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George Winston. Self-described rural folk piano player George Winston was among the earliest and most successful proponents of the genre of contemporary instrumental music later dubbed new age. Although born in Michigan in 1949, he was raised primarily in Montana, the extreme seasonal changes he experienced there later greatly influencing the pastoral feel of his music. Even as a child, Winston preferred instrumental music over vocal performances, counting among his early heroes Booker T. & the MG's, Floyd Cramer, and the Ventures; he did not take up music until after high school, however, beginning with organ and electric piano but moving to acoustic piano by 1971. Influenced by the stride piano of Fats Waller and Teddy Wilson, Winston turned from rock and R&B to jazz, and soon released his first solo piano effort, Ballads and Blues 1972, after which he mysteriously retired from music for the next several years.
Discovering the music of the legendary New Orleans R&B pianist Professor Longhair in 1979 was the epiphany Winston was seeking to inspire a return to performing; signing to the Windham Hill label, between 1980 and 1982 he recorded a trilogy of albums -- Autumn, December, and Winter Into Spring -- of impressionistic, seasonal-themed piano musings which laid much of the groundwork for the new age boom to follow. Winston's music continued to grow in popularity and influence in the years to follow, but in typically enigmatic fashion, he virtually dropped from sight for the remainder of the 1980s, resurfacing only in 1986 to score a reading of The Velveteen Rabbit by actress Meryl Streep.
Finally, in 1991, Winston returned to action, completing his seasonal cycle with Summer; Forest followed three years later. In 1996, he paid tribute to another of his greatest influences with Linus & Lucy: The Music of Vince Guaraldi. A compilation album, All the Seasons of George Winston, was released in the spring of 1998, followed a year later by Plains. The new millennium brought anniversary editions of several of his landmark albums, including Autumn, December, and Winter Into Spring, as well as the 2001 album Remembrance: A Memorial Benefit, which was Winston's response to the tragic events of September 11, 2001. His 2002 release, Night Divides the Day, focused on the music of one of his earliest influences, the Doors. Montana: A Love Story from 2004 was inspired by Winston's childhood in Montana. An impressive solo piano outing, Gulf Coast Blues & Impressions, released as a benefit set for hurricane relief, appeared from RCA in 2006.
Дискография
1972 - Ballads and Blues
1980 - Autumn
1982 - Winter into Spring
1982 - December
1991 - Summer
1994 - Forest
1996 - Linus and Lucy - The Music of Vince Guaraldi
1999 - Plains
2001 - Remembrance - A Memorial Benefit
2002 - Night Divides the Day - The Music of the Doors
2005 - Montana - A Love Story
2006 - Gulf Coast Blues & Impressions: A Hurricane Relief Benefit
2010 - Love Will Come – The Music of Vince Guaraldi, Volume 2

- FAREWELL -. Marshall Davis Vocals
Wil Andrews Guitar
Kevin Carter Guitar
Jeff Ellis Drums
Buddy Bell Bass
The sophomore album poses an interesting situation for any artist: They can either take the if-it-ain't-broke-don't-fix-it approach, or they can opt to push the envelope and try something progressive, all the while subjecting themselves to potential failure.
On Run It Up the Flagpole, Greensboro, NC pop-punkers FAREWELL have chosen the latter, toeing the line between sugary pop melodies and unbridled punk-rock energy while creating a record that both Top-40 fans and punk purists can enjoy equally. The set follows 2007's Isn't This Supposed To Be Fun!?, which, along with the band's earn-it-yourself attitude, kept Farewell on the road alongside acts including Forever The Sickest Kids, The Secret Handshake, Four Year Strong and Hit The Lights, as well as earning them a spot on last year's Van's Warped Tour.
When facing the task of writing Fun's follow-up, the band — vocalist Marshall Davis, guitarists Wil Andrews and Kevin Carter, bassist Buddy (just buddy) and drummer Jeff Ellis — set out with one goal: to diversify its sound while proving that it's possible to play catchy, pop-based music without pandering to overtly glossy production and studio trickery. So many bands' second record sounds exactly like their first one, and it's almost always a letdown, says Davis. We wanted to continue to move forward as a band and help expand our fans' perception of what pop-punk could be. That's why this new record has its own identity. It's a perfect blend of our past and present.
If you're looking for a record full of snot-nosed vocals and breakneck tempos, you'll probably be disappointed. Instead, Farewell's punk influence is exuded in swagger and attitude, drawing from influences like Jawbreaker and Screeching Weasel. Even so, it's clear the band isn't pulling any punches this time around. Calling out the cookie cutter caffeinated teens, deployed for mass consumption, the lead single Devoid (That's What I Think About It) kicks listeners in the teeth with massive Green Day-sized guitars and its rallying-cry chorus of When did rock and roll become this fucking fashion show!?
No, Farewell has not become a band of crusty punk-rock bellyachers. Nor have they turned their backs on the fan base that's supported them since the beginning. They're simply not willing to stand by and watch their pop-punk scene be overrun by sound-alike clones who care more about looking good than making good music. We're basically a punk-rock band that's more rock than punk, Davis laughs. I wish I could sing like Armstrong, but I guess I'll settle for Hoppus.
Farewell's members, most of whom had grown up playing in various punk and hardcore bands, came together in 2005 and quickly built a name for themselves, touring the Southeast and crafting their upbeat pop-rock sound, all the while showcasing for labels across the country. They eventually caught the ear of Epitaph founder Brett Gurewitz, who signed the group in 2007. It was an ideal situation for the band; many of their influences were veteran Epitaph artists. They understood our band and didn't want to change us, Davis says of the label. They were stoked on what we had to offer and gave us 100% creative control. It was perfect for us.
Throughout Run It Up the Flagpole, Farewell tempers it's us-against-the-world mentality with a hearty dose of earnestness and sincerity. That's best found on Catch As Catch Can, an autobiographical mid-tempo number that recaps the band's history – from its nascent stages in the dive-bars of North Carolina to an eventual deal with Epitaph and subsequent worldwide tourin

8===э_No One Goes Home_8===э. Этот исполнитель отмечен тегами:
rock, emo, electronic, awesome, amazing
LINKS
http://www.nogh.com
Myspace: http://www.myspace.com/noonegoeshome
Purevolume: http://www.purevolume.com/noonegoeshome
Youtube: http://www.youtube.com/nogh
Fansite: http://bashful-brunette.com/nogh
BIOGRAPHY
Craig Broombaugh: vocals, keyboards, guitar
Nick Stout: bass, vocals
Jon Zink: drums, vocals
You don’t cross paths with a band like No One Goes Home every day. They are talented, dedicated, and committed to making their dream work. Whatever it takes – and more – they will do: from leaving their hometown and succeeding in unfamiliar surroundings to embarking on a three month tour with only three days off. It may sound crazy and possibly a little unrealistic, but No One Goes Home is not letting anything impede their astounding process.
The name itself is fueled with the determination present in the band members: a moniker that states, according to Craig, “This is the last band I'm ever gonna be in, I have to make it work, no matter how hard things get, whether it be a bad show, a bad tour, or a bad record deal, we're in it till the end: 'No One Goes Home’” The band, rooted in a six year long friendship between Craig and Nick, adopted its current lineup in 2004. They attended the same high school and worked in the same establishment; Nick attended a great majority of Craig’s shows and even played live shows for one of the projects that led to the creation of No One Goes Home. Jon was the last piece of the puzzle to complete the band’s line-up after a successful audition in 2004.
Influences are important to a band’s structure – their variances culminating a musical outfit unique from the others over saturating the market, lining the shelves, and flooding the desks of A&R scouts. This trio is collectively influenced by The Beatles, Muse, Butch Walker, Less than Jake, Green Day, and many others that lie within the same vein. A listener can sense different aspects of these artists, but it is easy to set aside the qualities that are solely present in the music and being of No One Goes Home – the sincere quality of energy, clever but quirky lyrics, and the stylish fashion choices of the band members. The dyed hair that coordinates to their clothes and to each other makes it easy for them to stand out within a crowd – not that their personalities don’t already do so.
The eight-song EP distributed over ten thousand copies and has earned them a regular appearance on DJ Rossstar’s Punk Rock Show. Their list of achievements is long for a band not long involved in the industry with their fist full-length album dropping in January. The music scene is lacking a vibrancy that was once alive, but has been infiltrated with a focus on money and recognition. No One Goes Home seeks to restore the integrity within the scene. And, thus far, they have succeeded in doing so with their infectious poppy melodies and pop-punk anthems and their love for playing music.

8===э_No One Goes Home_8===э

Ксения Чумичева / Xenia Tchoumitcheva. Xenia Tchoumitcheva or Xenia Tchoumi is a fashion influencer, digital entrepreneur and public speaker based in London.
Armed with an economics degree and knack for entrepreneurship, the Swiss-Italian influencer with Russian origins speaks six languages (Italian, Russian, English, German, French and Spanish) and turned down an offer to work full- time at J.P. Morgan to continue her online endeavours for her web-magazine, Chicoverdose.
The website produces unique and fashionable content that is consumed by hundreds of thousands of readers globally. Xenia has worked or is the digital ambassadress of brands of the like of Ferragamo, IWC, Bulgari, American Express, Rolls Royce, Tod’s, Hogan, Tom Ford and Dior. As well as lifestyle brands like Vodafone, Sky and Huawei.
She regularly shoots with magazines of the likes of L’Officiel, Vanity Fair or Elle. She has recently given THREE motivational TEDx talks, she’s a freelance magazine contributor and stands for female empowerment. Xenia is a keen motivational speaker.
Source: https://www.facebook.com/pg/xeniatchoumitcheva/about/?ref=page_internal
Group created in: Octubre 29, 2016.

Ксения Чумичева / Xenia Tchoumitcheva

B-LINKS (The dynasty continues). DEFINITION OF HUSTLERS
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
Yeah, niggas smoke, chill, party, and die in the same corner
Get cash, live fast, body their man's mama
Rich ass niggas is ridin' with 3 llamas
Revenge in their eyes, Hennesy and the ganja
Word to the wise with villain state of minds
Grindin' hittin' Brazilian dimes from behind
Grindin' hittin' Brazilian dimes from behind
Grindin' hittin' Brazilian dimes from behind
Whenever, if ever, I roll up, it's sown up
Any ghetto will tell you Nas helped grow us up
My face once graced promotional Sony trucks
Hundred million in billin', I helped build 'em up
Gave my nigga my right, I could have gave left
So like my girl Foxy, a nigga went Def
So nigga, who's your top ten?
Is it MC Shan? Is it MC Ren?
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
The bigger the cat, the bigger the pillin'
Come through, something ill, missin' the ceilin'
What influenced my raps? Stick up's and killin's
Kidnappin's, project buildin's, drug dealin's
Criticize that, why is that?
Cuz now rap is compared to legitimized crack
Cuz we love to talk on ass we gettin'
Most intellectuals will only half listen
So you can't blame jazz musicians
Or David Stern with his NBA fashion issues
Oh I think they like me...in my white teeth
You can't ice me, we here for life B
On my second marriage, hip hop's my first wifey
And for that we not takin' it lightly
If hip hop should die we die together
Bodies in the morgue lie together
All together now.
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
If hip hop should die before I wake
I'll put an extended clip inside of my AK
Roll to every station, murder the DJ
Roll to every station, murder the DJ.
Everybody sound the same, commercialize the game
Reminiscin' when it wasn't all business
If it got where it started
So we all gather here for the dearly departed
Hip hopper since a toddler
One homeboy became a man then a mobster
If the guys let me get my last swig of Vodka
R.I.P., we'll donate your lungs to a rasta
Went from turntables to mp3s
From Beat Street to commercials on Mickey D's
From gold cables to Jacobs
From plain facials to Botox and face lifts
I'm lookin' over my shoulder
It's about 80 peoples from my hood that showed up
And they came to show love
Sold out concert and the doors are closed shut.
WE KEEPING IT REAL -SAVING HIP HOP -HIP HOP IS ALIVE )))) THE HUSTLE CONTINUES
BLINKS
PRODUCER--K-BOUNCE(B-LINK'S DR DRE)
RAPPERS--
ICE KOOL
DOPIE
MC---
DOTMAN
DJ---
B-LUV (SCRATCH MASTER B)
DREAMZ

B-LINKS (The dynasty continues)