Articles
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6 days ago |
theguardian.com | Stevie Chick
On 13 November 1973, at Roberto Clemente Coliseum in Puerto Rico, Celia Cruz took to the stage in a bejewelled, psychedelic blue dress and vast afro, saluting the 12,500-capacity arena with her trademark rallying cry: “Azucar!” – sugar. The Cuban singer had been a star for more than two decades by this point, but this concert marked a rebirth. Backed by the Fania All-Stars, the in-house orquesta of the label that brought salsa to the US, Cruz performed Bemba Colorá.
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3 weeks ago |
theguardian.com | Stevie Chick
Can you remember the precise moment you realised you had a gift as a vocalist? SalfordRed64I was doing a talent show at the Burning Spear in Chicago. My group, the Crystallettes, graced many a nightclub stage in competitions, and every time either us or [fellow Chicago girl group] the Emotions would win. But I remember singing some Aretha Franklin songs and people in the audience were throwing money on the stage, and they started calling me “little Aretha”.
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3 weeks ago |
thequietus.com | John Doran |Stevie Chick
“Were we cyberpunk?” asks Brainiac guitarist/vocalist John Schmersal, who, since 2023, has led his fellow bandmates on a series of tours to honour the music they made with frontman Timmy Taylor, who died in 1997. (They’ll be spending much of this month touring the US as guests of Mogwai.) Schmersal’s tongue is firmly in-cheek there: a hackneyed cliché like “cyberpunk” does not do justice to the wild, haywire wit and invention that coursed beneath Brainiac’s frenzied surface.
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4 weeks ago |
independent.co.uk | Stevie Chick
in focusThe unconventional star of ‘Saturday Night Live’ and ‘Taxi’ is the subject of a brilliant new documentary film. Stevie Chick looks back at the life and work of one of comedy’s true originals Messing with reality is everything that Andy Kaufman is about,” says Bob Zmuda, early in thebrilliant new documentary Thank You Very Much.
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1 month ago |
thequietus.com | John Doran |Stevie Chick
If there’s a commonality shared by all the numerous junctures when jazz’s demise has been prematurely reported, it’s that they’ve often come when its practitioners and pioneers have dared to connect with other music that surrounds it, or dared to locate new audiences, or dared to involve new ideas to explore, new technologies to embolden those concepts, and new contexts within which it can flourish.
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