If instead of turning to right at Hauptbahnhof, you go straight and cross the tramlines and you get to Rembertistrasse (the street under the autobahn) you will find the Tower Club (on Herdentorsteinweg). This is a place decorated in a Gothic Style with old walls and little light. It has two floors: downstairs one can also dance and upstairs one can play some table football. As I was told by one of the bodyguards, the music is better upstairs, but there’s a dancing floor only downstairs. This is the perfect place for rock (softer, not very hard…), alternative, new wave, crossover, and hardcore music genres fans. Sometimes it also has house parties. The place is especially popular among students because on Tuesdays it has Student parties with free entrance and Foster’s beer at half price. Even if you are not a gothic fan you might want to drop by if you do not have anything important to do on Wednesday morning and have a chat with some students.

The first club on Rembertistrasse is Rosige Zeiten. This is again a mostly house club, but on some occasions they also have 70’s parties. It has got a pretty impressive reddish decoration. Unfortunately in the last years the club has lost it’s popularity and if you go there before 1:30 you will find very few people. Entrance costs about 5 euros and it is useful to ask how many people are in (because sometimes there are quite many, especially when DJ-s from London come there).

The next club on Rembertistrasse is Neue Welt also known as nine-nine-one (on Fridays). On Fridays the main genre played is trance and other non-commercial techno genres (but not house). The atmosphere is not spectacular and there are not too many people on Fridays. On the other hand, the club seems to be totally different on Saturdays when the music played is varied (mostly charts). The place even seems too crowded and small and the people seem a bit too immature (starting from 14 year old people). Personally, when I was there on a Saturday with Akhil, Azim and Timur we felt that it was not the place for us…but maybe it’s not like that every Saturday… From 3 or 4 o’clock in the morning the place reopens for the Morning Beats trance party (Sunday morning, entrance 5 euros). So, if trance is your religion you might want to try this.

Walking further on Rembertistrasse, you will get to Woody’s. They put all kinds of music, anything that is in vogue for any taste (less house). The entrance is 3 euros, the average age is 18 (it means there are also people who are 15 and people who are 25) and the drinks are pretty cheap. It has got one floor and nothing too spectacular.

The most famous club on Rembertistrasse is Stubu/Coconut. This is the club about which you will hear most things from the other pioneers. Some of us went there so many times that we are disgusted when we hear the name of the place but we still go there…I don’t know why but the place is a magnet. It probably owes it’s popularity to the fact that it is open all week, entrance is only 3 euros on Friday and Saturday night and free on the other days. You won’t believe but there are actually parties everyday there. The student party is on Thursday when the place gets sometimes as full as in the weekends (also because of the happy hour- drinks at ½ price till 10 o’clock). It has two floors: Stubu-mixed, charts, techno, German Schlagers and Coconut-hip-hop, RnB. There’s a great variety of people you can meet here: from students to factory workers, all races and different nations.

On the other side of the Hauptbahnhof if you are a trance fan you could go to Schlachthof and if you like house more you might want to try Swutch Club.

Closer to the city center, near the banks of River Weser (on Schlachte Street) there are several good clubs and restaurants with foreign food. One of the good clubs is Rio where they occasionally have Latino parties, like the one called “36 Grad” (the place to practice your salsa, merengue, cha-cha-cha, mambo and rumba skills).

On the same street you may find on the Weser a boat where they hold parties: Shark Lounge. It is mostly famous for the student “pa:ti”-s which take place about once a month. The main genres played are house, UK Garage, Hip-hop, Latin House and some house/RnB mixes. People are also very select, clean and decent. The entrance fee ranges between 5 and 7 euros (might be up to 10 for very, very special occasions). A small advice: Check online if the place is open on the day you want to go there because it is not open every weekend.

The biggest multi-taste disco inside Bremen is Modernes. This is the place for many motto parties (Studio 54, Heartbreaker’s ball, Robbie Williams Night, etc.). These motto parties are guaranteed to bring more fun because people are dressed up, there are movie projections, games, live stage entertainment. The entrance costs from 4 to 9 euros. The dancing floor is among the biggest I have seen in Bremen, although there are much bigger places outside the city.

There are also two very big clubs in the Sebaldsbrück area, close to the Mercedes-Benz factory but these ones are more specialized. Their names are Aladin and Tivoli and they are right one next to each other. This is a big advantage on special occasions when the walls between them are removed and everything transforms into a huge 4-floor party complex (with a yard where one can breathe some fresh air). During normal weeks (weekends and some working days) Aladin hosts parties for rock, hardcore, alternative, hard rock, heavy metal, punk and related tastes while Tivoli hosts parties for Trance & Techno fans (entrance 10 euros). However, Tivoli does not get full during normal weekends. One can have the best time partying in Bremen at the big Jungle, Old Skool, 2step, Drum ‘n‘ Bass and House events. These happen about once a month or once in two months. This is when the two clubs (each one having two floors) unite giving birth to an impressive complex with floors for all tastes.

Usually at these parties there are about 15 to 20 DJs and 5-6 MCs (famous ones, from Germany and England) and also 2-3 LJs (for all the lasers, vortexes and projections). This is why the entrance price is situated around 20-25 euros (depending on the number of celebrities), but one can get a 3-5 euro rebate if the tickets are bought before the event (Vvk. i.e. Vorverkauf). Even before opening at 10 o’clock one can see long cues at the entrance and the place gets full in about one hour. Dreamland and Junglemania are two famous events that take place several times a year. Personally, I have had my best clubbing time at these parties, so if you enjoy the genre you should not miss it! Remember a thing: Good parties don’t take place too often! (That’s why it might be a good idea to put some money aside some time before.)

To sum up, I may say that Bremen is not a huge night-life center like Frankfurt, Berlin or Hamburg but still for a busy IUB student trying to forget for a few hours a week about assignments, study and student jobs, there are enough places to acquire new memories and experiences. I am telling you this because after you will graduate you will have less free time than you have now. We will all be preoccupied by career and then family, we will be really mature people and we will be fully responsible for our actions. And then we will ask ourselves: Didn’t I miss anything from the beauty of being young and restless? So, my advice would be study hard and learn well but don’t forget to chill out a bit because Bremen is not a village after all J!

So, Viel Spass!

Article written by a student from Bremen. More information and details available at http://clubbingpocketguide.blogspot.com Useful information and tools for people around Hamburg: http://www.amigomo.de

Need Loans but Have Bad Credit? Visit http://gewdir.com for info

Robert Peter Williams also known as Robbie Williams was born on 13th February 1974 in the village Newcastle-under-Lyme.

He sold tens of millions of albums worldwide and is one of the best selling artist not only in the UK but also world wide.

The take that period (1990-1995).

Robbie Williams started his career with the very popular boys band Take that (Robbie Williams, Mark Owen, Jason Orange, Howard Donald and Gary Barlow). They had several number one hits such as “back for good”. In total they had 10 UK number one singles seven of them were created when Robbie Williams was a member of the band.

In 1995 the band splitted however in 2006 they came back with a new single “patience” the band was reformed but this time without Robbie Williams.

Robbie William’s solo career

In 1996 he covered George Michaels’ freedom and reached number two in two in the UK hit parades. This number is very impressive because the original George Michael didn’t receive a top ten place in the charts. In September 1997 Robbie Williams released his debut album live trough a lens.

He received a top eight position in the UK charts, however he was struggling to reach the top 40 in the European charts.

In 1998 I worked together with Williams and chambers to make the album “Millennium”. At this time he had a relationship with Nicole Appleton a member of the band All Saints.

The band still active these days. With the single millennium he reached his first top one single in the hit charts. And he had not only success in Europe but also in Latin America. “She’s the one” another single from the album Millennium reached also the number one in the charts.

In 1999 he did a lot of promotions and tours and without doubt he was a very successful artist. He created also a knew album with the well known hits like “Rock Dj”, “Supreme”. He collaborated also with the Australian Pop artist Kylie Minogue (Kids).

In late 2001 he released a new album Swing when you are winning. In this album he had a hit with Nicole Kidman “something stupid” it was a cover from Frank and Nancy Sinatra. In 2002 Williams began working on what would be his fifth studio album, Escapology. It was the best selling album of this year in 2002. His ninth album was called Intensive care, his best selling studio career of his time with the single Rudebox that’s also the upcoming title for his next album.

His last album so far has the title Rudebox with hits such as Rudebox and she’s Madonna. This latest song was released with the Pet Shop Boys and is a love song to Madonna. In the video clip you can see Robbie Williams as a drag queen dressed in a white jacket.

Discover more bio’s and the latest news from Celebrities by visiting my blog Celebrities bio’s and news

Break dance, which is now mostly referred to as “b-boying”, and the dancers called “b-boys” or “b-girls”, is actually a term applied to anyone who identifies with the “break dancer” culture. The B-boy genre, which is largely unnoticed in the U.S. mainstream, is actually as popular as other forms of popular sports and entertainment. It generates millions of dollars of revenue through it’s own network of live events, websites and retail outlets, which sell their own unique brand of B-boy videos, music, apparel and related paraphernalia, and is searched for on-line as much as other forms of popular sports and entertainment. B-boy entertainment is viral, a bona-fide phenomena that is re-emerging in the U.S.

B-boy, which technically stands for “break or beat-boy”, is the art of traditional break dancing, but now combined with elements of gymnastics and mixed martial arts or what is now known as “tricking”. The original form of the dance, which never actually died, as most in the mainstream assume, again simply went underground where it could find its own home, a place where B-boy’s could shine in their own right, away from the negative aspects of modern mainstream Hip-Hop. There it’s where it has remained and morphed into an incredible acrobatic styled dance which is often compared to an Olympic sport.

“You won’t see any finer moves in the Olympics”- Ron Wilkerson / Monster & Critics.com

At the center of any B-boy competition is the “Battle”; where two opposing sides, either teams or solo, face each other in a battle of dance supremacy. Many B-boy competitions include choreographed stage presentations, in which they’re judged for creativity and showmanship, but the Battle remains the foundation of any B-boy competition.

RedBull & SONY® are two of the largest and most notable sponsors of B-boy competitions worldwide. With several dozen major events held annually, some of the larger events like Battle of The Year and R-16 draw in crowds of over 10,000 and 20,000 respectively. Other notable events like the World B-Boy Championships, FreeStyle Session, Red Bull BC One & Beat Battles boast record breaking attendances into the thousands, and sell out year after year.

These hi-energy contests are incredible displays of creativity, dexterity and agility. The Battles, which are often laced with verbal smack, jostling and chest thumping, are explosive to watch and have often been compared to a WWE match. However, this is unscripted and in the end, with hugs and handshakes all around, there’s nothing but respect and honor for one’s opponent…that’s the B-boy way.

In Europe and Asia, B-boy has exploded, spawning its first set of celebrities in the Korean crew “Last for One”, which have been featured in commercials, TV and are regarded as bona-fide celebrities in their country. As a matter of fact, over seas, B-Boy is a booming market for endorsements and sponsorships. So much so that SONY® Europe has even released a B-boy game for their Playstation2 (PS2) and PlayStation Portable (PSP) game platforms.

Like most popular trends, the US lags behind, but there are some very significant signs of a mainstream resurgence here. Leading the way is the documentary Planet B-Boy, which made its debut at the 2007 Tribeca Film Festival in New York City. The film chronicles the trying journey of five of the best B-boy crews, from all around the world, on their way to the Grand Daddy of B-boy competitions, the International “Battle of The Year; which is considered the “World Cup” of B-boying. The movie opened to rave reviews and is being touted as a film of “great significance in the history of B-Boying and Hip Hop” by Dancing.net.

On television there are several projects in development that feature or highlight break dance, of which is the development of a street styled dance competition created by P-Diddy for MTV and the WORLD B-BOY LEAGUE, a league organization, which will televise “fight league” styled B-boy competitions.

As well in the U.S., the break dance resurgence can easily be witnessed by visiting your local high school or college. B-boy clubs have sprouted up, in what seems like thousands of college and high school campuses across the country. In most cases, these are legit, school-sanctioned organizations, which are offered right along side chorus, poetry and chess. A search on Google for break dance clubs, college turns up dozens of these clubs and related organizations.

This article just skims the surface of this topic, but clearly demonstrates how the B-boy genre is alive and thriving today. It is unquestionably a viable market and a much more popular force than recognized. The days of your Uncle’s head spins and moonwalks are long gone. B-Boy isn’t a fad or fodder for a punch line. It’s a legitimate art form, a popular sport and a significant element of Hip-Hop culture whose time is well over due. Break dance never died, it just went back home to change its clothes and it will be out to play again soon.

“…an important element of dance culture that deserves some legitimate respect. Or perhaps a slot at the Olympics”.
Rich Cline
-Shadow on the Walls

Mr. Covert is manager of The Knucklehead ZOO, 2-Time National Break Dance Champions

Others think of anything that is receiving heavy rotation on radio as commercial music. Whatever their definition, one thing is often overlooked: commercial music is the heart of the music industry which pumps the blood that keeps it alive.

So why then are so many music artists resistant to making commercial music? The answer that I’m often given is because they don’t want to “sell-out” their creative integrity by conforming to some industry version of what’s popular (i.e. what’s selling at the moment). It becomes very obvious to me that the problem is not commercial music, but rather the perception and definition of it.

The misconception is that the music industry created this superficial definition of commercial music to strip away the artistry and true identity of artists for the purpose of making money; forcing artist to create songs that the “masses” will enjoy. That fallacy is often perpetuated by music artists who are usually incapable (not unwilling) of creating commercially viable songs.

The truth is the public, not the industry, dictates what is commercial, and for decades they have gravitated towards, embraced, and purchased songs that adhere to a commercial music format.

If commercial music is the rule for success and sales in the music industry, there are inevitably going to be some exceptions to it, but unfortunately, the tendency is for music artists to try and become the exception, instead of observing the rules and why they exist.

Simply put: the rules of commercial music success have not, and will not change. Not in your life time or your children’s lifetime. They exist because it’s human nature to reject the unfamiliar; in the music industry, similarity is the cornerstone of acceptance. This is why so many popular songs sound similar and contain familiar elements.

It’s a rule that is prevalent in every genre, and on every continent. There are those artists who do a masterful job of observing their own artistic values while delicately balancing the demands for commercial music by industry professionals. Artists such as Prince, Sting and Bjork, have pushed the envelope of creativity for years. But artists of their caliber who possess such sublime talent and vision are rare.

For the sake of clarification and argument, I will offer my explanation and industry definition of what commercial music is; based on 25 years of listening to recordings as a music lover, music industry professional, and music critic in what I will call, “The 6 Rules of Commercial Music Success.” They are songs that have the following:

1.) A STRONG HOOK/MEMORABLE CHORUS. If no one knows what your song is called, they can’t request it when they hear it on the radio. More importantly, they can’t buy it at retail…or track it down on the Internet to illegally download a copy of it.

2.) GOOD MELODY. Commercial music is characterized by good melodies (i.e. verses, choruses, and sometimes bridges that get stuck in your head and make you want to sing-along). What can the top selling hip-hop acts of the last 10 years (Tupac, Notorious B.I.G., Jay-Z, Eminem, and 50 Cent) attribute their success to? Good melodies (not cool beats) that increase the commercial value of their music.

3.) WELL-PRODUCED. Coming from an R&B background where producers are a pivotal part of commercial music success, I did not realizeuntil I became a consultant that many rock bands don’t utilize, nor value producers like R&B music acts. Perhaps they should since the record company often assigns top-notch producers to enhance the quality of songs (through their musical expertise) and enrich the records (through their experience and proficiency in the recording process), ultimately making them more enjoyable to listen to and, you guessed it…more commercial!

4.) APPEALING LYRICS. The lyrics don’t have to be profound; people just have to be able to emotionally connect with and mentally relate to them. If you have a way of saying common things in an uncommon way, your lyrics will have an edge over the songwriter whose song is about the same topic. Write about what’s closest to your heart for credibility and sincerity, and others will be able to relate to your songs – especially if it’s on a subject matter that they know or have experienced.

5.) KEEP IT SHORT. Keep the length of your songs down to a maximum of four minutes. Jazz and World Music are exceptions. A song that is well-written makes people want to hear it again, and again, and again. The longer the song is, the less likely that will happen. Don’t believe me? Check the length of your favorite songs.

6.) TALENT/WELL-PERFORMED. Most outstanding vocalists are often surprised by how low this rule is on the list. The fact is that there are more mediocre songs performed by outstanding vocalists, than there are mediocre vocalists performing outstanding songs. A good song that is well-performed gives it an edge, but if the song is lacking, all of the yelling and vocal acrobatics that singers tend to use to compensate for it will not make it a better song…though it may help the singer to attract better songwriters to work with. If you lack talent and it’s a really good song, someone more talented can (and will) sing the song and make it better.

Now that you know the 6 rules of commercial music success, hopefully you will be able to use this information to your advantage and create songs that will increase your chances of success in your professional music endeavors…or you can ignore them and continue to wonder why no one (other than your friends and family – all of which listen to commercial music) like your songs.

Gian is a recognized authority on commercial music and Independent A&R Specialist who is best known for his comprehensive and insightful music reviews on The Muse’s Muse.com. He has been an influential factor in obtaining record deals for artists signed to RCA, Bust It!, Gasoline Alley and Interscope Records. He currently does A&R for signed and independent music artists, and music producers including Grammy nominated music producer Cori Jacobs (Pussy Cat Dolls) and San Francisco Bay Area Producer, Chris Carter, (Jasmine Trias/Back Street Boys), in addition to being an Adjunct professor of Music Industry Studies at San Francisco State’s Music/Recording Industry Program.

After recording her debut album in 1983, her rise was meteoric, aided by the popularity of MTV, as she shocked and dared the public with her visible black lacy brassieres, bare midriff, outspokenness about virginity, abortion and out-of-wedlock births.

Madonna was born in Bay City, Michigan, the eldest of eight children (surely an error here as she is the eldest daughter, but third eldest child). Her father, Tony, was an engineer at Chrysler, her mother, whose name she was given, a housewife.

Later, the family was to move south to Pontiac where she shared a room with two sisters. As a girl, Madonna spent her summers working in her father’s vegetable garden weeding and spraying insecticide, or she was sent to her grandparents’ house in Pennsylvania where she would be expected to work on the house and garden. The regime was rooted in instilling ethical work.

The family was devoutly Catholic. On Good Friday, her mother would place a purple cloth over all the religious pictures and statues in the house. This was before she fell ill with breast cancer, which would take her life when Madonna was six. Like many children who lose a parent, Madonna expected her mother to return. But nobody talked about it. For years it seemed that way.

Three years later, her father married again, this time to the family housekeeper who never acknowledged Madonna as her mother did. Going t church before school, doing housework that was assigned by dad’s chore chart, and no TV. This, incidentally, is her top tip for successful parenthood; no TV.

Madonna was expected to defrost the freezer, wash the dishes, baby sit, and vacuum. She was a voracious reader and loved the stories her mother told her about a garden involving vegetables and a rabbit.

Like many teenagers, she knew that she would leave for the big city as quickly as she could. She says that she knew she wanted to leave Michigan from the age of five. She lasted one term at her Home-state University on a dance scholarship. Her heart wasn’t in it. Even though she’d never visited, there was really only one place for her: New York, the true home of the ambitious.

She arrived, in her late teens, at La Guardia airport and took a taxi to Times Square. She had no money or connections and lived hand to mouth, eventually settling in a tenement on the Lower East Side at 4th and Avenue B. Every weekend she went dubbing in search of A&R personnel and DJs who might be able to assist her career. She recalls dancing to ‘Don’t You Want Me’ by the Human League at New York’s famous Danceteria club. With her first royalty paycheck, she bought a synthesizer and a bike which she had to carry up all six flights to her new apartment, a loft on Broome and West Broadway.

Deep down she also carried much resentment about her family, was often unhappy and relied greatly on music, which she has written was ‘a vehicle for transcending misery (the story of my life)’ to get her through thin times.

Anyway, it is a pretty strange thing to sit and think about the fact that Madonna is one of the most famous women in the world. Fame is the defining aspect of her life, even more than her music, style, or the movies. Madonna will be remembered for being one of the most relentlessly self-realized people of the century. Along with Monroe and Ali, Madonna will be remembered for defining the times by inventing and changing and promoting herself with ambition and, in so doing, providing us with a way of understanding ourselves and remembering what we used to dance to, who we used to be.

Jonathon Hardcastle writes articles on many topics including Society, Alternative Health, and Family

Electro

Electronic music spans across a large variety of styles, domains and media types. A snapshot of a certain vision of electronic techno music, terribly ambitious, yet perfectly accomplished and mastered. Elektrocast is an electronic music pod cast based in Berlin the city of Electronic music.

Nobody composes electronic music that has the beauty and emotion of the music of Vangelis. That relatively little academic attention has been devoted to electronic dance music is somewhat surprising, considering Techno’s popularity, creative dynamism, and relevance to and reflection of the processes of cultural formation and mediation in information-age capitalist society. It is also distinguished by being primarily, and in most cases entirely, created by electronic means.

During an innovative period concomitant with the development of disco-influenced and vocal-laden House music in Chicago, musicians in Detroit developed a style of music based on more or less equal parts of European synth pop or “EuroDisco” like Kraftwerk and Tangerine Dream, and domestic music such as Parliament/Funkadelic, Afrikaa Bambataa, and Detroit’s Cybertron, who were making heavily funk-influenced, electronics-based music called, variously, “Electro-Funk”or “Electro,” and who had also been influenced by the purely electronic bands of Europe. The simple fact is that although electronic instruments do automate some elements of the musical process, no good DJ simply lets his instruments run on “autopilot. Composition for electronic music, whether electro acoustic or simply synthetic, is just as time-consuming and creative a process as writing for any other type of instrument.

Drum

Drum & Bass is, as its name implies, a style of music dominated by drum and bass samples; in fact, it is really just a stripped-down version of Jungle, often using many of the same elements as Jungle, including scratching, but far more sparingly, which results in a sound often lacking the aforementioned “layering” effect. Drum & Bass has become very popular in the United States during the past two years, and many clubs now feature entire evenings devoted solely to it.

Techno Music has the capability of swinging the mood of your loved ones. Techno Music can be heart pampering present on this Valentines Day. Techno music concentrates more on the beat rather then the lyrics or the other elements of a song. Techno music is purely electronic music intended for and dance; the music combines the sound of classic German electronic and a feel of urban American music.

Techno music can be made in several ways; a compositional technique can be made and developed to suit the instruments that are being used. Techno music showed a tragic and rather melancholic nature and was influenced by its urban roots. Techno music continues to remain a marginal underground music in the United States.

Claire Brown is a successful Webmaster and publisher of www.WeKnowMusic.net. She provides more information about music and what has influenced them over time that you can research in your pajamas on her website.

The origin of the name house music is uncertain. Some suggest that the name is derived from the name of the club called The Warehouse. In the late 70’s and early 80’s warehouse parties that were held underground were very popular in the city of Chicago. Now one of these underground parties that were frequented mostly by Latino and black gay man was known as the warehouse.

The Dj at The Warehouse Frankie Knuckles mixed European synthpop music with mixed classic disco music, punk recordings, industrial music and the new wave music for people who were regulars there. Frequent clubbers referred this music as House Music and thus the name cam into being. But as mentioned earlier this is disputed. Musician Larry Heard claims that the term House Music comes from the fact that most of the Djs records the music at their house. Generally these Djs use drum machines and synthesizers to record the music at their house and hence the term House Music came in to being.

Dj Chip E has another story to tell behind the popularity of the name House Music. Chip claims that the name came from the method of recording at a studio. However none of the claims are conclusive.

House music developed in houses, clubs and garages where mostly teenagers and local club goers used to assemble. The popularity of house music increased when the music was played in commercial radio. House music was much longer and conceptual then any other type of music and also this music was not meant for widespread commercial use. Basically house music combined the traditional elements of the musical instruments to give it a more humane touch.

The house music scene is very popular worldwide even today as many musicians have made huge contributions towards this. Many new generation producers and Djs have emerged in the house music scene and their main purpose is to make House Music popular.

House Music is popular these days and this music can be seen to be catching up in Detroit, New York, Atlanta and some other cities in America where people of racially mixed origin reside.

It is not only in USA that the music is catching up but also in several countries worldwide like Germany, Australia, Canada and Scandinavia. Recently the Mayor of Chicago proclaimed that 10th of August to be celebrated as house Unity Day in the city. The craze for House Music is one the rise and this is evident worldwide.

Kati Makat loves all kinds of music like rock, hip hop, country, pop, rap and reggae. She refers http://www.ez-tracks.com as one of her favorite sites for downloading music,free MP3 downloads, House Music, online music.

Nelly Furtado was born on December 2 1980 at Victoria (capital of British Columbia in Canada) from Portugese parents. Nelly Furtado parents named her “Nelly” because of the Russian gymnastic champion Nellie Kim who won 5 gold medals (3 in 1976 and 2 in 1980) and 1 silver (in 1976) at the Olympic games.

Nelly Furtado learned to play the trombone, the guitar and the ukelele at the age of 9 years old and synthesizer at the age of 11. Passionate by music since her early age, Nelly Furtado already knows at the age of 4 years old she wants to become singer. Nelly Furtado sung with her mother at the choir, especially during the national day of Portugal. Nelly Furtado speaks fluently Portugese, English, Hindi and Spanish.

Since she is a teenager, Nelly Furtado starts to write songs and belong to a brass band. During this period, Nelly Furtado listens to R&B, hip hop, alternative rock, alternative hip hop, trip hop, fado, bossa nova and Indian music. The artists that Nelly Furtado like (and influenced her) are Jeff Buckley, Caetano Veloso, Amalia Rodrigues, Nusrat Fateh Ali Khan, Cornershop, Mariah Carey, TLC, Mary J. Blige, Digable Planets, De La Soul, Radiohead, Oasis, The Smashing Pumpkins, The Verve, U2, and Beck.

Nelly Furtado thanks her parents to have taught her hard working and ethic. Indeed, Nelly Furtado has spent 8 summers working as chambermaid with her mother. Nelly Furtado declares that coming from this background has positively contribute to forge her personality.

During a visit in Toronto, last summer, Nelly Furtado met Tallis Newkirk, member of hip hop band named “Plains of Fascination” and have contributed to their album in 1996 “Join the Ranks” on title “Waitin’ 4 The Streets”. After achievement of her studies in Mount Douglas Secondary School in 1996, Nelly Furtado leaves for Toronto where she finally formed duo/group Nelstar in 1997 with Newkirk. The experience has brought her back to her influences and allowed her to be more confident in the writing of her melodies and rhymes. Despite, “Like”, one of the Nelstar songs, received a subvention from VideoFACT to cover the production of the clip, Nelly Furtado estimated the duo didn’t reflect her personality and didn’t allow to demonstrate her vocal competences. Therefore Nelly Furtado quits the music band with the idea to come back to Victoria.

Before leaving, Nelly Furtado decides to take part to a contest (quite famous at that time), the “Honey Jam” which takes place at Lee’s Palace, a nightclub. Impressed by her performance, singer Gerald Eaton (Alias Jarvis Church) from band (The Philosopher Kings) offers Nelly Furtado a collaboration. It results a sample with participation of another member of The Philosoper Kings, Brian West. But Nelly Furtado leaves to travel in Europe and wanted to go to university to take courses about writing. Finally, Nelly Furtado comes back working with them and signs a contract in 1999 with DreamWorks Records.

Nelly Furtado continues to work with Eaton and West, who co-product her album, “Whoa, Nelly!” (….On The Radio (Remember The Days), Baby Girl, Hey, Man!, I Will Make U Cry, I’m Like A Bird, Legend, My Love Grows Deeper Part 1, Party, Scared Of You, Trynna Finda Way, Turn Off The Light, Well, Well), released in October 2000. The success comes from the singles I’m Like A Bird, Turn Off The Light, and …On The Radio (Remember The Days). Nelly Furtado album was nominated 4 times at the Grammy Awards in 2002. But Nelly Furtado has only received the award for Best Female Pop Vocal Performance for “I’m Like A Bird”, her first single. Moreover, Nelly Furtado has received a good critic for her innovative mix of various styles with different sounds. Then Nelly Furtado did a tour called “Burn in the Spotlight” and also the one of Moby, “Area:One”.

The second album, “Folklore” (Build You Up, Childhood Dreams, Explode, Forca, Fresh Off the Boat, Island of Wonder, One-Trick Pony, Picture Perfect, Powerless (Say What You Want), Saturdays, The Grass Is Green, Try), is released in November 2003. The album shows more diverse sounds, a more rock approach, an acoustic approach. As Nelly Furtado concentrated more on the writing, the BBC estimated that there was double more originality than in her first album. Nelly Furtado has attributed the maturity of her album to the fact she was pregnant most of the time of the recording.

Her title Força (which means courage and strength in Portugese) which is on her album Folkore was used for the European Football Championship in 2004 which took place in Portugal, at Lisbon. Força was sung during the final. However Dreamworks Records is sold to Universal Music during the release of Nelly Furtado album and that is why there wasn’t much promotion. In 2005, Nelly Furtado is taken by Geffen Records because Dreamworks definitely closes.

Nelly Furtado should be soon seen in an independent film on Iraq war. The movie is called Nobody’s Hero. But Nelly Furtado also prepared “Loose” at the same time that the filming. Nelly Furtado has also tried to make a film in Hindi but it didn’t make it.

Nelly Furtado just releases “Loose” (Afraid, All Good Things (Come To An End), Do It, Glow, In God’s Hands, Maneater, No Hay Igual, Promiscuous, Say It Right, Showtime, Te Busque, Te Busque (Spanish Version), Wait For You) in June 2006. The first Nelly Furtado single is “Maneater” for Europe and Promiscuous (feat. Timbaland) in America. Anybody needs to know there are different versions of this album according to the countries. Chris Martin, leader of group Coldplay, was to make an appearance in song “All good things (come to and end)”, but it didn’t make it, which has regretted the singer. Nelly Furtado has also collaborated with Juanes on her song “Te Busque” which we can also find a version in Spanish. Nelly Furtado has already done a duo with him on title “Fotografia” from album “Un Dia Normal” of the Colombia singer.

“Loose” is the Nelly Furtado album the most successful of her career, reaching #1 in several countries including the US and Canada. The singles “Promiscuous” and “Maneater”, are also ranked #1 in the US, Canada and the UK.

According to rumors, the next Nelly Furtado single should be “Say It Right”.

Nelly Furtado has had a child, just before “Folklore”, whose name is Nevis (born September 20 2003 at Toronto, in Canada).

The father is her ex boy friend, DJ and producer Jasper Gahunia alias Lil’Jaz. Nelly Furtado and Gahunia, who are separated in 2005, were together during 4 years and friends during many years before that. Nelly Furtado wanted to rise up Nevis at Toronto due to the cultural diversity, open minded and political activism of the city.

If you are a Nelly Furtado fan and love to listen to Nelly Furtado, then you can customize your cell phone by downloading Nelly Furtado ringtones. Ringtone Jam Jam Famous Singers has it all: Nelly Furtado lyrics, Nelly Furtado videos, Nelly Furtado pics, Nelly Furtado songs, Nelly Furtado biography, Nelly Furtado music, Nelly Furtado wallpapers, Nelly Furtado new album and Nelly Furtado ringtones.

But music is an integral part of Bollywood films, so that even a dark and edgy drama has to have at least one catchy song and corresponding dance number woven into the script. In fact, in India, the sound track is released before the movie, so that everyone is humming the song as they enter the theatres.

Most Bollywood songs are actually lip-synched by the actors, the voices “borrowed” from professional playback singers. (The exceptions are Kishore Kumar K. L. Saigal, Suraiyya and Noor Jehan, who are known for both their acting and their singing). were also known as both singers and actors. Amitabh Bachchan, Aamir Khan, Abhishek Bachchan and Shah Rukh Khan also sang in their movies. However, playback singers have their own following—like Lata Mangeshkar, Mohammed Rafi and Yesudas.

Today’s Bollywood songs are known for how they remix filmi songs with modern beats and rhythms, adding an interesting edge to the ancient folk dances and steps that make up a typical Bollywood number (although it is not uncommon to see current hits incorporating MTV or Broadway twists).

While some Bollywood songs are directly related to the plot, there are also item numbers where someone performs a catchy number—like a courtesan dancing for a rich client in a cabaret scene, or disco scenes, or dancing at celebrations.

Bollywood soundtracks usually become big hits, and there are cases when the music outsells the movie. Due to their incredible popularity, it is not surprising that many of the songs are now available as ringtones. Now you can listen to “Kabhi kushi kabhi ghum” or “ Bolein chooriyaan” on your phone. Some come in polyphonic form, but many are already available as true tones.

With such a rich music tradition, the amount of Bollywood ringtones available are staggering—we’re talking thousands, ranging from the sweet love song with choral “dialogues” between two star-crossed lovers, or funky dance remixes that combine techno with traditional Indian folk music.

Bollywood’s appeal has spread across the world, and now across mediums. From Bombay to Brisbane, the movie screen to the mobile phone. Get it now.

Ringtones.lt provides all the latest phone ringtones including Bollywood ringtones and Bollywood true tones

To start out with, it is important to realize that music is not just the songs a person can hear on a radio. In fact, the first pieces of music were almost exclusively played in a concert hall. In this setting, a group of different instruments play in unison to a conductor’s movements. There are no words because quite simply there doesn’t need to be any. Some of the most famous musical work in the world, and oldest at that, is often played in this style. While not popular with the youth today, classical music, as it is often termed, often goes hand in hand with being upper-class. Whether this is a fair pairing or not, that is debatable. But this much is true, many people find deeper meaning and enjoy this style of music without looking for words to accompany they harmony of the instruments!

On the other hand, a popular selection at almost any night or dance club is techno music. Techno music is often generated on a computer, and combines wacky sounding drum beats and other instrumental sounds to make a song that sounds like it was electronically produced. This music has many different beats and often is extremely easy to dance to. While it can have words, it is more common for techno songs to be without any human voices, or to use them sparingly. Even with the absence of almost any words at all, however, techno music remains a popular choice on any dance floor and it would be hard to find a club that doesn’t play at least one song. Indeed there are even some popular techno artists, whose main musical talents lie in creating new beats and remixing past billboard toppers!

All in all, it should be fairly obvious by now that a song doesn’t have to have lyrics to be considered worth listening to. Many different types and genres of music embedded in our society today are, in fact, found without any words at all. Whether it be rich classical music that your grandparents listen to, or fast-moving techno m