AMBER SAYS

Check out this article (and the eye-opening video below), and then continue on to read the rest of the articles in this 4 part series from NPR.

It is astonishing just how many people have access to our online information. We are all at fear about how the NSA and even our own personal enemies might or could possibly use our personal information found online against us. But, what very few people realize is that this information is also available to a wide range of law enforcement offices such as the FBI and IRS as well as private attorneys as well. 

    Right from the start, the musical began with a slightly fun but more chaotic mess of contestants attempting to become the next star. With so much happening and so many voices, it got confusing and I did not know who to watch. Eventually, what were supposed to be semi-replicas of the Spice Girls were chosen. The chosen girls obviously did not fit into the Spice Girls mold completely, which was most likely intentional, and the Spice Girls do not even fit into the ‘moral story’ that the musical seemed to hint at. If Viva Forever! is supposed to be about the tension between staying true to oneself versus becoming a manufactured pop star, then the Spice Girls may not be the best example in the first place.

     In addition, the plot simply did not match the songs well enough, and I think they definitely could have better adapted the plot to follow to songs. Although choppy in the beginning and quite cliché, the second half seemed to be more cohesive and the plot line flowed much more smoothly and the transitions were smoother as well. However, it still seems almost as if they took a simple, cliché plot and threw some Spice Girls songs in rather than adapting to plot to the songs. Moreover, the comic moments were awkwardly interrupted by (what should have been) soft, warm hearted songs or, vice versa, those warm hearted songs were interrupted with awkward gestures which could have been quite funny otherwise.

     I should also note that Viva and the other ‘Eternity’ members, may have had great voices; however, with the blaring music it was so difficult to hear them and even impossible at some points.

      Although they staying true to the traditional, fundamental elements of jazz, the James Taylor Quartet has furthermore evolved the genre into something that many people can effortlessly fall in love with. Although jazz funk may be the most accurate description in terms of genre, this group of guys could easily appeal to a larger range of audiences who may not even like jazz, funk, or jazz funk. The pairing of the more traditional jazz instruments such as the bass, sax, and trumpet with the electronic Hammond organ takes one step into the jazz funk genre, but the way in which James Taylor thrashes on the Hammond organ with his quick and choppy movements in time goes one step further. As they kept the talking to a minimum and the playing to the absolute maximum, it is easy to see that these four guys genuinely love what they are doing, especially when on the stage.

     Additionally, the atmosphere of Ronnie Scott’s provided a marvelous setting in which to take in the brilliance of the James Taylor Quartet. Even having what was called an ‘obstructed view’, we were in a nice spot to take in the ambiance of the place as well as the band. It was also very comfortable in that, even when you wanted to get up and dance but were too afraid to do so in public, you could remain in your seat taking in the exciting movement of the band.

     At the start of the event, acoustic singer-songwriter, George Ezra opened the night with a brilliant, lively concoction of something country, something blues, and something a little bit rock accompanied by striking, deep vocals that nobody quite expected out of the young Bristolian. His

     Finally, Josephine was welcomed onto the stage by the very adoring crowd filling the entirety of Bush Hall. Apart from the occasional accompaniment of guitarist and backup vocalist Steve, Josephine made the stage her own standing boldly with only herself and her guitar.

     Josephine captured the audience with the bright personalness she provided in the lyrical content of her songs, and she also seemed to almost inspire the audience, especially with her song, ‘A Freak A’. As stated by Josephine, “It sums up being from a different background to all your friends. It's also about feeling like a freak 'cause you're not really into the things everybody else is into.” Her musical inspiration is derived from this different background of hers, being both a Mancunian while also having West African heritage. Fusing these various backgrounds, Josephine has created a brilliant combination of soul, indie, folk, and pop.

     The British Music Experience at the O2 claims to be ‘a must see for any music fan’, and I could not agree more. Upon arrival, we were given our smartickets and were told a little about them. While visiting the Experience you could swipe your smarticket at certain points to save them, and then you could take it home with you to virtually revisit whatever you liked. I found this to be an especially unique and fun feature to the Experience, as you could take a closer look at certain things that you did not get to fully explore.

     The Experience was very nicely organized, as it allowed you to go through the musical history of Britain through an interactive timeline decade by decade to examine both the music and the wider setting of each time period in terms of society, culture, and politics. Instead of having to read the information you wanted to learn or find out about, you could take a glance around at all the amazing memorabilia, see something you were interested in, pop on a pair of headphones, and hear all about it. Between personal artist videos, astounding images, marvelous memorabilia, and interactive stations, there are so many different ways of accessing the remarkable amount of information within the Experience. You could easily end up spending hours in the place without even noticing.

     Also worth noting is the Gibson Interactive Studio. One can actually go into the studio and play along to the well-known songs we all love on famous replica instruments. There was even a virtual recording studio that allowed you to belt out your favorite British songs in private or join friends for a fun, mini recording session.

Line-up: Nick Edward Harris - http://www.nickedwardharris.com   Maia -  http://maiatheband.com  ODi -  http://www.odimusic.co.uk

     Upon entrance, I was quite taken aback. The names of ticket holders were actually hand written on a piece of paper, and the band was still sound checking. There were less than 10 individuals inside, many of which I assumed to be close friends or family to the band. Surrounded by dark wood and brick walls, the one room that comprised the Green Note was very small, cozily fitting the band, a couple of tables, a bar, and hardly any place for standing. Stepping over guitar cases and denim jackets, I made my way to the back to find a place to discreetly stand while the bearded men completed sound check. Along the way, about 10 more people turned up.

     Finally, Nick stepped up to the stage accompanied by his acoustic guitar and a female violinist. Opening with a lovely, folk cover song, Nick demonstrated true folk elements with his somehow soft but drastic shifts in pitch with his vocals, finger picking guitar, and foot stomping beats accompanied by the sweet violin. Just as Nick described, he sang songs of 'bad love' and 'good love'. Keeping beat with the stomp of his foot and adding in the harmonica, Nick ensured in us the personal, united feeling that the nature of folk ensues while also later adding his 'weird angst' that gives him his unique and lovely style.

     Then it was the Irish duo ODi's turn who stepped on stage with just a guitarist by her side and another acoustic guitar slung across her (sometimes trading off with an piano accordion). ODi, with their soothing, but rich & powerful vocals, sang lyric filled songs of love, emotions, and 'tears & wine' while radiating sincere feeling as well as a sense of humbleness within her. From playful sing-along choruses to homemade Easter egg & rice shaking ballads, everyone took part in the seemingly personal, yet playful songs, describing feelings we all know too well with "we all want something beautiful to hold onto".

     There to finish the evening was Maia, armed with a plethora of instruments - guitar, mandolin, banjo, bass, drums, ukulele, trumpet, electronic keyboard, and four young men who sang, harmonized, whistled, clapped, and stomped their way through this brilliant show. With sounds that seem like they should be coming from an old vinyl, Maia dance within the realm of folk, while marvelously providing it with something all their own.

     They encompass the traditional aspects of folk while also integrating their self-described ‘sci-fi, disco’ genre with their keyboard-created folk beat running alongside their acoustic, lively instrumentals with one of the guys switching from mandolin, bass, to guitar all within one minute. The Cat Stevens-esque vocals told joyful tales of ‘tiny men’ ‘living in an alligator’ accompanied by scenes of meadows, nature, and sometimes outer space. At one point, declaring it was 'time for a hoedown', the audience quickly took to their infectious happiness and playfulness and was up out of their seats singing and stomping along.