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Post by Deleted on Feb 5, 2015 19:48:28 GMT -5
I edited my original post. I enlarged the photo & you can clearly see the gold, especially on the top one. Looks like his metallic temporary ones.
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Post by adamrocks on Feb 5, 2015 19:50:24 GMT -5
Vienna review translated by Aleks! Thank you! Mods if we already have this please delete. I haven't had a chance to read the whole news thread today. Aleksandra @aleks_kv 19m19 minutes ago Okay, by popular demand, here's the translation of the whole review. I am never doing this again, jsyk:))) aleksandrakv.tumblr.com/
QUEEN AND ADAM LAMBERT IN VIENNA: THE MOST TRUTHFUL ODE TO KING FREDDIE - TRANSLATION
*** This is the translation of the review published in the Rolling Stone Croatia*** www.rollingstone.hr/vijesti/glazba/queen-i-adam-lambert-u-be%C4%8Du-najvjernija-oda-kralju-freddieju~I am not a professional interpreter ~I speak Serbian, not Croatian, but they are very similar languages ~All mistakes are unintentional Twenty-four years since the death of Freddie Mercury and forty-five years since the foundation of Queen, Brian May and Roger Taylor, as the only two members of the original lineup, do not stop working and letting people experience one of the greatest rock bands almost a quarter of a century after what seemed the end. After Paul Rodgers, they give the microphone to the most worthy exchange for the memories of Freddie – a 33-year-old Adam Lambert, a pop-rock vocalist who shook things up in Vienna on the first day of February and made all prejudice fall into water Text by Igor JuriljWhen he stood before the judges and cameras at the American Idol audition in 2009, and then sang the opening lines of Bohemian Rhapsody, Adam Lambert certainly did not even begin to fathom that six years later he would be the vocalist of the legendary b(r)and, or help them win the prize for the best rock band of the year. In the talent show final, when he lost to Kris Allen due to his homosexuality, he shared the stage with Queen for the first time, singing “We Are the Champions”, not knowing that he was predicting his own future. Three years later he performed in front of the millions in Moscow, Kiev and London, and by the end of 2014, the band, without Freddie and John Deacon, ventured into a glam tour with the leading vocalist of today, into a world tour of reminiscence, but not imitation. Although they were not looking for him, Adam appeared as a dignified and worthy replacement for Freddie without any tendency to copy Freddie’s extravagance or flamboyance, which Adam, together with his innately entertaining character, possesses on a natural level. As a manager of the experience, the young singer confidently glides over the stage right from the opening “One Vision” and projects all his Broadway shaped theatricality by swaggering through songs like “Killer Queen” or “Break Free” in their appropriate baroque production. The royal band requires, but also provides the royal treatment, of which the crown evidence is the stage divided into three platforms and an oversized hydraulic screen to aesthetically please the sentimental and not at all harmless audience. There, the laurels for natural behavior on stage, and towards the audience as well, due to his innate sense of the crowd, go to Lambert as a showman ‘par excellence’. Sorry, the royal entertainer! His somewhat comedic theatricality, but by no means ridiculous speech and communication, suggests knowledge of the pulse of the audience, but also the pulse of hard core Freddie fans who are just waiting for the wrong move to crucify him, as is the case on the Internet, where those who never saw him are too quick to condemn. But the Viennese case, just like the previous stops of the current tour, confirms the honest straightforwardness of the young vocalist with a cheerful approach to life. Eventually, the Viennese audience blesses the singer after his expression of gratitude for the acceptance, and gives green light and two thumbs up for the very ungrateful role. Lambert himself is under the pressure of fetishisation of a legend and totemism of a myth, pressed onto him by the mass delusion about replacing Mercury, but one should know that he is not a new front man of Queen as much as he is the voice which reminds us that the band’s legacy still lives. Moreover, the Queen of 2015, to the dismay of many, reveals its neglected side, particularly the one concerning Brian May, who at the time of the original lineup was in Freddie’s shadow, while today he gets the opportunity to show himself in full tone and voice. Therefore, Queen is not Adam Lambert, but Brian May and Roger Taylor. In the middle of the concert, the modest guitarist intimately and acoustically reveals a private face of an astrophysicists, a storyteller and a singer, who, after introducing the Einstein’s twin paradox, sits openly in the middle of the audience on a long runway, where after the story, like some kind of a shaman or a benevolent grandpa surrounded by his grandchildren, he sings Love of My Life. Quite unexpectedly, a colossal projection of Freddie appears behind his back, whose voice completes the pathos of the moment, and instead of the collective euphoria, it brings tears down the faces of the two-generational audience. There are two generations on stage behind the two sets of drums as well. Roger Taylor and his son Rufus, after Brian’s acoustic set and a play on string instruments, begin an unexpected drum battle. Thus connecting the past with the present of Queen, Taylor introduces young blood to the band, and it flows from the same biological and sonic family. Young Rufus is not only a spitting image of his father, but he equally masterfully takes the sticks and rivals the legend, who, after the drum performance, ascends to the throne before the colossal circle of light and transmits the lyrics “It’s a Kind of Magic”. Expectedly, the reactions are approving because of sentimentality and indirect nostalgia, although Taylor does not even come close to the curly guitarist, let alone the three octaves vocalist. Nevertheless, that it is all a good show and that the show must go on, is confirmed by Lambert. After lascivious movements in the first two sets in a leather jacket and a little steampunk vibe, he begins the third part with “Tie Your Mother Down” in a pure punk outfit and flirts with the audience through collective singing, and then the famous bouncing and clapping to “Radio Ga Ga”. The two-hour time travel ends in monumental Bohemian Rhapsody with Lambert delivering introductory verses, only to bow and leave place for the moustached giant on the very same moving, light portal to retro-utopia, enthusiastically and unanimously supported by thirteen thousand souls from across the former Empire. The young glam-rocker returns for the very finale where he alternates the verses with his unreachable idol and shows right there at Freddie’s side that he does not pretend to be him. Vocally and stylistically different, Adam reigns supreme on stage, nurturing all the qualities of Freddie Mercury, but with no intention of imitation, despite it being the sincerest form of flattery. With his own camp mannerisms, Lambert appears to be the perfect choice for Mercury`s work, although, in his style and vocal presentation, he does not possess that quality of masculinity which, despite his flamboyance and excess, Freddie radiated with. Moreover, Glambert, as he is called by his fan base, is not adorned with a rough texture coming from the chest, but a softer and a gentler vocal, which, let’s not shrink from the fact, overreaches even Freddie’s boundaries, as is confirmed by Brian May himself. In a leopard-printed suit, with a well-deserved crown on his head, Adam Lambert comes out for an encore invited by three-beat rhythmic blows of the audience to “We Will Rock You”. He rounds off the 25-stop show through the past of Queen with the stadium anthem “We Are the Champions”, establishing himself as the playboy of glam rock with grandiose voice, worthy of bringing back the memory of the mustached king.
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Post by geezlouise on Feb 5, 2015 19:52:59 GMT -5
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Post by cassie on Feb 5, 2015 20:09:40 GMT -5
Vienna review translated by Aleks! Thank you! Mods if we already have this please delete. I haven't had a chance to read the whole news thread today. Aleksandra @aleks_kv 19m19 minutes ago Okay, by popular demand, here's the translation of the whole review. I am never doing this again, jsyk:))) aleksandrakv.tumblr.com/
QUEEN AND ADAM LAMBERT IN VIENNA: THE MOST TRUTHFUL ODE TO KING FREDDIE - TRANSLATION
*** This is the translation of the review published in the Rolling Stone Croatia*** www.rollingstone.hr/vijesti/glazba/queen-i-adam-lambert-u-be%C4%8Du-najvjernija-oda-kralju-freddieju~I am not a professional interpreter ~I speak Serbian, not Croatian, but they are very similar languages ~All mistakes are unintentional Amazingly wonderful review, and superb translation! Thanks, Aleksandra!
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Holst
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Post by Holst on Feb 5, 2015 20:16:53 GMT -5
RMT will always get me to delurk. Thanks, Geezlouise! 'Scuse use me while I reminisce a bit.... I've been to more AFL concerts than I can count now but for some reason, that one stands out from the rest. I have yet to see that Adam again. Wild! (In a good way.) Also, I met a now dear friend for the first time that night. It was during the Planet Fierce heyday and I met up with Halfie (miss him) before the concert. He introduced me to his plus-one Glambert and she and I discovered we worked for the same corporation in the same building! We clicked and needless to say, we were thick as thieves afterwards. Every exciting AFL happening necessitated a pow wow or celebratory lunch/dinner/drink/quick coffee break. We also went to most of the extra Adam stuff in NYC together: GMA morning shows, iHeart promo shows,etc. We also became friends outside of stanning and met up sometimes just because. Adam built that! :-) Sigh, them were the days... #carryon First-hand account. Aaaahh, Halfie. Hope he is well. What a nice contributor he was.
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Post by Deleted on Feb 5, 2015 20:48:05 GMT -5
you mean when they explicitly ask for comments no-one bothers? I don't see that question. I commented anyway. Ah, looks like I grabbed the link directly to the photos instead of the story. here you go: "And finally, I have a question for you guys: do you want me to keep posting concert photos? Sometimes they can all look similar, but I personally enjoy looking at them. So tell me in the comments: all Adam all the time? Or shall I slow it down? Actually, answer that question after you launch the gallery and look at the photos." www.socialitelife.com/just-because-adam-lambert-and-queen-perform-in-berlin-sound-perfect-02-2015
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Post by Deleted on Feb 5, 2015 21:29:17 GMT -5
Starts at about 55 seconds into this vid......... and he did gently move one hand..... ETA: from what I saw on Twitter, the girl that pawed his chest during his trek into the crowd was 15. One word...... HORMONES LOL I hate to shock you folks but I was at that concert standing near the front. I had won a meet and greet with Adam from Z100 and had met Adam upstairs right before the concert. My daughter and I got hugs, photos and an autograph. Anyway, here's what REALLY happened. A young girl almost right in front of me reached out and TOUCHED Adam - actually grabbed him and stroked him a few times on his personal parts - before he managed to free himself and moved away. I was there too..Adam, bless him, did put his personal parts close enough to be touched that night, tho. J/S.. It was a wild one, all right.. #savethejewels
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Post by Deleted on Feb 5, 2015 22:01:51 GMT -5
OT, but maybe worth keeping an eye on: www.billboard.com/articles/business/6465169/barclays-brooklyn-direct-nile-rodgers-fold-festivalBarclays Announces New Brooklyn Direct Booking Division, to Launch with Nile Rodgers' Fold Fest By Ray Waddell | February 05, 2015 10:51 AM EST Barclays Center, 2012. Barclays Center in Brooklyn, New York. New division will work directly with agents, managers. In the latest of a string of strategic moves focused on live entertainment, Barclays Center's Brooklyn Sports & Entertainment has launched Brooklyn Direct, a new programming division designed to work directly with agents and managers to book events by artists not on tour for Barclays Center and other venues, Billboard has learned. The first event announced from Brooklyn Direct is the new Fold Festival, which will be produced by Grammy-winning composer, producer, arranger, and guitarist Nile Rodgers. Fold Festival (Freak Out Let's Dance) will be held at Barclays Center on May 22. The lineup for this event is currently being confirmed and will be announced shortly.
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Post by lulu1265 on Feb 5, 2015 22:49:59 GMT -5
That was a bit creepy to watch. He knows people are going to do stuff like that though. remember the infamous RMT incident? Even that didn't phase him... Refresh my memory, what was the RMT incident? Never mind, I just saw the explanation!!!
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Post by Jablea on Feb 5, 2015 23:05:23 GMT -5
Vienna review translated by Aleks! Thank you! Mods if we already have this please delete. I haven't had a chance to read the whole news thread today. Aleksandra @aleks_kv 19m19 minutes ago Okay, by popular demand, here's the translation of the whole review. I am never doing this again, jsyk:))) aleksandrakv.tumblr.com/
QUEEN AND ADAM LAMBERT IN VIENNA: THE MOST TRUTHFUL ODE TO KING FREDDIE - TRANSLATION
*** This is the translation of the review published in the Rolling Stone Croatia*** www.rollingstone.hr/vijesti/glazba/queen-i-adam-lambert-u-be%C4%8Du-najvjernija-oda-kralju-freddieju~I am not a professional interpreter ~I speak Serbian, not Croatian, but they are very similar languages ~All mistakes are unintentional Twenty-four years since the death of Freddie Mercury and forty-five years since the foundation of Queen, Brian May and Roger Taylor, as the only two members of the original lineup, do not stop working and letting people experience one of the greatest rock bands almost a quarter of a century after what seemed the end. After Paul Rodgers, they give the microphone to the most worthy exchange for the memories of Freddie – a 33-year-old Adam Lambert, a pop-rock vocalist who shook things up in Vienna on the first day of February and made all prejudice fall into water Text by Igor JuriljWhen he stood before the judges and cameras at the American Idol audition in 2009, and then sang the opening lines of Bohemian Rhapsody, Adam Lambert certainly did not even begin to fathom that six years later he would be the vocalist of the legendary b(r)and, or help them win the prize for the best rock band of the year. In the talent show final, when he lost to Kris Allen due to his homosexuality, he shared the stage with Queen for the first time, singing “We Are the Champions”, not knowing that he was predicting his own future. Three years later he performed in front of the millions in Moscow, Kiev and London, and by the end of 2014, the band, without Freddie and John Deacon, ventured into a glam tour with the leading vocalist of today, into a world tour of reminiscence, but not imitation. Although they were not looking for him, Adam appeared as a dignified and worthy replacement for Freddie without any tendency to copy Freddie’s extravagance or flamboyance, which Adam, together with his innately entertaining character, possesses on a natural level. As a manager of the experience, the young singer confidently glides over the stage right from the opening “One Vision” and projects all his Broadway shaped theatricality by swaggering through songs like “Killer Queen” or “Break Free” in their appropriate baroque production. The royal band requires, but also provides the royal treatment, of which the crown evidence is the stage divided into three platforms and an oversized hydraulic screen to aesthetically please the sentimental and not at all harmless audience. There, the laurels for natural behavior on stage, and towards the audience as well, due to his innate sense of the crowd, go to Lambert as a showman ‘par excellence’. Sorry, the royal entertainer! His somewhat comedic theatricality, but by no means ridiculous speech and communication, suggests knowledge of the pulse of the audience, but also the pulse of hard core Freddie fans who are just waiting for the wrong move to crucify him, as is the case on the Internet, where those who never saw him are too quick to condemn. But the Viennese case, just like the previous stops of the current tour, confirms the honest straightforwardness of the young vocalist with a cheerful approach to life. Eventually, the Viennese audience blesses the singer after his expression of gratitude for the acceptance, and gives green light and two thumbs up for the very ungrateful role. Lambert himself is under the pressure of fetishisation of a legend and totemism of a myth, pressed onto him by the mass delusion about replacing Mercury, but one should know that he is not a new front man of Queen as much as he is the voice which reminds us that the band’s legacy still lives. Moreover, the Queen of 2015, to the dismay of many, reveals its neglected side, particularly the one concerning Brian May, who at the time of the original lineup was in Freddie’s shadow, while today he gets the opportunity to show himself in full tone and voice. Therefore, Queen is not Adam Lambert, but Brian May and Roger Taylor. In the middle of the concert, the modest guitarist intimately and acoustically reveals a private face of an astrophysicists, a storyteller and a singer, who, after introducing the Einstein’s twin paradox, sits openly in the middle of the audience on a long runway, where after the story, like some kind of a shaman or a benevolent grandpa surrounded by his grandchildren, he sings Love of My Life. Quite unexpectedly, a colossal projection of Freddie appears behind his back, whose voice completes the pathos of the moment, and instead of the collective euphoria, it brings tears down the faces of the two-generational audience. There are two generations on stage behind the two sets of drums as well. Roger Taylor and his son Rufus, after Brian’s acoustic set and a play on string instruments, begin an unexpected drum battle. Thus connecting the past with the present of Queen, Taylor introduces young blood to the band, and it flows from the same biological and sonic family. Young Rufus is not only a spitting image of his father, but he equally masterfully takes the sticks and rivals the legend, who, after the drum performance, ascends to the throne before the colossal circle of light and transmits the lyrics “It’s a Kind of Magic”. Expectedly, the reactions are approving because of sentimentality and indirect nostalgia, although Taylor does not even come close to the curly guitarist, let alone the three octaves vocalist. Nevertheless, that it is all a good show and that the show must go on, is confirmed by Lambert. After lascivious movements in the first two sets in a leather jacket and a little steampunk vibe, he begins the third part with “Tie Your Mother Down” in a pure punk outfit and flirts with the audience through collective singing, and then the famous bouncing and clapping to “Radio Ga Ga”. The two-hour time travel ends in monumental Bohemian Rhapsody with Lambert delivering introductory verses, only to bow and leave place for the moustached giant on the very same moving, light portal to retro-utopia, enthusiastically and unanimously supported by thirteen thousand souls from across the former Empire. The young glam-rocker returns for the very finale where he alternates the verses with his unreachable idol and shows right there at Freddie’s side that he does not pretend to be him. Vocally and stylistically different, Adam reigns supreme on stage, nurturing all the qualities of Freddie Mercury, but with no intention of imitation, despite it being the sincerest form of flattery. With his own camp mannerisms, Lambert appears to be the perfect choice for Mercury`s work, although, in his style and vocal presentation, he does not possess that quality of masculinity which, despite his flamboyance and excess, Freddie radiated with. Moreover, Glambert, as he is called by his fan base, is not adorned with a rough texture coming from the chest, but a softer and a gentler vocal, which, let’s not shrink from the fact, overreaches even Freddie’s boundaries, as is confirmed by Brian May himself. In a leopard-printed suit, with a well-deserved crown on his head, Adam Lambert comes out for an encore invited by three-beat rhythmic blows of the audience to “We Will Rock You”. He rounds off the 25-stop show through the past of Queen with the stadium anthem “We Are the Champions”, establishing himself as the playboy of glam rock with grandiose voice, worthy of bringing back the memory of the mustached king. If you are reading Aleks, thanks much. I enjoyed it.
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