmost precision. Each track should follow musically into the next, the music program should be interesting, challenging, entertaining, seamless. It should take the listener on an auditory journey. The difference between a good and bad DJ set very often lies in the set programming. The set of technical skills varies very little between performance DJs. The wheat is separated from the chaff by the occult skills of planning and sequencing tracks.
Consider another form of art. Photography is a relatively new phenomenon in the field of visual art. It involves a new technology. However, photographers are similar to painters. It involves a different set of technical skills to use a camera successfully. But in using his tools a photographer chooses a maybe otherwise dull scene to shoot, capturing the art he sees in that image in the camera lense. He presents the image in a way to portray his feelings, his emotions, his perception of the world. Nowadays, photography is widely accepted as a professional art form and indeed a prosperous career.
I think that DJing is certainly more acceptable these days. Musicians recognise the need for good DJ talent to perhaps compliment their work. DJs such as Paul Oakenfold were touring with U2 and the Happy Mondays back in the early Nineties. We are seeing today independent DJ artists like Mark Ronson or Sasha emerge in their own right as pop stars / music performers.
DJing is the photography of the music world. It is an art form. Often misunderstood it is part of a DJ’s role to define what it is to be a DJ, to be an artist, to be a musician. We should revel in our new science. Our artistic legacy inspires tomorrow’s musicians. New technologies make DJing one of the most evolving forms of music. It has never been a more exciting time to be a DJ. We are tomorrow’s musical artists.
Thursday, 30 April 2009
Wez G - Beautiful Stranger
Wez G - Beautiful Stranger
http://wezg.podomatic.com/entry/2009-04-30T02_53_53-07_00
http://www.mediafire.com/?iimjmyr1m4g
Beautiful Stranger is about that random woman you cross paths with in the street. The casual glance, the seductive smile, a breath of fresh air in an otherwise dull day. Soundtrack to your mystery encounter, 'Beautiful stranger' is melodic, progressive, has some lovely vocals, and finishes with some far out, imaginative guitars and chillout. The tempo of that glare, the heat of the moment, the passion of the parting... Float away into a fantasy of house music...
1. Kasper Bjørk - Doesn't Matter (The Juan Maclean remix) [Plant Music]
2. Cabin Fever Trax - Acid Party [White]
3. The Chameleon Project - Feel [Guerilla]
4. Bedrock - Forge (Tom Middleton Remix) [Bedrock Records]
5. Calvin Harris - I'm not Alone (Herves's See You at the Festivals Remix) [Fly Eye Records]
6. Infusion - Dog Town (D-Nox & Beckers Remix) [White]
7. Deadmau5 - Brazil (2nd Edit) [Mau5trap]
8. Nootropic - I See Only You (New Nootropic mix) [Hi-Life]
9. Cabin Fever Trax - Beyond Contact [White]
10. Spooky - Candy (Original Version) [Notting Hill Music]
11. Andain - Beautiful things (Gabriel & Dresden Unplugged Mix) [Magik Muzik]
12. Sebastien Tellier - La Ritournelle [Blonde Music]
Radio Rebelde
In February 1958, Che Guevara, a leading revolutionary in Cuba, set up Radio Rebelde, to help the cause of the July 26th movement. Led by Fidel Castro, this movement had been encamped in the hills of east Cuba, the Sierra Maestra, fighting a guerrilla war against the Cuban army forces of General Fulgencio Batista, the Cuban Dictator. This war had been waged since December 1956.
A small band of exiled Cubans had returned to the island under the leadership of Fidel Castro. They sailed from Mexico aboard the Granma. A young Argentinian doctor called Ernesto ‘Che’ Guevara, formed an integral part of this movement. ‘Che’ would eventually lead his own column in the march out of the Sierra Maestra to the Llano in the final offensive on government forces to seize control of the Cuban cities. In the new Cuban Revolutionary Government, Che would have leading roles. His literate mind and eloquence would make him the most famous revolutionary in the world. In his later job for the Cuban government he would address the United Nations as well as form a key member of the Communist ruling elite. He was to hold the position of Minister of Agriculture and he would also be the key Cuban contact in their relations with the Soviet Union, participating in particular heavily during the Cuban Missile Crisis in 1962.
This ‘face of the revolution’ was an idealistic thinker. He was an intellectual. A thinking man’s fighter. Che had been inspired to join the July 26th movement as a result of his motorcycle travels through Latin America where he witnessed the social struggle of the poor and felt directly the effects of US imperialism. In Guatemala, Che witnessed the CIA overthrow of the régime of Jacobo Arbenz. Che had realised the importance of the CIA’s clandestine radio operation in Guatemala. They had set up a station, La Voz de la Liberación, which broadcast propaganda. In Cuba, Batista had been utilising propaganda, manipulating the course of the war, falsely reporting casualties of the Rebels, and lying to the people in general. Censorship had been introduced and correct information was difficult to determine. Several journalists had visited the Rebel bases in the Sierra Maestra but this would not suffice for the anticipated revolution. At Che’s command post, Pata de la Mesa, some radio equipment arrived and the first broadcasts of Radio Rebelde were transmitted.
Radio Rebelde was run on a short wave transmission. Its content consisted of latest combat news, music and spoken literature. It broadcast nightly and began with the Cuban national anthem and the 26th of July hymn. The station had a slogan "¡Aquà Radio Rebelde!" “(Here Radio Rebelde!”).There were a few teething problems and initially the broadcasts were not very powerful. However, the persistence of the idea meant that by the time of Batista’s fleeing of the country on January 1st 1959, which signified the end of the revolution, Radio Rebelde had achieved stability and had been having an impact. Capt. Luis Orlando RodrÃguez was in charge of the intial broadcasts before a specialist, Carlos Franqui , arrived from Miami, United States, to become the movement's overall director of information.
On New Years Eve 1958 and on the morning of the first day of the New Year, Fidel Castro broadcast across Radio Rebelde, rejecting any prospect of the military staging a coup to oust Batista. He reported that Che’s forces had taken Santa Clara and called on the rebel forces to push onto Havana and Santiago. He called for a further general strike. The last words of revolutionary Radio Rebelde were "¡Revolución SÃ, Golpe Militar No!" (Revolution Yes, Military coup No!). Hours later the government forces unconditionally surrendered and the revolution had, against all odds, succeeded.
The concept of realtime propaganda has changed the face of war and became an essential tool of modern warfare. Propaganda has always been an important factor, but without Radio Rebelde, the struggle of the July 26th movement would undoubtedly have been protracted.
Radio Rebelde is still running in Cuba today, broadcasting on FM to 98% of the island. Perhaps in this day and age, they would be using an internet broadcast. As yet, at Krykey, we are unaware of a revolutionary radio station on our network. But who knows about the future? Perhaps a twenty-first century Che will seize advantage of the broadcasting potential of internet radio, and reach out to the people to overthrow tyranny and evil?…
Oppressive governments of the world: BEWARE!
A small band of exiled Cubans had returned to the island under the leadership of Fidel Castro. They sailed from Mexico aboard the Granma. A young Argentinian doctor called Ernesto ‘Che’ Guevara, formed an integral part of this movement. ‘Che’ would eventually lead his own column in the march out of the Sierra Maestra to the Llano in the final offensive on government forces to seize control of the Cuban cities. In the new Cuban Revolutionary Government, Che would have leading roles. His literate mind and eloquence would make him the most famous revolutionary in the world. In his later job for the Cuban government he would address the United Nations as well as form a key member of the Communist ruling elite. He was to hold the position of Minister of Agriculture and he would also be the key Cuban contact in their relations with the Soviet Union, participating in particular heavily during the Cuban Missile Crisis in 1962.
This ‘face of the revolution’ was an idealistic thinker. He was an intellectual. A thinking man’s fighter. Che had been inspired to join the July 26th movement as a result of his motorcycle travels through Latin America where he witnessed the social struggle of the poor and felt directly the effects of US imperialism. In Guatemala, Che witnessed the CIA overthrow of the régime of Jacobo Arbenz. Che had realised the importance of the CIA’s clandestine radio operation in Guatemala. They had set up a station, La Voz de la Liberación, which broadcast propaganda. In Cuba, Batista had been utilising propaganda, manipulating the course of the war, falsely reporting casualties of the Rebels, and lying to the people in general. Censorship had been introduced and correct information was difficult to determine. Several journalists had visited the Rebel bases in the Sierra Maestra but this would not suffice for the anticipated revolution. At Che’s command post, Pata de la Mesa, some radio equipment arrived and the first broadcasts of Radio Rebelde were transmitted.
Radio Rebelde was run on a short wave transmission. Its content consisted of latest combat news, music and spoken literature. It broadcast nightly and began with the Cuban national anthem and the 26th of July hymn. The station had a slogan "¡Aquà Radio Rebelde!" “(Here Radio Rebelde!”).There were a few teething problems and initially the broadcasts were not very powerful. However, the persistence of the idea meant that by the time of Batista’s fleeing of the country on January 1st 1959, which signified the end of the revolution, Radio Rebelde had achieved stability and had been having an impact. Capt. Luis Orlando RodrÃguez was in charge of the intial broadcasts before a specialist, Carlos Franqui , arrived from Miami, United States, to become the movement's overall director of information.
On New Years Eve 1958 and on the morning of the first day of the New Year, Fidel Castro broadcast across Radio Rebelde, rejecting any prospect of the military staging a coup to oust Batista. He reported that Che’s forces had taken Santa Clara and called on the rebel forces to push onto Havana and Santiago. He called for a further general strike. The last words of revolutionary Radio Rebelde were "¡Revolución SÃ, Golpe Militar No!" (Revolution Yes, Military coup No!). Hours later the government forces unconditionally surrendered and the revolution had, against all odds, succeeded.
The concept of realtime propaganda has changed the face of war and became an essential tool of modern warfare. Propaganda has always been an important factor, but without Radio Rebelde, the struggle of the July 26th movement would undoubtedly have been protracted.
Radio Rebelde is still running in Cuba today, broadcasting on FM to 98% of the island. Perhaps in this day and age, they would be using an internet broadcast. As yet, at Krykey, we are unaware of a revolutionary radio station on our network. But who knows about the future? Perhaps a twenty-first century Che will seize advantage of the broadcasting potential of internet radio, and reach out to the people to overthrow tyranny and evil?…
Oppressive governments of the world: BEWARE!
Sunday, 26 April 2009
James Bond: Quantum of Solace (Spanish)
James Bond es espÃa ingles que viaja por todo el mundo luchando contra los criminales y los enemigos del Reino Unido. El vigésimo Segundo parte de Bond se llama ‘’Quantum of Solace’. Por esa pelÃcula las aventuras de alta voltaje de James Bond continúan. Bond investiga una organización que está intentando a cambiar el gobierno de Bolivia. Esta organización de criminales quiere controlar la provisión del agua en el paÃs latinoamericano. Bond trabaja en esta pelÃcula con una mujer que se encuentra en HaitÃ. La organización se llama ‘Quantum’ y MI6 (la agencia inglesa de los espÃas) la descubre en Italia cuando Mr White, que está bajo interrogatorio por M, intenta asesinar el jefe de Bond. Esos criminales son mucho más peligrosos de lo imaginado.
Hay naturaleza secreta y oculta de villanos de la pelÃcula a diferencia de las antiguas pelÃculas con los personajes de Jaws, Blofeld y Scaramanga. El peligro de que el Mr White y su la banda tiene contactos de alto nivel en el gobierno británico y la CIA, asà como en los propios empleadores de Bond. Nuestro héroe tiene que funcionar clandestinamente en contra de los deseos de su paÃs durante la mayor parte de la historia, añadiendo al suspenso.
El viaje de Bond pasa por muchos paÃses: HaitÃ, Austria, Italia y Sudamérica. Hay otra razón porque Bond quiera encontrar Mr White es la traición de su novia, Vesper. En Casino Royale, la anterior aventura de Bond, alguien chantaje Vesper, la mujer que amaba Bond. ¡Ahora es el momento de la revancha!
La mujer de Bond en esta pelÃcula se llama Camille Montes. Ella tiene un rencor personal contra la siniestra organización. El principal villano se llama Dominic Greene y es él quien proporciona la última amenaza a Bond y sus aliados. Él es el presidente de una organización ecológica llamada Greene Planet y parte de la sociedad el mal. Greene era el amante de Camille y trata de tener su asesinado.
Daniel Craig juega James Bond. La mujer de Bond está jugada por la actriz Olga Kurylenko. Judi Dench es, como siempre, ‘M’. Mathieu Amalric juega Greene y dice que el modelo de su mal carácter en "la sonrisa de Tony Blair y la locura de Sarkozy." El director se llama Marc Foster. Los productores se llaman Michael G. Wilson y Barbara Broccoli.
Yo creo que ‘Quantum of Solace’ es una pelÃcula buena y la recomendarÃa porque es entretenida. Es poca tierna y es apasionante. Por cierto, la pelÃcula merece la pena aunque yo prefiero las pelÃculas de James Bond del pasado porque tienen más de suspense. Hay elementos en el Bond de Viejo que no aparecen en las pelÃculas de Daniel Craig. Por ejemplo, lo más divertido de Bond era el encuentro con Q, cuando Bond recibÃa los aparatos nuevos por la misión. Ahora Q no existe. ¡Que pena!
Es la segunda pelÃcula de Bond más exitosa de todos los tiempos, aunque los crÃticos sugieren que a pesar de la buena actuando la trama deja un poco que desear y no es tan interesante como su predecesor. Sin embargo, si usted es un fanático de Bond entonces hay que ver la pelÃcula, Quantum of Solace. ¡Feliz viendo!
Hay naturaleza secreta y oculta de villanos de la pelÃcula a diferencia de las antiguas pelÃculas con los personajes de Jaws, Blofeld y Scaramanga. El peligro de que el Mr White y su la banda tiene contactos de alto nivel en el gobierno británico y la CIA, asà como en los propios empleadores de Bond. Nuestro héroe tiene que funcionar clandestinamente en contra de los deseos de su paÃs durante la mayor parte de la historia, añadiendo al suspenso.
El viaje de Bond pasa por muchos paÃses: HaitÃ, Austria, Italia y Sudamérica. Hay otra razón porque Bond quiera encontrar Mr White es la traición de su novia, Vesper. En Casino Royale, la anterior aventura de Bond, alguien chantaje Vesper, la mujer que amaba Bond. ¡Ahora es el momento de la revancha!
La mujer de Bond en esta pelÃcula se llama Camille Montes. Ella tiene un rencor personal contra la siniestra organización. El principal villano se llama Dominic Greene y es él quien proporciona la última amenaza a Bond y sus aliados. Él es el presidente de una organización ecológica llamada Greene Planet y parte de la sociedad el mal. Greene era el amante de Camille y trata de tener su asesinado.
Daniel Craig juega James Bond. La mujer de Bond está jugada por la actriz Olga Kurylenko. Judi Dench es, como siempre, ‘M’. Mathieu Amalric juega Greene y dice que el modelo de su mal carácter en "la sonrisa de Tony Blair y la locura de Sarkozy." El director se llama Marc Foster. Los productores se llaman Michael G. Wilson y Barbara Broccoli.
Yo creo que ‘Quantum of Solace’ es una pelÃcula buena y la recomendarÃa porque es entretenida. Es poca tierna y es apasionante. Por cierto, la pelÃcula merece la pena aunque yo prefiero las pelÃculas de James Bond del pasado porque tienen más de suspense. Hay elementos en el Bond de Viejo que no aparecen en las pelÃculas de Daniel Craig. Por ejemplo, lo más divertido de Bond era el encuentro con Q, cuando Bond recibÃa los aparatos nuevos por la misión. Ahora Q no existe. ¡Que pena!
Es la segunda pelÃcula de Bond más exitosa de todos los tiempos, aunque los crÃticos sugieren que a pesar de la buena actuando la trama deja un poco que desear y no es tan interesante como su predecesor. Sin embargo, si usted es un fanático de Bond entonces hay que ver la pelÃcula, Quantum of Solace. ¡Feliz viendo!
Tuesday, 14 April 2009
Justice for the 96 - Hillsborough
On April 15th 1989 Liverpool FC played an FA Cup Semi-Final fixture against Nottingham Forest at Sheffield Wednesday's ground, Hillsborough. A disaster occurred at the ground and 96 Liverpool fans were killed. As a Liverpool fan who was 11 years old at the time, I wasn't at the match, but watched at home on television. To watch your team go down playing football is one thing but to watch your supporters die at the match transcends any sport. It is horrific and Hillsborough is one of the greatest calamities in British history. Today is the twentieth anniversary of the disaster and like many people all over the world I will sadly be commemorating the tragedy. Twenty years on and families of the victims feel that they have not received justice. Justice for the 96 is an organisation at the heart of Liverpool football club. It is something I endorse and fully support.
I am a keen fan of Liverpool and have watched many games at stadia all over the world. With my Aston Villa supporting Uncle I was actually in the seated area of the Hillsborough stadium a couple of months before the disaster watching Aston Villa play Sheffield Wednesday. From direct personal experience I can say that it was an eerie place. I didn't feel safe going to the ground, walking through the streets of Sheffield and inside the stadium it didn't impress me much, certainly the look of those enclosed terraces to the left of where I sat did scare me.
At the time it was standard procedure due to the football violence problems in England, that fenced in pens were set up at football grounds. These pens kept supporters from invading the pitch. They were to tall to climb, especially with the way they angled back into the terraces. As a regular attender of rugby stadia I couldn't understand why the supporters had to be stopped from going on the pitch. At rugby games the most exciting part of the match as a young fan was when the final whistle blew and you could charge onto the pitch to get your favourite players' autographs. Football was a more sinister sport. Liverpool had been part of the Heysel Stadium disaster of 1985 where 39 people died, a clear demonstration of how dangerous a sport football can be.
At Hillsborough, even though Liverpool had a larger support than Nottingham Forest, they were allocated the smaller end of the stadium. The Leppings Lane end held 14600 in terraces whereas the Spion Kop end had a capacity of 21000. The design of the Leppings Lane end was poor and there had been a number of complaints by many fans about the facilities after they had been injured at previous matches. Liverpool had made an official complaint prior to the semi-final after their supporters were injured during their previous match against Sheffield Wednesday. On the day of the game there were unannounced roadworks on the M62 motorway which meant that many supporters were running late as they travelled over the Pennines from Merseyside.
A bottleneck developed outside the stadium as supporters hurried into the pens. Some people who had turned up without tickets on the offchance of getting some at the ground were being turned away but couldn't exit because of the masses who were trying to get through the turnstiles. The police sensed danger and anticipated that to get all the supporters with tickets inside the ground would take up till 3.40pm, 40 minutes after the scheduled kickoff. It was customary in this situation to delay the start of a match to protect public safety. Chief Superintendent David Duckenfield, the police officer in charge of match security decided not to delay the kickoff and gave an order to open Gate C, where no turnstiles were present. He intended that this would allow people to exit from the crowd of 5000, building to a crush outside the stadium. Ten minutes before the start of the game and the players arrived on the pitch to great crowd cheering. The excited supporters outside the ground used gate C to go into the ground and they began to fill the two central pens via a tunnel.
As fans continued to pour into these fatal pens, which had a capacity of only 2000 at maximum, a crush began in the ground. About 3000 people were in the central pens. Those at the front were being crushed into the security gates. The fans at the back had no idea of the problems inside and no stewards were present to warn them off. The match kicked off on time. People began dying as they suffocated in the crush. The tight conditions at Leppings Lane led to many supporters dying standing up of compressive asphyxia. Supporters in the upper tier started lifting fans up from the mayhem below. Fans were attempting to escape the crush by climbing the fences. At 3.06 pm when it was clear that there was a serious incident, the police advised the referee to abandon the game.
The images that stick in my mind were of supporters clambering up the security fences in vain. They were designed to prevent supporters from getting onto the pitch and they sure did their job. People were short of breath and sweating. There were no metal cutting facilities at Hillsborough and no way of removing these security fences. A small gate was opened and people began to spill onto the pitch. At this stage, the police feared an incident with the Nottingham Forest supporters so rather than diverting their attention to the dying and injured Liverpool fans they concentrated efforts on creating a police cordon three-quarters the way up the pitch to prevent Liverpool fans from getting to the Spion Kop end. 44 ambulances turned up at the ground but all bar one were refused entry. Advertising boardings were used as stretchers to ferry the casualties. As they tried to get out to the waiting ambulances, police in the cordon forcibly turned them back. 92 Liverpool fans died on the day of the match. Four days later this toll had risen to 95. In 1993, having been in a coma for four years, the life support machine of Tony Bland was switched off, bringing the final death toll to 96. 766 other fans were injured, with 300 needing hospital treatment. The psychological toll was extreme on all present at the match, those affected families, Liverpool supporters worldwide, TV viewers and fans of sport in general, all were devastated by the disaster. It was the worst stadium incident in British history and one of the worst of all time in the world.
A government inquiry, headed by Lord Justice Taylor, filed the Taylor Report into the incident. This found that the official cause of the disaster was the failure of police control. An attempt was made to prosecute Chief Superintendent David Duckenfield and another officer on duty, Bernard Murray. Duckenfield initially disguised his decision to open Gate C and stated that it was the Liverpool fans who had forced this gate open when in fact he had given orders to open it. At the trial police officers controversially manipulated evidence. Duckenfield's doctor declared him medically unfit to stand trial and the prosecution thought it unfair to continue prosecuting Murray alone. Duckenfield took medical retirement on full police pension.
Football fans across the world united in their support for devastated Liverpool FC. One of the most poignant moments came in the European Cup semi final on April 19th, the Wednesday after Hillsborough. AC Milan played Real Madrid. Six minutes into the match the referee blew his whistle to stop the game for a minute's silence. The AC Milan supporters then broke into a rendition of Liverpool club anthem, 'You'll Never Walk Alone'. Celtic supporters were also very noticeable in their actions to commemorate the 96. The Liverpool club logo had two flames added either side of the Liverbird as a symbol to the brave dead who perished at Hillsborough. There are many memorials to the 96 dead, including one just adjacent to the Shankly gates at Liverpool's home, Anfield.
A further result of the Taylor inquiry was that security barriers were removed at stadia and all-seater grounds became compulsory for top-flight teams.
On the Wednesday after the disaster, the editor of the Sun newspaper, Kelvin Mackenzie, decided to publish frontpage headlines titled 'The Truth'. In his article he declared the following:
A quote, attributed to an unnamed policeman, claimed that "a dead girl had been abused" and that Liverpool fans "were openly urinating on us and the bodies of the dead".
These allegations caused the Sun newspaper to be boycotted by newsagents across Merseyside. The Sun's daily circulation in this area declined by 200000 to just 12000 copies sold a day.
The allegations contradicted the reported behaviour of many Liverpool fans, who actively helped the security personnel to stretcher away a large number of victims and gave first aid to many injured.
I am a keen fan of Liverpool and have watched many games at stadia all over the world. With my Aston Villa supporting Uncle I was actually in the seated area of the Hillsborough stadium a couple of months before the disaster watching Aston Villa play Sheffield Wednesday. From direct personal experience I can say that it was an eerie place. I didn't feel safe going to the ground, walking through the streets of Sheffield and inside the stadium it didn't impress me much, certainly the look of those enclosed terraces to the left of where I sat did scare me.
At the time it was standard procedure due to the football violence problems in England, that fenced in pens were set up at football grounds. These pens kept supporters from invading the pitch. They were to tall to climb, especially with the way they angled back into the terraces. As a regular attender of rugby stadia I couldn't understand why the supporters had to be stopped from going on the pitch. At rugby games the most exciting part of the match as a young fan was when the final whistle blew and you could charge onto the pitch to get your favourite players' autographs. Football was a more sinister sport. Liverpool had been part of the Heysel Stadium disaster of 1985 where 39 people died, a clear demonstration of how dangerous a sport football can be.
At Hillsborough, even though Liverpool had a larger support than Nottingham Forest, they were allocated the smaller end of the stadium. The Leppings Lane end held 14600 in terraces whereas the Spion Kop end had a capacity of 21000. The design of the Leppings Lane end was poor and there had been a number of complaints by many fans about the facilities after they had been injured at previous matches. Liverpool had made an official complaint prior to the semi-final after their supporters were injured during their previous match against Sheffield Wednesday. On the day of the game there were unannounced roadworks on the M62 motorway which meant that many supporters were running late as they travelled over the Pennines from Merseyside.
A bottleneck developed outside the stadium as supporters hurried into the pens. Some people who had turned up without tickets on the offchance of getting some at the ground were being turned away but couldn't exit because of the masses who were trying to get through the turnstiles. The police sensed danger and anticipated that to get all the supporters with tickets inside the ground would take up till 3.40pm, 40 minutes after the scheduled kickoff. It was customary in this situation to delay the start of a match to protect public safety. Chief Superintendent David Duckenfield, the police officer in charge of match security decided not to delay the kickoff and gave an order to open Gate C, where no turnstiles were present. He intended that this would allow people to exit from the crowd of 5000, building to a crush outside the stadium. Ten minutes before the start of the game and the players arrived on the pitch to great crowd cheering. The excited supporters outside the ground used gate C to go into the ground and they began to fill the two central pens via a tunnel.
As fans continued to pour into these fatal pens, which had a capacity of only 2000 at maximum, a crush began in the ground. About 3000 people were in the central pens. Those at the front were being crushed into the security gates. The fans at the back had no idea of the problems inside and no stewards were present to warn them off. The match kicked off on time. People began dying as they suffocated in the crush. The tight conditions at Leppings Lane led to many supporters dying standing up of compressive asphyxia. Supporters in the upper tier started lifting fans up from the mayhem below. Fans were attempting to escape the crush by climbing the fences. At 3.06 pm when it was clear that there was a serious incident, the police advised the referee to abandon the game.
The images that stick in my mind were of supporters clambering up the security fences in vain. They were designed to prevent supporters from getting onto the pitch and they sure did their job. People were short of breath and sweating. There were no metal cutting facilities at Hillsborough and no way of removing these security fences. A small gate was opened and people began to spill onto the pitch. At this stage, the police feared an incident with the Nottingham Forest supporters so rather than diverting their attention to the dying and injured Liverpool fans they concentrated efforts on creating a police cordon three-quarters the way up the pitch to prevent Liverpool fans from getting to the Spion Kop end. 44 ambulances turned up at the ground but all bar one were refused entry. Advertising boardings were used as stretchers to ferry the casualties. As they tried to get out to the waiting ambulances, police in the cordon forcibly turned them back. 92 Liverpool fans died on the day of the match. Four days later this toll had risen to 95. In 1993, having been in a coma for four years, the life support machine of Tony Bland was switched off, bringing the final death toll to 96. 766 other fans were injured, with 300 needing hospital treatment. The psychological toll was extreme on all present at the match, those affected families, Liverpool supporters worldwide, TV viewers and fans of sport in general, all were devastated by the disaster. It was the worst stadium incident in British history and one of the worst of all time in the world.
A government inquiry, headed by Lord Justice Taylor, filed the Taylor Report into the incident. This found that the official cause of the disaster was the failure of police control. An attempt was made to prosecute Chief Superintendent David Duckenfield and another officer on duty, Bernard Murray. Duckenfield initially disguised his decision to open Gate C and stated that it was the Liverpool fans who had forced this gate open when in fact he had given orders to open it. At the trial police officers controversially manipulated evidence. Duckenfield's doctor declared him medically unfit to stand trial and the prosecution thought it unfair to continue prosecuting Murray alone. Duckenfield took medical retirement on full police pension.
Football fans across the world united in their support for devastated Liverpool FC. One of the most poignant moments came in the European Cup semi final on April 19th, the Wednesday after Hillsborough. AC Milan played Real Madrid. Six minutes into the match the referee blew his whistle to stop the game for a minute's silence. The AC Milan supporters then broke into a rendition of Liverpool club anthem, 'You'll Never Walk Alone'. Celtic supporters were also very noticeable in their actions to commemorate the 96. The Liverpool club logo had two flames added either side of the Liverbird as a symbol to the brave dead who perished at Hillsborough. There are many memorials to the 96 dead, including one just adjacent to the Shankly gates at Liverpool's home, Anfield.
Here is the full list of those 96 supporters who died.
John Alfred Anderson (62)
Thomas Howard (39)
Colin Mark Ashcroft (19)
Thomas Anthony Howard (14)
James Gary Aspinall (18)
Eric George Hughes (42)
Kester Roger Marcus Ball (16)
Alan Johnston (29)
Gerard Bernard Patrick Baron (67)
Christine Anne Jones (27)
Simon Bell (17)
Gary Philip Jones (18)
Barry Sidney Bennett (26)
Richard Jones (25)
David John Benson (22)
Nicholas Peter Joynes (27)
David William Birtle (22)
Anthony Peter Kelly (29)
Tony Bland (22)
Michael David Kelly (38)
Paul David Brady (21)
Carl David Lewis (18)
Andrew Mark Brookes (26)
David William Mather (19)
Carl Brown (18)
Brian Christopher Mathews (38)
David Steven Brown (25)
Francis Joseph McAllister (27)
Henry Thomas Burke (47)
John McBrien (18)
Peter Andrew Burkett (24)
Marion Hazel McCabe (21)
Paul William Carlile (19)
Joseph Daniel McCarthy (21)
Raymond Thomas Chapman (50)
Peter McDonnell (21)
Gary Christopher Church (19)
Alan McGlone (28)
Joseph Clark (29)
Keith McGrath (17)
Paul Clark (18)
Paul Brian Murray (14)
Gary Collins (22)
Lee Nicol (14)
Stephen Paul Copoc (20)
Stephen Francis O'Neill (17)
Tracey Elizabeth Cox (23)
Jonathon Owens (18)
James Philip Delaney (19)
William Roy Pemberton (23)
Christopher Barry Devonside (18)
Carl William Rimmer (21)
Christopher Edwards (29)
David George Rimmer (38)
Vincent Michael Fitzsimmons (34)
Graham John Roberts (24)
Thomas Steven Fox (21)
Steven Joseph Robinson (17)
Jon-Paul Gilhooley (10)
Henry Charles Rogers (17)
Barry Glover (27)
Colin Andrew Hugh William Sefton (23)
Ian Thomas Glover (20)
Inger Shah (38)
Derrick George Godwin (24)
Paula Ann Smith (26)
Roy Harry Hamilton (34)
Adam Edward Spearritt (14)
Philip Hammond (14)
Philip John Steele (15)
Eric Hankin (33)
David Leonard Thomas (23)
Gary Harrison (27)
Patrik John Thompson (35)
Stephen Francis Harrison (31)
Peter Reuben Thompson (30)
Peter Andrew Harrison (15)
Stuart Paul William Thompson (17)
David Hawley (39)
Peter Francis Tootle (21)
James Robert Hennessy (29)
Christopher James Traynor (26)
Paul Anthony Hewitson (26)
Martin Kevin Traynor (16)
Carl Darren Hewitt (17)
Kevin Tyrrell (15)
Nicholas Michael Hewitt (16)
Colin Wafer (19)
Sarah Louise Hicks (19)
Ian David Whelan (19)
Victoria Jane Hicks (15)
Martin Kenneth Wild (29)
Gordon Rodney Horn (20)
Kevin Daniel Williams (15)
Arthur Horrocks (41)
Graham John Wright (17)
John Alfred Anderson (62)
Thomas Howard (39)
Colin Mark Ashcroft (19)
Thomas Anthony Howard (14)
James Gary Aspinall (18)
Eric George Hughes (42)
Kester Roger Marcus Ball (16)
Alan Johnston (29)
Gerard Bernard Patrick Baron (67)
Christine Anne Jones (27)
Simon Bell (17)
Gary Philip Jones (18)
Barry Sidney Bennett (26)
Richard Jones (25)
David John Benson (22)
Nicholas Peter Joynes (27)
David William Birtle (22)
Anthony Peter Kelly (29)
Tony Bland (22)
Michael David Kelly (38)
Paul David Brady (21)
Carl David Lewis (18)
Andrew Mark Brookes (26)
David William Mather (19)
Carl Brown (18)
Brian Christopher Mathews (38)
David Steven Brown (25)
Francis Joseph McAllister (27)
Henry Thomas Burke (47)
John McBrien (18)
Peter Andrew Burkett (24)
Marion Hazel McCabe (21)
Paul William Carlile (19)
Joseph Daniel McCarthy (21)
Raymond Thomas Chapman (50)
Peter McDonnell (21)
Gary Christopher Church (19)
Alan McGlone (28)
Joseph Clark (29)
Keith McGrath (17)
Paul Clark (18)
Paul Brian Murray (14)
Gary Collins (22)
Lee Nicol (14)
Stephen Paul Copoc (20)
Stephen Francis O'Neill (17)
Tracey Elizabeth Cox (23)
Jonathon Owens (18)
James Philip Delaney (19)
William Roy Pemberton (23)
Christopher Barry Devonside (18)
Carl William Rimmer (21)
Christopher Edwards (29)
David George Rimmer (38)
Vincent Michael Fitzsimmons (34)
Graham John Roberts (24)
Thomas Steven Fox (21)
Steven Joseph Robinson (17)
Jon-Paul Gilhooley (10)
Henry Charles Rogers (17)
Barry Glover (27)
Colin Andrew Hugh William Sefton (23)
Ian Thomas Glover (20)
Inger Shah (38)
Derrick George Godwin (24)
Paula Ann Smith (26)
Roy Harry Hamilton (34)
Adam Edward Spearritt (14)
Philip Hammond (14)
Philip John Steele (15)
Eric Hankin (33)
David Leonard Thomas (23)
Gary Harrison (27)
Patrik John Thompson (35)
Stephen Francis Harrison (31)
Peter Reuben Thompson (30)
Peter Andrew Harrison (15)
Stuart Paul William Thompson (17)
David Hawley (39)
Peter Francis Tootle (21)
James Robert Hennessy (29)
Christopher James Traynor (26)
Paul Anthony Hewitson (26)
Martin Kevin Traynor (16)
Carl Darren Hewitt (17)
Kevin Tyrrell (15)
Nicholas Michael Hewitt (16)
Colin Wafer (19)
Sarah Louise Hicks (19)
Ian David Whelan (19)
Victoria Jane Hicks (15)
Martin Kenneth Wild (29)
Gordon Rodney Horn (20)
Kevin Daniel Williams (15)
Arthur Horrocks (41)
Graham John Wright (17)
A further result of the Taylor inquiry was that security barriers were removed at stadia and all-seater grounds became compulsory for top-flight teams.
On the Wednesday after the disaster, the editor of the Sun newspaper, Kelvin Mackenzie, decided to publish frontpage headlines titled 'The Truth'. In his article he declared the following:
"Some fans picked pockets of victims"
"Some fans urinated on the brave cops"
"Some fans beat up PC giving kiss of life".
"drunken Liverpool fans viciously attacked rescue workers as they tried to revive victims"
"police officers, firemen and ambulance crew were punched, kicked and urinated upon"
"Some fans urinated on the brave cops"
"Some fans beat up PC giving kiss of life".
"drunken Liverpool fans viciously attacked rescue workers as they tried to revive victims"
"police officers, firemen and ambulance crew were punched, kicked and urinated upon"
A quote, attributed to an unnamed policeman, claimed that "a dead girl had been abused" and that Liverpool fans "were openly urinating on us and the bodies of the dead".
These allegations caused the Sun newspaper to be boycotted by newsagents across Merseyside. The Sun's daily circulation in this area declined by 200000 to just 12000 copies sold a day.
The allegations contradicted the reported behaviour of many Liverpool fans, who actively helped the security personnel to stretcher away a large number of victims and gave first aid to many injured.
The campaign to boycott the Sun still continues to this day and Liverpool supporters across the world are encourage not to financially support this vile rag, for using our dead as sensationalist material. Don't Buy the S** is as important an Andield motto as 'You'll never walk alone' or 'Justice for the 96'. I have sat in pubs at away games and watched an unknowing Liverpool fan stroll into the pub and plonk a copy of the Sun next to his pint. He was almost lynched on the spot. He didn't realise the significance of his actions. Manchester United and former Evertonian star, Wayne Rooney, caused massive offence on Merseyside when he published his life story exclusively in the Sun.
Twenty years on and it seems as though the families of Hillsborough victims will never receive true justice for their dead loved ones. There is a general consensus that they were wronged that fateful day. The finger can squarely be pointed to the authorities' actions causing the innocent death of many who were just trying to relax and enjoy their Saturday afternoon. Watching a football match is a fun pastime, one enjoyed by normal people across the world. Next time you are sat in a football ground, spare a thought for the 96. They were the same as you or I. They paid the ultimate price for supporting their team and will never be forgotten.
Twenty years on and it seems as though the families of Hillsborough victims will never receive true justice for their dead loved ones. There is a general consensus that they were wronged that fateful day. The finger can squarely be pointed to the authorities' actions causing the innocent death of many who were just trying to relax and enjoy their Saturday afternoon. Watching a football match is a fun pastime, one enjoyed by normal people across the world. Next time you are sat in a football ground, spare a thought for the 96. They were the same as you or I. They paid the ultimate price for supporting their team and will never be forgotten.
RIP the 96.
I hope and pray you get justice one day.
We remember you in our hearts.
You will never walk alone....
I hope and pray you get justice one day.
We remember you in our hearts.
You will never walk alone....
Subscribe to:
Posts (Atom)
