HAPPY BIRTHDAY COLIN!
CONGRATULATIONS!
CHEERS! HAPPINESS! PEACE!
ENJOY IN THIS SPECIAL DAY!
ALL THE BEST EVER!
natercia(Planet Ed O' Brien)
greenwood (10)
Jonny, it's your birthday !Please take a break andspend some time with your wife and children and your bandmates because they are all your family and they love you very much. Relax from being a complete and utter musical genius. We(Radiohead fans) all love you very much and we hope that you have a wonderful time. We hope that you are okay.
I made you a vegan chocolate cake . For the greatest guitarist /complete genius(don't tell Thom;) )
Put down the instruments and chill for a while. It's your B-day ! :)
TODAY IS COLIN'S BIRTHDAY!
HAPPY BIRTHDAY COLIN!
MANY BLESSING, MUCH PEACE, HAPPINESS!
WE WISH YOU HAVE REALLY A VERY GOOD DAY, PARTY!
MAY COLIN A LONG LIFE!
THANK YOU FOR ALL, COLIN!!!
After waiting in line for 10 hours, we managed to get to the front row for the entire concert. Throughout the day, I managed to capture enough images to make this short stop motion film. Hope you guys enjoy!
I want to share with you two videos that i found of his performances at the European Culture Congress , wich was realized this year at Wroclaw, Poland.
48 Responses to Polymorphia (remaster of Penderecki's "Polymorphia")
https://www.youtube.com/watch?v=1IWlwsJwwCk&feature=BFa&list=FLR0tjgAjK-UY9f0l4PPCing&lf=mh_lolz
i love this video when jonny greenwood performs steve reich's 'electric counterpoint' at festival sacrum profanum
https://www.youtube.com/watch?v=Pmf7HwqHSJM&feature=BFa&list=FLR0tjgAjK-UY9f0l4PPCing&lf=mh_lolz
look how he plays the guitar, is just amazing.
I'm very excited about the result of his work with Penderecki. Can't wait to hear it.
Posted by Lady Newell & Friends Curator WASTECENTRAL
http://www.facebook.com/ladynewellandfriends
Colin Greenwood's South Africa on http://www.bbc.co.uk/programmes/b037jwpg
Radiohead's Colin Greenwood presents the last of three shows as he sits in for Jarvis Cocker.
For this final show Colin presents a selection of old and new music he discovered on a recent trip to South Africa. Alongside the music there will be inserts from Children's Radio Foundation and Jeremy Vine also joins Colin to talk about his time as the African correspondent for the BBC and the music he grew to love out there.
LISTEN TO COLIN PROGRAMME ON BBC RADIO 6
Colin Greenwood entrevista !!!
"Aún habrá que esperar para un nuevo disco de Radiohead"
13/5/2013 Entrevista completa en el diario El Pais
Las noticias más recientes indicaban que se meterían en estudio al final de este verano. Pero Greenwood se encarga de desmentirlo. “No tenemos ningún plan. Thom está con su gira. Y dudo mucho que según la acabe nos pongamos a grabar. Aún habrá que esperar para escuchar un nuevo disco de Radiohead. No sé cuáles son nuestros planes, pero sí que, a pesar de este break que nos hemos tomado, todo está bien entre nosotros”. Ya que estamos, ¿cuál es el secreto para mantener el equilibrio en esa extraña democracia en formato de banda que ha vendido más de 30 millones de discos, lleva dos décadas de éxito ininterrumpido y cuyos egos están al borde de la colisión permanente? “Lo esencial es conservar la curiosidad. Mantener conversaciones como esta. Salir al mundo y alimentarte de otras referencias que te enriquezcan. Y después traerlo de vuelta al grupo, compartirlo con los chicos. Es lo que hemos hecho siempre. Y hasta hoy nos ha funcionado”.
Photo by Patrick Beaudet
Colin Radio Frequency
Colin's trip to South Africa / Viaje de Colin a Sudáfrica
Colin Greenwood is Global Ambassador of Children's Radio Foundation (#CRF), a charity using radio as a tool to empower young people across Africa. Colin and his CRF producer Sam are both travelling to South Africa to meet some of the talented young people on the projects, take photographs and make some great radio.
Thanks Arico !
Hello and I'd like to let everyone know I'm off on an adventure to South Africa on Saturday. I've been working with a charity based there, called the Children's Radio Foundation, which works with young people in half a dozen countries in Africa to give them journalistic and broadcasting skills, and a voice to tell their stories. I'm going for 11 days to visit some of the places where the CRF is working with youth groups, hospitals and radio stations in South Africa. You can follow my trip HERE. I will be putting up some pictures, and blogging about the journey as I go along. You can see and hear some of the stories by following the Vimeo link, and Soundcloud too.
I'm very excited to be going, and I hope you will enjoy following my journey on the site. I'm working with CRF because I've always believed in the importance of curiosity, and I grew in a home that was passionate about ' Radio ', as a window to the world outside. In my day job as a musician, I've always loved travelling, meeting people, and making connections with them about all our lives. CRF does all of this this brilliantly, through its radio and journalism training. CRF informs and enlightens everyone's lives - the reporter, interviewee, and the listener, wherever they may be. I'll also be checking out some music too, so keep an eye on the site!
Español: ¡Hola! Quisiera comentarles que el sábado estoy emprendiendo un viaje hacia Sudáfrica. He estado trabajando con Children’s Radio Foundation que es una organización de beneficencia que trabaja con gente joven en una media docena de países de África para desarrollar sus habilidades periodísticas y de transmisión, además de darles una voz para contar su propia historia. Me iré por 11 días para visitar algunos de los lugares, donde esta organización colabora con grupos de jóvenes, hospitales y estaciones de radio en Sudáfrica. Pueden seguir mi viaje en este sitio. Estaré posteando algunas fotos y escribiendo un diario sobre el viaje. Pueden también escuchar algunas de las historias siguiendo los enlaces de Vimeo y Soundcloud.
Dic, 23/2011
Win a Yamaha LS9-32 console! Radiohead bassist Colin Greenwood is the judg
UK - Since September, Yamaha Commercial Audio Europe has been offering the chance to win an LS9-32 digital mixing console in its 25th Anniversary Facebook photo competition. But time is now running out, as the competition closes for entries at midnight on 1 January.
2012marks the 25th Anniversary of Yamaha bringing the first digital mixer to the market and Yamaha Commercial Audio Europe is running the photo competition in celebration. To qualify for entry, photos must be of Yamaha digital consoles in interesting or entertaining settings in use over the past 25 years and posted to http://www.facebook.com/YamahaCommercialAudioEurope,where an entry form and complete terms and conditions are available.
The company has also revealed the celebrity judge who will choose the winning photographs in January. Radiohead bass guitarist Colin Greenwood is an accomplished photographer, whose photos are regularly posted on the band's website.
"Colin has successfully combined the worlds of working musician and photographer together, so he is an ideal candidate for judging the competition," says Karl Christmas, senior manager, Yamaha Commercial Audio (UK)
"We have received entries from right across Europe showing consoles 'in action' in a wide variety of situations and which capture unique moments. I'm sure Colin will have a difficult job in choosing the winners."
As well as the winning image, whose photographer will receive a Yamaha LS9-32digital mixing console, Colin will also choose 23 runners-up who will win a Yamaha POCKETRAK digital recorder.
A special 25th prize will be chosen from the 10 most 'liked' entries published on Yamaha Commercial Audio Europe's Facebook page. From those 10, a select panel of audio industry experts will choose the winner of this prize, a YamahaMCR-040 portable hi-fi system.
"We have extended the deadline by 24 hours to give people the chance to enter photos from the many New Year's Eve events that will use Yamaha digital consoles," says Karl. "There is still the chance to take photographs of them in festive situations. The gratuitous inclusion of baubles, tinsel and party poppers is positively encouraged!"
source (Jim Evans)
Thanks Robert for this news !!
Dic, 12/2011
Unicef on Climate Change in Zambia
This report, just in from 17 year old Msonda Chibwana, on how climate change is affecting his life and family in Zambia.
Oct, 25/2011 DAS Children's Radio Foundation
"Radio is everywhere in the country, and it’s a great way to talk to a lot of people from all different situations.It was really great to do an interview. When you get to interview someone, you’re learning from them. And you’re also sharing with it many people on the radio, so we’re all learning." - Ceswa Mpandamabula, 15, Lusaka
The Children's Radio Foundation is a UNICEF backed project across Africa that I've recently become involved in. It's very interesting and inspiring to me, because it incorporates some of my passions; new and old media, radio and the internet, and how these technologies can be used to give a continent of young people a voice. There's more info on their site, and their soundcloud too. Check it out!
Our favorite bassist gives an update on the process that has taken place for the new Radiohead LP and how it might be released! On an essay written for index on censorship, Collin states: "the band have just finished another group of songs, and have begun to wonder about how to release them in a digital landscape that has changed again."
The complete essay reads as follows:
Radiohead’s Colin Greenwood explains why the band released their last album direct to their fans
It’s been nearly three years since we announced our “pay what you think it’s worth” scheme for the launch of our last record In Rainbows. I remember the excitement of it all, not least because the release date was my wife’s birthday, 10 October. The idea came from a friend of our manager, who proposed an “honesty box”, placing the onus on people to ask themselves how much they valued our music. Last summer, as we finished some more recordings, we started to think and talk about how to release them. So it seemed a good moment to take stock of the technological and cultural changes that have happened in the meantime.
In August 2007, we had finished our first record after the end of our deal with EMI. Previously, we would have given it to our record company at least three months up front, and then gone through the protracted round of meetings to decide on videos and singles — experiences we’d had for the previous six records. This time there was no EMI, and no one to decide anything but ourselves. We owned it outright, and could do whatever we wanted with it. This coincided with the growth of the internet as a medium to discover and share music, something we had used to reach fans while we made In Rainbows. This desire to use the technology was driven by distrust and frustration with trying to broadcast our music via traditional media, such as radio and television. Music on television is scarce, and hard to do well. Radio has such regulated playlists that disc jockeys are lucky to have one free play per show. Why go exclusively through such straitened formats when you could broadcast directly to people who are interested in you, in that moment?
The other attraction for us was the conjuring up of an event, a way of marking our releases and performances as special, unique times. The internet makes it easier for everything to be live, and that’s what we do. While we were in our studio, making the last few records, we would schedule last-minute “web casts”, and, at short notice, make small, spontaneous and impromptu programmes where we would play our favourite records, talk to fans, play new and old songs live, and even cover versions of songs from bands that had inspired us. It was stitched together on old Sony cams and video editors from eBay. It did feel like a Ruritanian broadcast, but it was thrilling to be sharing a live moment with our fans that wasn’t mediated by anyone except the internet service provider, and a live show that could be created ten minutes from home. I’d like to think the equivalent of this in broadcasting history would be the mom and pop radio stations that set up in America between the wars, when the excitement of a new medium was explored through the immediate community. In the same way, we saw the internet as a chance to treat the global constituency of Radiohead fans as our community. Also, it helped break up the studio tension, and made us feel less cloistered and isolated while we finished recording.
Against all this positive experience of using net technology, we’d had a bad experience on the previous record, when someone had taken some of the songs from a computer and put them online, well ahead of the official release. Everyone became very careful about carrying songs around, in the car, on CDs, music players and computers. It made you realise how easy it is to store and transmit music once it’s digitised, and that the fundamental thing about music is its destiny to be broadcast or shared. Part of the process of making a record involves listening to new songs or ideas in lots of different places: the car, the kitchen, with friends late at night. Having feelings of mild anxiety about music escaping onto the web wasn’t conducive to that, and there were a few panics. Fortunately, we managed to keep everything unreleased until the online download of In Rainbows.
The success of keeping the music off the net until release proved very powerful. A pre-digital album launch would involve some shows perhaps, record shop queues if you were lucky, and plans by the record company to mark the release as an event. In the digital world, with the ease of music escaping online, that sense of an event is diminished.
With In Rainbows, we were able to be the first people to digitally release our record, directly to people’s personal computers, at 7.30am GMT on 10 October 2007. I was having breakfast, and watched as the file appeared in my email, and the album streamed onto my desktop. I spent the next day and night monitoring people’s reactions online, both to the music and the means of delivery. Journalists in America had stayed up overnight to write the first review as they received the music – again, in the pre-digital age they would have had advance copies up to three weeks before. On the torrent site bulletin boards, people were arguing over whether they should be downloading and paying for the record from our site, rather than the free torrents. Various online pundits and pamphleteers were pronouncing the end of the record business, or of Radiohead, or of both.
For all the giddy prognostications, the most important reason for the success of In Rainbows was the quality of the music. I think this was overlooked, but without the great songs that we were proud of, the online release would have counted for nothing. I am optimistic that if you make good work you can secure the patronage of your fans.
Three years later, we have just finished another group of songs, and have begun to wonder about how to release them in a digital landscape that has changed again. It seems to have become harder to own music in the traditional way, on a physical object like a CD, and instead music appears the poor cousin of software, streamed or locked into a portable device like a phone or iPod. I buy hardly any CDs now and get my music from many different sources: Spotify, iTunes, blog playlists, podcasts, online streaming – reviewing this makes me realise that my appetite for music now is just as strong as when I was 13, and how dependent I am upon digital delivery. At the same time, I find a lot of the technology very frustrating and counter-intuitive. I spend a lot of time using music production software, but iTunes feels clunky. I wish it was as simple and elegant as Apple’s hardware. I understand that we have become our own broadcasters and distributors, but I miss the editorialisation of music, the curatorial influences of people like John Peel or a good record label. I liked being on a record label that had us on it, along with Blur, the Beastie Boys and the Beatles.
I’m unconvinced that the internet has replaced the club or the concert hall as a forum for people to share ideas and passions about music. Social networking models such as Twitter and foursquare are early efforts at this but have some way to go to emulate the ecosystem that labels such as Island drew upon, the interconnected club and studio worlds of managers, musicians, artists and record company mavericks, let alone pay for such a fertile environment. Shoreditch, in east London, has a vibrant scene right now, with independent labels such as Wichita, Bella Union and distribution companies like The Co-op, alongside the busy Strongroom studio. I spoke to a friend, Dan Grech-Marguerat, about the scene. He is a busy mixer and producer, and told me that he could just sit at home and work on the computer but would miss the social buzz and benefits of working at the Strongroom and other studios.
There are signs that the net is moving out of its adolescence, and preparing to leave its bedroom. I have noticed on the fan message sites that a lot of the content and conversations have grown up, moved away from staccato chat and trolling, to discussions about artists, taste and trends, closer to writing found in music magazines.
There is less interest in the technological side of the net, and more focus on what services the web can deliver, like any other media. People are using touch and gesture-controlled devices such as the iPad to see through those objects to get to the content they want. This transparency and immediacy is exciting for us as artists, because it brings us closer to our audience.
We have yet to decide how to release our next record, but I hope these partial impressions will help give some idea of the conversations we’ve been having. Traditional marketplaces and media are feeling stale – supermarkets account for around 70 per cent of CDs sold in the UK, the charts are dominated by TV talent-show acts – and we are trying to find ways to put out our music that feel as good as the music itself. The ability to have a say in its release, through the new technologies, is the most empowering thing of all.
Link: http://www.indexoncensorship.org/2010/09/radiohead-copyright-freespeech-music/
I can already feel the new album getting closer and closer.
Saludos!
-SSA
(Via -- Ateaseweb.com...)
Radiohead are making progress in the studio. The band started recording this past Winter and are currently in the studio working on the last bits. Ed O’Brien said it will be a matter of weeks till it’s finished and hopes to see the release before the end of this year. ‘It has got to. I hope so’
Guitarist Ed O’Brien was a guest on Adam Buxton’s show on BBC 6 Music today, saying he thinks the new Radiohead record ‘is the best record we’ve ever made’.
Ed: “We’re in the heart of the record. It’s genuinely exciting. It’s very different from what we did last time. It’s really nice to be doing this. It’s so good to be making music with the band that you feel is still as good as it’s ever been.”
When Adam Buxton asked if he had any idea when this record would see the light of day,
Ed answered: “No, Ideally it would be greatif it came out sometime this year. It has got to. I hope so. We’re at the finishing line. When you’re making a record, a film, write a book for ages and ages you think the finishing line is miles away. Now it feels it’s in touching distance. But of course, it being a creative process, at the last bit also, you have bursts of energy, you achieve a lot of things in a small period of time and then you’re nearly there…it might slow down. But yeah, hopefully it will be a matter of weeks.”
With ‘In Rainbows’ you seemed to have turned a corner and having a lot more fun. That’s what it looked like from the outside looking in. Is that fair?
Ed O’Brien: It wasn’t fun making the record. Making records has been hard. It’s always been a slog. Traditionally Radiohead in a studio has been: Don your tin helmet, just see it out, like a war of attrition. And basically at the end of In Rainbows it had taken three years to sort of come together. And we initially started off on our own, pulled in someone else and after a year we worked with Nigel [Godrich] again. It was such a slog. We knew we had these songs. We really believed in these songs. So, we had to do it right. It just took a long time. And we basically decided then and there at the end of that record: ‘We are never doing this again this way’. That was kind of like the end of Radiohead, mark 2. We decided, the only way that worked for us to carry on was to do it in a different spirit. Enjoy it.
On the recording process of ‘In Rainbows’ Ed continued explaining why it was much harder than everybody thought.
Ed: “We hear it all the time: ‘it sounds like you had a great time in the studio’. But, oh man… that [In Rainbows] was a slog. It was a really long process. At the end, for instance a song like ‘House Of Cards’ has been recorded six times. Plus the fact: we had this genius idea in 2006 to go on tour and do 50 odd shows, play all these songs, go back to studio and record them. And that’s when we went back in with Nigel. We went in and recorded them having played these songs 50 times. So we kind of got the arrangements sorted. We just wanted to get them down. We played these enough. And we got them down and most of them were rubbish. A lot of work in the creative process is rubbish.
However Ed praised producer Nigel Godrich for his influence on the band.
Ed:“The art is to not give in, to carry on, persevere. You just have to keep going. The great thing about Nigel is; he raises the bar. He drives you hard. You think you’ve done the take, you think you’ve done your overdub, you think it’s in there and then he says: ‘Maybe one more time’. He gets the best performances out of you. He’s amazing. Cause he also drives himself really hard as well. The quality of the stuff that he does is really high. So, it’s good to be driven hard.”
I'm excited!
-SSA
UPDATE: Listen to the interview here:
http://soundcloud.com/a952424/ed20-6-2010
Link:
http://www.ateaseweb.com/2010/06/20/new-radiohead-album-almost-finished-release-this-year/
