Broadway shows are the best; they are one of the highlights of New York City. If you happen to visit NYC, you must not miss out on a Broadway show. This is one thing that is usually on people’s wish list and it is an experience that is unforgettable. Forget musicals and theaters, Broadway shows are in a whole different category. They are enchanting and magical. They make you feel as if the performers are talking to you. If you happen to get really good seats, you will be amazed with the facial expressions and the level of details that go into making a Broadway show.
A Broadway show has such power that it can change your perception, and just one show will put you in such a state of mind that you will start enjoying it (even if you can’t stay still in a seat for more than an hour). Movies have a captivating effect, and to give you a comparison if a movie captivates you and keeps you on the edge of your seat, while a Broadway show will do the same thing with the twice the intensity.
A very popular Broadway play is ‘Wicked’. Surveys suggest it is the most successful Broadway musical in the U.S. The play has also won Grammy and Tony Awards. The backgrounds and the stages are all lifelike and they keep on moving and changing as the show goes on. The lighting and sound are of such perfection that you will feel as if you are living the musical and have entered another world. Wicked is all about friendship, true love, and living your dreams. It teaches a number of lessons and some of them are quite deep. For example, true love being more than something that is skin deep. The inner beauty of love and that people should fall in love with the spirit rather than physical beauty. These are just some of the issues Wicked takes on.
Wicked New York Tickets should be bought well in advance to make sure you get some good seats if you plan on watching it. A seat closet to the stage will offer the best experience.
Reading about the characters of the Broadway is a smart thing to do as it helps you to follow the story easily. Broadway will always be one of the sources of entertainment in NYC.
It’s hard to believe MTV started as a hosting platform for music videos. Flash-forward some thirty years and the channel is a mere shell of its piloting concept. Reality TV now dominates the slots that were once intended for ‘music television,’ but given our generation’s lackluster videos it may have worked out for the better. In recent years, creativity has taken a back-burner to the generic glorification of riches, bitches and “YOLO” fever. With all the ways to showcase talent, I don’t understand why I see the same stock models rotated around for different videos.
I’m a believer that creative video concepts can amplify a musician’s appeal. Visionary artists who detour from the ordinary will often generate intrigue due to their avant-garde approach. Just take the London-based duo, Chase & Status, as a prime example.
Chase & Status are music producers who have created a fortune by navigating away from the norm. The eclectic pair won ‘Best Video’ for their song, “End Credits,” at the 2010 Q Awards, in addition to several nominations for their original and collaborative mixes. Their 2011 “Flashing Lights” video is now regarded as a sinister success; coupling macabre undertones with a buildup of dubstep, break-beat rhythms.
I found “Flashing Lights” to be the perfect blend of drama and drums, but what’s your opinion? Is this video the new wave of creative expression, or the projection of your nightmares?
For a country smaller than the state of Florida, England incessantly burgeons with musical talent. A modern “British Invasion” has emerged on this year’s music front, with radio charts offering an English mash-up of thumping bass and the thrum of banjos. From Alex Clare’s experimental drum-and-bass to Ellie Goulding’s indie pop melodies, the eclectic range of British influence has made an influential mark on the contemporary music scene.
Another innovative artist climbing the UK charts is twenty-two year old Delilah; a London-based songstress gaining notable praise with her debut album, “From the Roots Up.” The freshman LP skillfully combines ambient, electro-bass beats with sultry, R&B vocals; successfully achieving a bold range of genre-bending tracks.
Delilah’s first single “Go” samples lyrics from the 1983 Chaka Khan hit, “Ain’t Nobody,” while flawlessly incorporating her own edgy, carnal-driven undertones. The provocative track peaked at #21 on the UK Singles Chart, and amassed heavy radio rotation.
“From the Roots Up” is a candid showcase of Delilah’s lyrical versatility, offering realistic – at times haunting – accounts of love and lust. Physical expression is glorified throughout the album, highlighting her frank and unapologetic approach to sexuality.
Delilah is certainly an artist on the rise, presenting a fresh culmination of innovation and talent, but what’s your opinion? Take a peek at the creative video for her single, “Love You So,” and see if this English artist tickles your fancy….
Here’s a video clip of the opening credit from “Goldfinger,” the latest film being profiled by Bullz-Eye.com in its look back at all the James Bond films.
John Barry had proven himself far more than able in various musical capacities on the first two Bond films. So, even though he had never before written a pop hit, he was finally allowed to write the music for the opening song, and what a song it was.
The brassy opening bars of “Goldfinger” announce melodramatically that we are in for an adventure of vast proportion and the music is jazzy yet almost operatic in scale. The lyrics, from the theatrical songwriting team of Leslie Bricusse and Anthony Newley, were inspired by Bobby Darin’s unlikely hit version of Bertolt Brecht and Kurt Weil’s “Mack the Knife,” (the only megahit we know about a thief, murderer, and rapist). As Barry had no problem admitting, the astonishing, hell-bent-for-leather vocals of singer Shirley Bassey were crucial to selling the outrageous lyrics, a warning that gold-obsessed millionaires may not be good boyfriend material. The song was, of course, a tremendous hit. It remains easily the greatest Bond theme and, for all its near-camp excess, one of the greatest movie theme songs of all time. The rest of the film’s score isn’t so bad, either.