Members of the all-girl punk band Pussy Riot: Nadezhda Tolokonnikova (right), Maria Alyokhina (center) and Yekaterina Samutsevich (left) in a glass-walled cage during a court hearing in Moscow earlier today.
The prelude to Canadian singer-songwriter Corb Lund's new album sounds like a classic country music song. Lund built a cabin in rural Alberta with his longtime girlfriend and favorite uncle, but after the cabin was completed, his girlfriend left and his uncle died. Snowed in for weeks at a time, Lund emerged with Cabin Fever, the title of his new album.
All this summer, All Things Considered is digging into the record collections of listeners' parents to hear about one song introduced by a parent that has stayed with you.
Among the many records Darrin Wolsko spun while donning a red cape around 1985, The Beatles' self-titled release best known as The White Album got the most plays — "to the point where I destroyed the album. I shredded this album to pieces," Wolsko says.
Can opera survive in an era of shrinking budgets and aging audiences?
Credit Torsten Blackwood / AFP/Getty Images
Appearing in this month's edition of <em>Opera News</em> are a few of opera's "next wave" of fresh faces (from left): Kate Lindsey, Anthony Roth Costanzo, Luca Pisaroni, Ailyn Perez and Michael Christie.
Originally published on Fri August 17, 2012 3:14 pm
A little over 10 years ago, a friend with a small record company in England called me and asked if I wanted to do liner notes for an album he was re-releasing. When he told me it was the Autosalvage album, I flipped. Of course I did!
Recently, a friend handed me an Iranian music CD and said you have to hear this. My friend is an Iranian filmmaker and once, long ago, he took me to an underground jazz concert in Tehran. It was dramatic traveling through back alleys to get to the gig and I did a story on it for NPR then in 1997.
One of the musicians I met that night was a bass player named Marob(ph). Speaking through a translator, he mentioned the freedom music creates, even in an authoritarian society.
Juan-Carlos Formell participated in a multi-artist showcase at SOB's — home to Brazilian and Latin music in New York — a few years ago. Between a couple of amped-up bands, he took the stage alone (as I recall) and sang in Spanish, accompanying himself on guitar. His voice had urgency to it, and there was an irresistible engine inside that guitar. Ever since, I've wanted to hear and know more.