Adriana Abenia, a Spanish actress and TV presenter, was accused of cheating on the game show after she was discovered trying to use an app to find out the answer to a question.
According to Metro newspaper, Abenia intended to use the phone app Shazam, which records songs and tells the user the song title and artist, to win. She was found out after the phone lit up between her legs and began vibrating during the taping. Abenia was caught before she was able to use the app to cheat her way to the answer.
“To be honest I think she deserves a special prize anyway because, in seven years of organizing this TV contest, nobody has ever done anything like this and certainly not quite as brazenly,” the show’s host, Christian Galvez.
Never Forget You is a song by Swedish singer Zara Larsson and British singer MNEK. It was released on July 22, 2015 in the UK by TEN Music Group, Virgin EMI and Epic as the second single from Larsson’s second studio album So Good (2017).
The song peaked at #1 in Larsson’s home country as well as the top ten in eight additional countries, and became both Larsson and MNEK’s first U.S. entry on the Billboard Hot 100, peaking at #13 in May 2016 and becoming the best rank on the chart for both artists. The single is certified Platinum or higher in sixteen countries. An orchestral version of the song was later released on May 21, 2021 as a track off the Summer edition of Larsson’s third studio album Poster Girl.
Mood Indigo is a jazz song with music by Duke Ellington and Barney Bigard and lyrics by Irving Mills.
Although Irving Mills—Jack Mills’s brother and publishing partner—took credit for the lyrics, Mitchell Parish claimed in a 1987 interview that he had written the lyrics.
The tune was composed for a radio broadcast in October 1930 and was originally titled “Dreamy Blues.” It was “the first tune I ever wrote specially for microphone transmission,” Ellington recalled. “The next day wads of mail came in raving about the new tune, so Irving Mills put a lyric to it.” Renamed Mood Indigo, it became a jazz standard.”
The main theme was provided by Bigard, who learned it in New Orleans, Louisiana from his clarinet teacher Lorenzo Tio, who called it a “Mexican Blues.” Ellington’s arrangement was first recorded by his band for Brunswick on October 17, 1930. It was recorded twice more in 1930. These recordings included Arthur Whetsel (trumpet), Tricky Sam Nanton (trombone), Barney Bigard (clarinet), Duke Ellington (piano), Fred Guy (banjo), Wellman Braud (bass), Sonny Greer (drums). Ellington blended muted trumpet, muted trombone, and clarinet.
Ellington took the traditional front-line—trumpet, trombone, and clarinet—and inverted them. He chose Yvonne Luanauze (real name Eve Duke) as the band’s vocalist because her mellow timbre was similar to the sound of a saxophone. At the time of these first three recordings in 1930, the usual voicing of the horns would be clarinet at the top (highest pitch), trumpet in the middle, and the trombone at the bottom (lowest pitch). In Mood Indigo Ellington voices the trombone right at the top of the instrument’s register, and the clarinet at the very lowest. This was unheard of at the time, and also created (in the studio) a so-called “mike-tone”—an effect generated by the overtones of the clarinet and trombone (which was tightly muted as well). The “mike-tone” gives the audio-illusion of the presence of a fourth “voice” or instrument. Ellington used this effect in (In My) Solitude (1932), Dusk (1940), and many other pieces throughout his career. The Ellington band performed and recorded the song continuously throughout its 50 years, both in its original form and as a vehicle for individual soloists.
Whether you are a DJ at a party or you just want to listen to some music in your pajamas, you can always use a good playlist in each situation. In All Stars Playlist it is all about music and making the perfect playlist. Songs in a playlist of course have to match. You cannot just add any song to a playlist.
Emo is a rock music genre that became one of the trendiest genres in the 2000s, and many would even say that emo was already a lifestyle and not just a genre during that decade. The emo name comes from the word “emotional,” which perfectly describes the lyrics and the themes of the songs that are associated with the said genre. Emo was created as a subgenre of post-hardcore and is believed to have originated in Washington DC.
All Things Bright and Beautiful is an Anglican hymn, also sung in many other Christian denominations. The words are by Cecil Frances Alexander and were first published in her Hymns for Little Children of 1848.
The hymn is commonly sung to the hymn tune All Things Bright And Beautiful, composed by William Henry Monk in 1887. Another popular tune is Royal Oak, adapted from a 17th-century English folk tune, The 29th of May.
The hymn consists of a series of stanzas that elaborate upon the clause of the Apostles’ Creed that describes God as “maker of heaven and earth”, and has been described as asserting a creationist view of the natural world.
The third verse makes reference to “The rich man in his castle,/The poor man at his gate”, and asserts that their social positions have been ordained by God. It has been interpreted as an expression of the theological view that society is ordered and upheld by Divine providence. This view of social strata has been linked to Alexander’s identity as an Anglo-Irish person affirming the existing social order in the midst of the Irish famine. An alternative interpretation of the third verse holds that Alexander was expressing the equality of rich and poor in the eyes of God. A comparable text in Alexander’s Verses for Holy Seasons (1846) makes reference to “The poor man in his straw-roofed cottage,/The rich man in his lordly hall” and states that their prayers to God are of equal importance: “He listens, and He answers all”. Nevertheless, the sentiments of this verse are generally considered to be outdated and many later versions and performances of All Things Bright and Beautiful omit the third verse. Percy Dearmer omitted this verse from The English Hymnal (1906); he was sympathetic to Christian socialism and stated that the words reflected the “passivity and inertia at the heart of the British Establishment in the face of huge inequalities in Edwardian society.” Dearmer questioned whether Alexander had remembered the parable of the Rich man and Lazarus (Luke 16:19–31), and attributed her view of the world to her having “been brought up in the atmosphere of a land-agent on an Irish estate.” The revised edition of Hymns Ancient and Modern, published in 1950, also omits this verse.
Alexander’s text reads:
1. All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all.
2. Each little flower that opens, Each little bird that sings, He made their glowing colours, He made their tiny wings.
All things bright …
3. The rich man in his castle, The poor man at his gate, God made them, high or lowly, And ordered their estate.
All things bright …
4. The purple-headed mountain, The river running by, The sunset and the morning, That brightens up the sky.
All things bright …
5. The cold wind in the winter, The pleasant summer sun, The ripe fruits in the garden,− He made them every one:
All things bright …
6. The tall trees in the greenwood, The meadows where we play, The rushes by the water, We gather every day;−
All things bright …
7. He gave us eyes to see them, And lips that we might tell, How great is God Almighty, Who has made all things well.
Latitude is a Suffolk festival offers the ultimate cool-but-chill weekend away, with a line-up of adventurous pop and alt rock in an cute setting. It’s a very family-friendly affair and the music programming is artfully mixed up with comedy, poetry, spoken-word, dance and theatre. DJs are hidden in the woods for late night revelry, the famous colourful sheep roam the surrounding fields, and you can wash it all down with a refreshing local ale. We’ll drink to that. Only downside: it’s kind of remote transport-wise, almost impossible to get to by any means other than Suffolk cow.
Game That Song is a party game for music lovers. You need at least three players, your phones and a bluetooth speaker. Then you need to find the right song for the right occasion. Songs are voted on by the players and play continues. Game That Song is only available at Amazon at this point.
Eddie Williams And His Brown Buddies had been positioning themselves outside of their cocktail blues upbringing and carving out a decent sideline as a rock group. Broken Hearted was only intended as a B-side and was not a conscious effort to move in another direction.
The A-side of this release, Red Head ‘N’ Cadillac was their most unquestioned rock offering to date, but Broken Hearted wound up superseding the rock track in the public’s mind and immediately altered the group’s image.
Broken Hearted is not cocktail blues, but rather it’s country blues as interpreted by cocktail blues artists which makes it a weird hybrid that fits comfortably in neither realm, nor for that matter within the dominant rock parameters either.
Well, it seems that when they were in the midst of their session someone at Supreme Records, perhaps unaccustomed to the quirkier sides they’d heard so far, or maybe looking for something with a much more clear-cut stylistic definition to latch onto, asked them if they had something that might qualify as “down home blues.”
So Floyd Dixon just happened to have a song – in his pocket! – that songwriter John Hogg (the cousin of popular bluesman Smokey Hogg) had given him and so he pulled it out, they ran it down just one time with the tapes rolling, obviously not thinking much of its chances by the sound of it, and Al Patrick, owner of the label, pronounced it good enough and they moved on to something else.
Little did any of them know it’d be their biggest seller and the song for which they’d forever be associated with.
The record is defined by the disparate musical moods of the band’s more cocktail blues approach and Dixon’s attempts to follow instructions and deliver it with a “down home” feel. His own piano however is taking sides with the cocktail blues mindsets of the others, playing discreet fills and pulling Broken Hearted off the front porch of the smokehouse and into the nightclub in the city further down the road.
Hadda Brooks (October 29, 1916 – November 21, 2002) was an American pianist, vocalist and composer, who was billed as “Queen of the Boogie.” She was inducted in the Rhythm and Blues Foundation Hall of Fame in 1993.
Her first recording, Swingin’ the Boogie, for Modern Records, was a regional hit in 1945. Another R&B top ten hit, Out of the Blue, was her most famous song. Brooks preferred ballads to boogie-woogie, but developed the latter style by listening to Albert Ammons, Pete Johnson, and Meade Lux Lewis records.
In the 1970s, she commuted to Europe for performances in nightclubs and festivals. She performed rarely in the United States, living for many years in Australia. Queen of the Boogie, a compilation of recordings from the 1940s, was released in 1984. Two years later her manager Alan Eichler brought her out of a 16-year retirement to open a jazz room at Perino’s in Los Angeles, after which she continued to perform in nightclubs in Hollywood, San Francisco, and New York City. She sang at Hawaii’s statehood ceremony in 1959 and was asked for a private audience by Pope Pius XII.
She resumed her recording career with the 1994 album Anytime, Anyplace, Anywhere for DRG. Virgin Records acquired the old Modern catalogue and, thanks to Brooks’ new-found success, issued a compilation of her 1940s and 1950s recordings entitled That’s My Desire. The label signed her to record three songs for the Christmas album Even Santa Gets the Blues, made more unusual by the fact she had releases on the same label 50 years apart. Time Was When (Virgin, 1996) included Al Viola (guitar), Eugene Wright (bass) and Richard Dodd (cello), and she wrote two of its songs: You Go Your Way and I’ll Go Crazy and Mama’s Blues. She began playing at Johnny Depp’s Viper Room, the Algonquin Hotel’s Oak Room, and Michael’s Pub in New York City, and such Hollywood clubs as Goldfinger’s, the Vine St. Bar and Grill, and the Hollywood Roosevelt Cinegrill. She celebrated her 80th birthday in 1996 by performing two full shows at Depp’s Viper Room.
In 2007, a 72-minute documentary on Brooks’s life, Queen of the Boogie, directed by Austin Young and Barry Pett, was presented at the Los Angeles Silver Lake Film Festival.
Brooks died at the age of 86 on November 21, 2002 at White Memorial Medical Center in Los Angeles after open-heart surgery.
In 1940, Brooks married Earl “Shug” Morrison, of the Harlem Globetrotters, but was widowed within a year, and she never married again.