Revenge of the Dixie Chicks

Success is the best revenge. And sweet it is. That's all I'll have to say about this year's Grammy Awards. The Dixie Chicks put it best:

I’m not ready to make nice
I’m not ready to back down
I’m still mad as hell and I don’t have time to go 'round and 'round and 'round

You go girls...

Whine of the Week

Under the category of: Did He Really Say That? In one of the most ill-advised and counter-intuitive whines I've heard recently, the Financial Express is reporting that Sony Computer Entertainment America Spokesperson Dave Karraker recently said: "Wii could be considered an impulse buy more that anything else, but we believe the PS3 will be the console to attract hardcore, committed gamers, while Wii will do little beyond satisfying new and casual players."

Damn. Seems to me that satisfying new and casual players is the space to occupy. But no, Sony introduced the Ford Expedition of gaming consoles for the truly hardcore. Uh Huh. And just which market do you think will be the biggest? Not to mention that Wii has re-defined gaming, gotten it off the couch, roped in a bunch of girl-gamers and extended the market far beyond its previous demographic. Could Sony be worried? One of my first posts, just after the holiday gift-buying season, declared Wii the winner. Don't see any reason to change my opinion now. And this really catty reaction from the Sony shill is the recipient of the very first Pop Impulse Whine of the Week award.

Guitar Love

Bill Frisell, Ry Cooder, David Lindley, Sean Watkins, Martin Taylor, there's no shortage of great guitarists. Good thing. Can't have enough fine guitar pickin, ever. There's something about six wire strings and fine, old, resonant wood. Or a well-made electric hardbody with Humbuckers.

Maybe it's because the guitar can weep, scream, moan and cajole with such a fluid flexibility that it is an ideal instrument for so many styles. Maybe its because carrying and playing a guitar is relatively easy - at some level; or maybe its because our ancestors started stretching things over wood to make music so long ago that the look, feel and sound is so hard-wired in our subconscious that it evokes a common, shared reaction. Probably all of the above.

My first experience with out-of-the-box guitar playing involved English masters John Renbourn and Bert Jansch. John Fahey and Leo Kotte soon followed, then Doc Watson. About that same time, I was listening to Mayall's Blues Breakers and I discovered Eric Clapton. Later the likes of Toby Page, Mike Bloomfield, Johnny Winter, Mark Knopfler and Peter Green became my standard guitar fare. Followed by Duane Allman, Eric Johnson, Carlos Santana and SRV. Seeing Peter Frampton recently on PBS made me remember some of his early contributions as well. In short order, I had my own "sunburst" Les Paul (1974), and a fine acoustic Guild with a cut-away. Sold the Les a few years back (really shouldn't have done that in retrospect), but I still have and occasionally play the Guild.

I had an opportunity this summer to catch Larry Carlton and Robben Ford playing together at southern Oregon's fine Britt Music Festival. That show was a guitar player's dream. Ford remains my favorite contemporary bluesman, though there are lots of good ones that come in a very close second. I recently discovered the music of Joe Bonamassa, which really rocks. Johnny Lang and Shannon Curfman represent the "youth" movement in traditional hard rock. Both are accomplished guitarists. Curfman totally rocks, and she's just so cute. Punkers don't count in my estimations, as their guitars are utilized primarily as percussion instruments.

Today, Bluegrass guitarists like Sean Watkins and Tony Furtado (when he's not playing his banjo) are adding new directions to the traditional American Folk lexicon. Kelly-Jo Phelps is shaking up the slide guitar world and stylist, Bill Frisell, is fusing all sorts of unusual sounds together in an entirely new guitar tapestry. Knopfler is back, with his wonderfully minimalist style, paired with Country Diva Emmy Lou Harris in a great collaboration. And Los Lonely Boys front man, Henry Garza is a younger version of Carlos. Lots of talent there.



On the Jazz front, the traditions of French Gypsy great Django Reinhardt are being very well maintained by Martin Taylor and Romane. In fact, Django's style and technical ornamentation can be found in a variety of modern, ensemble groups like 8 1/2 Souvenirs and Pink Martini's Dan Faehnle (who joins the band on tour).

Iberian guitar styles, including Flamenco and Portuguese, will be showcased in a future post.

Cuban Surf Rock Band

Just when I thought I'd heard it all, my friend Jeff Angus sends me this link to the MySpace page of a Cuban Surf Rock Band. Yea, uh huh. Dick Dale & Los Habaneros? Turns out, I was impressed. The Cuban Cowboys are smart, and you've gotta love the fluid, Costa Mesa Beach-style guitar. I'm talking the Rendezvous Ballroom here. In my personal version of music history, that's where surf guitar was invented. Now set that all to a background Mambo, and you've got something going on. Check out their official website. And as Jeff would say, Vaya con Carne.

Afro-American Dance Festival

Today's SFGate reports that a couple of major dance events are coming to the San Francisco/Oakland Bay region.

THE BLACK CHOREOGRAPHERS FESTIVAL: HERE AND NOW Runs Feb. 9-11 at the Malonga Casquelourd Center for the Arts, 1428 Alice St., Oakland, and Feb. 15-18 at ODC Theater, 3153 17th St., San Francisco.

This event will feature the trend-setting Savage Jazz Dancers.

THE NEXT WAVE CHOREOGRAPHERS SHOWCASE Runs Feb. 23-24 at Dance Mission Theater, 3316 24th St., San Francisco. Tickets: $10-$20; call (415) 273-4633. The festival also includes master classes and a symposium. For more information, go to www.bcfhereandnow.com

Ribbon of Dreams

Orson Wells said: "A film is like a ribbon of dreams..." Personally, I've always liked dreamy flicks. Dreams, after all, can have hard edges, convoluted twists of plot and unexpected drama. That's unless you're talking about standard Hollywood fare, which is ever so predictable and formulaic. Prequels, sequels, endless variations on tired plots, recreations of tired characters. It's all so pedestrian. So edgy independent films, foreign titles and cult-classics have become my standard fare. Along with a dose of good science fiction or fantasy to punctuate the action.

If you haven't perused the titles at Zeitgeist Films recently, you're missing some great cinema. Nowhere in Africa; James' Journey to Jerusalem; Prom Night in Kansas City and movies about Chomsky, Buckminster Fuller and Ram Dass - Zeitgeist's catalogue is full of unusual treasures.

Since the Bush Administration appears to be considering an attack on Iran, I thought I'd pass along some recommended Iranian (Persian) films. Yes, the "evil doers" make movies just like we do. Well almost. As one might imagine in a conservative theocracy, film makers in Iran are very constrained about the subject matter they are permitted to showcase and the attire, language and behavior of actors involved in their productions. That has led to some pretty creative filmmaking, with titles often featuring lush color and texture - or stark grey half-tones. Persian films tell traditional stories, focus on the hardships of third-world life, or showcase the traditional themes of familial love, hard work and creative problem solving. I found these films to be interesting in my recent exploration of Farsi-language Cinema: Gabbeh, Baran, The color of Paradise and Children of Heaven. All are available in the "Foreign Films" section of NetFlix or from Blockbuster.

White Men Playing Didgeridoos

Musical fusion experiments rather beg the question: What works? And, what doesn't? As you might expect, I've got some opinions on that issue. You see, I have a problem with white men playing Didgeridoos (didjeridu). I know, I'm risking the ire of all the new age music gods, but I'm just not convinced the pairing is anything other than uncomfortable at best, and a really, really bad idea at worst. Speaking only for myself, that's not how I define fusion. Affectation, maybe. Cultural dysphony, for sure. But not fusion.

As presumptuous an assertion as that may be, I am mindful of the definition of fusion: the merging of two colliding nuclei into a third, more robust nucleus accompanied by a burst of high-energy. You know, enough to make you dance or exclaim out loud: "Now that's what I'm talking about." Jazz fusion qualifies, Celtic fusion often works; and Afro-Caribbean sounds are da bomb. Jai Uttal and the Pagan Love Orchestra is a personal favorite, with their fusion of Indo-European sound into Hindustani modern jazz.

White men playing Didgeridoos? Those nuclei just don't merge. No way. And the energy released by the impact? Well, let's just say it surely won't cause the sun to come up every morning or the moon to move across the evening sky.

So where does one draw the line? All instruments had their origins somewhere else, right? In most cases, that is an accurate statement. And, an instrument is an instrument. Can't argue with that either. For me, the question is best framed: What works? There are as many answers to that question as there are individual points of view. I believe, however, that I can say with some certainty that the personal determination of what works and what doesn't often goes beyond facts and logic, defying simple explanation. It's a limbic system thing. Visceral, if you like.

I must admit that Didgeridoos have an obvious role in lush, musical soundscapes. Likewise in ambient drones and experimental new age anthems. And of course, I don't consider any of those pseudo-genres to be real music. I'll occasionally go to sleep on Sunday nights listening to Hearts of Space, but I view the show as more of a sedative than a musical experience. Kind of like a Chloral Hydrate or Benadryl. Sure, I'm looking for some comments here. And if this post doesn't provoke some discussion, I'll know I need to do some serious SEO and get a few bulletins out.

Bluegrass Fusion

There's more to Bluegrass today than banjos, mandolins, fiddles and guitars. More than whiny, nasal voiced-mountain boys hollering; and more than the traditional breakdowns, camp tunes and spirituals that characterized the genre for so many years.

I started listening to Bluegrass in the late 60s, when Richard Greene, Peter Rowan, Vassar Clements and the late Clarence White were simply called: The Bluegrass Band. There was a number of popular folk clubs where I grew up in L.A. about that time: the Troubadour, The Ash Grove and the Ice House; the Golden Bear in Huntington Beach; and the Mecca in Buena Park. All booked bluegrass as well as folk and blues acts. In retrospect, Orange County's Nitty Gritty Dirt Band played a significant role in pushing traditional bluegrass into new directions. For a few months, early on, Jackson Brown played with the Dirt Band. And Clarence White played with the Byrds during one of their many iterations. The stew was starting to simmer with new flavors, even back then.

Toward the end of the folk-music revival of the 60s and early 70s, many alternative and acoustic musicians moved toward country-rock. That was the place to be at the time. Interest in bluegrass moved back from the mainstream to a small niche of aficionados, bands and festivals. The annual Strawberry Festival at the Hetch Hetchy just outside of Yosemite Park has certainly been a West Coast institution for decades. Musical purists like Del McCoury and Ricky Scaggs did their level best to keep the genre afloat and refreshed while the rest of popular culture was rocking-and-rolling.

Then came Alison Krauss, the Joan of Arc of Bluegrass music, just in the nick of time. And just like the super-heroine that she is, she saved the day, refreshed the page, and reinvigorated all things Bluegrass. The whole industry owes her and Union Station a vote of thanks. From that engine of rekindled interest has come a lot of great, new talent. And a lot of new directions.

First, the talent. Individuals like Bella Fleck, Johnny Staats (Wires & Wood) and Allison Brown are having tremendous influence within the genre. Groups like the New Grange, Seldom Scene, and of course, Nickel Creek, are creating new standards, while taking the genre in daring new directions. Adding Celtic flourishes, medieval ornamentation and even classical-sounding riffs to traditional sounding Bluegrass melodies. That's fusion.

Fusion can be defined as combining two nuclei into a third, heavier element with a simultaneous release of high energy. Like adding jazz licks to traditional Bluegrass to create a merged sound that knocks your socks off.

Nobody does that better than Bella Fleck and the Flecktones. How a musical genius like Bella Fleck ended up playing the banjo is still inscrutable to me. But after hearing him live on five occasions and having an opportunity to chat with him backstage at Southern Oregon's Britt Festival, I am convinced that he may be one of the most creative musicians alive. Who else has written a complex, multi-part band tune that is a palindrome? Who else plays Bach on the Banjo?

Bella started out playing Bluegrass. He and Sam Bush were hanging out playing tunes when the Flecktones were just a vague concept taking form in the ether. Now the group, and Bella's vision and love affair with the edge of the envelope, are a principal engine driving alternative Bluegrass.

Sam Bush is fond of straying in to Southern Rock from his Bluegrass roots. His "Memphis in the Mean Time" is a real hoot and puts his own musical point of view into clear focus. This guy likes to rock.

My personal favorite at the moment, as these things are fluid and change, is Tony Furtado. Furtado, an all-American boy, is part Italian and part Portuguese. He must have a little Gypsy in him as well. His tunes and personal performances are beyond what anybody else, except Bella and Nickel Creek, are doing. Known for his banjo, which is certainly daring - and also displays technical virtuosity, it is Furtado's slide guitar that most appeals to me. His tunes are engaging and his instrumental performance is minimalist, never an unnecessary note. Still, his licks are just about perfect. The kind of music that invites deeper involvement and appreciation. But hey, that's just my opinion. Check him out and see for yourself.

I'm going to write more about "fusion" later, as it is an interest of mine and a central theme of Pop Impulse. Some times fusing different elements works, and sometimes it doesn't (look for a future post titled: White Men Playing Didgeridoos). I like what I'm hearing in the Bluegrass world a lot, and am encouraged that this particular American institution has a long and productive life left to live in our popular culture.

Slide Guitar Sightings

I have always had an interest in virtuoso guitarists. A wonderful instrument, the guitar. An evolutionary extension of the lute family. Easy to learn the basics, easy to play at a perfectly functional level, and perhaps most important: a lot easier to carry than a piano. Like many other guys, I learned guitar to impress girls and enhance my opportunities to, ah, communicate.

Guitar players, like the music they perform, come in all flavors. French Gypsies like Django Reinhard; Flamenco virtuosos like Pepe Romero; acoustic masters like Leo Kottke; Classical legends like John Williams; country pickers like Sean Watkins; good old rock and rollers like Johnny Winter or Eric Clapton; and, Calcutta slide guitar pandits like V.M Bhatt.

I've been listening to a lot of great slide guitar lately, and that got me on a mad research rage through the net and my ever-growing collection of digital music. From my own collection, I dialed up a playlist of all of Tony Furtado's slide tunes. Being a resident of my own neighborhood, the Pacific Northwest, Furtado is a personal favorite. He's really known for his banjo, which people are forever comparing to Bella. Sure, they're both out-of-the-box but IMHO the similarity ends there.

I love Furtado for his slide, and his engaging, emotional tunes that are beautifully minimalist. Not an unnecessary note. Tight, without being sparse. As a bonus, Kelly Jo Phelps - himself an accomplished and celebrated slide player - adds his bluesy growl to several of Furtado's songs. What a great pairing. If you haven't heard Kelly Jo's version of "Goodnight Irene" on his own disc, Shine Eyed Mister Zen, check it out for a real treat.

Arlen Roth is an unsung institution. I should know. After years of serious guitar worship, I just found out about the guy. I'm humbled. He's awesome, and always has been. Raucous, Southern slide slamming - often at full speed - that's Arlen Roth. The guy can shift gears, however. His acoustic version of Layla is something special. We send him our love and celebrate his passage from considerable recent grief to a better place and his resultant new work. Dial-up Arlen Roth: When A Man Loves a Woman. Check it out.

Slide guitar players ply their trade across a variety of musical styles. Rock and Blues genres have always had a lion's share of the greatest slide players. Eric Clapton, Duane Alman, Eric Johnson, Johnny Winter, Robert Cray, and a personal favorite: Robben Ford. Alternative country bands also spotlight the slide.



Now here's the brain warp. My wife and I were at Quebec City's really wonderful Summer party, the Festival d'ete, a few years back listening to music all day at sites all over historic old-town. On the steps of the main, downtown station we stumbled on this Indian guy playing slide. Yea, uh huh. Still, stranger things have happened so we sat on a 400 year-old wall and listened. This guy, V.M. Bhatt, played a modified Gibson archtop acoustic that he had modified with 17 additional strings. That's right, 17. Bottom line, the instrument became more Sitar-like and better able to handle the complicated scales of classical Hidustani music. He played a lot of that, then launched into a lighting fast version of Orange Blossom Special. We were floored.

Right there and then I decided that Mr. Bhatt was the best slide played I had ever heard. Who'd thought? I've come to find out that there is an entire school of Calcutta Slide Guitar, and another master that deserves attention. Debashish Battacharaya. These players are technically gifted, as musicians of Indian Carnatic music must be to perform. True masters who studied under Pandits as novices for years of disciplined instruction. Their music pushes the limits.

Debashish Battacharaya Plays Slide

Ugly Betty and Love & Rockets

What do Ugly Betty and Love & Rockets Have in Common?

Salma Hayek doesn't mess around. When she brought the wildly popular international telenovela format to U.S. network television, she created a "state-of-the-art" showpiece that is attracting a substantial, cross-over audience.

Ugly Betty, Hayek's very successful weekly show on ABC, is breaking barriers and setting new standards. The show features a layered and complex cast of characters that we can all somehow recognize and relate to, superimposed over comic-book caricatures, in highly stylized, every-day settings. The images are real, rich and textured in a distinctively campy sort of way. The composite content seems to move seamlessly between real and surreal, while always maintaining the all-important street cred and authenticity that only really well designed and executed productions can create.

It as though Hayek has taken Hollywood by the neck and, looking the industry directly in their collective stupid, white male eyes, said: "Okay, you guys just don't get it. So here's what we're talking about." And she did it right, in spades. Touchstone Television was wise to give the accomplished Mexican diva her chance to produce and direct a prime-time show. There is just no doubt that Ugly Betty will change the way we make and appreciate prime-time television. In a word, that's "influence." Much like the ground-breaking comic series Love & Rockets had on alternative comics in the 80s.

Love & Rockets came out of the East L.A. Barrio in the early 80s, grabbed the comic industry by the neck and proceeded to change the face of comic art and content. The Hernandez brothers; Jaime, Gilbert and occasionally Mario, brought complex characters with engaging stories set in real life circumstances to the comic world - through spectacular art and hard-hitting street stories. Jaime's "Maggie the mechanic" and her side-kick Hopey are two of the most engaging characters in the comic world. And they're often worrying about such mundane conundrums as when the next beer will materialize. Gilbert's Luba, from his famous Palomar series set in a village in Latin America, is an equally tangible and engaging character. The point-of-view is decidedly Latin, as is the Zeitgeist of Ugly Betty.

Like Love & Rockets, Ugly Betty stars "real women," and comfortably accommodates characters that are gay and illegal immigrants. Plots acknowledge that sometimes even good people run afoul of the law. Sometimes even friends and neighbors fight and pull each other's hair. And, in a way, the content in both Ugly Betty and Love and Rockets affirm very basic family values - as they are understood in real life on barrio streets and in the villages of Latin America and the Caribbean.

In the case of Novelas, be they telenovelas or comic novelas, the characters become our friends and companions. The subject of our conversations and finally, part of the family. They succeed, in part, because their creators make it easy for us to give-it-up and get involved. We relate. We laugh, we get angry, we want revenge. And thus, we are engaged. Each episode of Ugly Betty is a jewel , like each issue of the Love & Rockets series. But the real pleasure comes in getting to know the characters, their homes, families and personal pecadillos over time. Now that's entertainment.

Gypsy Music - Historic Improvisation

In 1859, noted Hungarian composer and musicologist Ferenc Liszt published a book in which he stated unequivocally that all Hungarian music had Gypsy roots. Though most of Hungarian traditional folk music features recognizable Gypsy violin melodies and ornamentation, the controversy he sparked continues today.

In reality, the influence of Gypsy music extends much further than Hungary, where the connection is clear and well documented.

The Gypsies, or Roma as they prefer to be called, are an ancient race that originated in Rajastan, India. Until the link between the Romani language and language of India was published in 1776 by Istvan Valyi, Europeans were unaware of these origins. In fact, the word Gypsy is derived from Egypt - where Europeans assumed the Gypsies originated.

Gypsy music is some of the oldest and most influential on the planet. Music and dance have always played a very special role in Roma society and culture. Every occasion has its musical accompaniment, every ceremony its special song or dance. The making of music is a thread that is woven throughout the Gypsy migration.

Today, there are Roma communities in most central Asian and European countries. Some Rom families have emigrated to the U.S. and Canada. In many cases, it is music and dance that unites these diverse and far-flung communities.

As the Roma migrated from India across central Asia, through the Middle East and Turkic countries up into the Balkans, Europe, and finally the British Isles, their music touched every ethnic group that they encountered. It left lasting impressions and influenced a broad spectrum of musical styles across multiple cultural traditions and continents.

At the same time, the Roma co-opted and incorporated musical instruments and melodic elements that they encountered in their westward migration into their own traditions. Thus, they carried memorable bits-and-pieces that they heard around them throughout their travels. Both of these practices combine to produce a powerful Gypsy influence on the development of contemporary musical styles.

During the 16th and 17th centuries, Russian and Hungarian nobles maintained Gypsy Orchestras and choruses to provide musical entertainment for royalty and major national events. That influence forever changed the music of both nations.

The Gypsies arrived in Wales in the 1700's. They introduced the violin to Celtic music and added the Welsh harp to their own repertoire.

Full of passion and exotic melodies, Gypsy music slides easily in and out of major and minor scales. It is their pension for using the minor scale, called the "Gypsy scale" by Europeans, that characterizes Roma musicians. And Romany music always contains fluid, imaginative improvisations - whether on violin, guitar, or tuba in a Balkan Gypsy brass band.

We can hear the influences of this compelling and engaging music in bands and tunes from Turkey; Armenia; the Balkans; Russia; Eastern Europe; Spain and Portugal. Gypsy music has influenced multiple folk music traditions as well as a whole generation of classical composers including Liszt, Moeller, Rodrigo and Albinez.

One of the strongest influences Gypsy music has had is in Spain, where most Flamenco artists are Roma. Flamenco, perhaps the most passionate music in the world, owes its unique sound and exotic dance to strong Gypsy roots. Bands like the Gypsy Kings - masters of Spanish Flamenco (though they are from southern France) - are well known in "world music" circles.

The Portuguese "Fado," a traditional style of song with many forms, owes part of its haunting melodies and stunning guitar work to Gypsy influences. Street Fado performers, often the engine of musical creativity in Portugal, are frequently Roma.

The Manouche clan of French Gypsies has had a heavy influence on Jazz. Django Reinhardt, the best-known Manouche, was one of the most influential jazz guitarists and musical innovators of the thirties and forties. Playing with violinist Stephan Grapelli in the Quintet of the Hot Club of France, he helped shape the entire universe of jazz guitar . Django's unique jazz leads, fluid improvisations and exotic ornamentation are still influencing popular new bands like 8 1/2 Souvenirs.

It can be argued that, in addition to bringing the guitar and violin into a number of Gadje (non-Gypsy) musical vocabularies, the Roma were the first musicians to practice improvisation. In fact, there are references in the literature to Gypsy musical improvisations as early as 1500. It is likely, however, that the Roma have been improvising as long as they have been making music.

That makes sense, as the Gypsies have always disdained written composition, musical tablature and all of the accoutrements of formal musicology. There is no evidence that any attempt has ever been made by the Roma to formalize or standardize their music. That's not their style.

Every time a Gypsy song, or any other for that matter, is performed by Roma musicians it is entirely unique. This is consistent with the lack of a written Gypsy literary record. And with a linguistic tradition that emphasizes social interaction over the exchange of facts. Life, love, music and performance are very much "of the moment" for the Roma.

The Gypsies carry their disdain for external structure and standardization in their daily lives into their music and literary traditions. At the same time, the Roma prize individuality, cleverness, assertiveness and personal creativity. That leads to uniquely personal musical interpretations and promotes technical experimentation.

So in that sense, it is my personal conviction that we owe at least part of the credit for modern jazz and improvisational lead rock guitar to the Roma culture and early Gypsy musical innovation.

Triste Cantado - The New Fadistas

A new generation of angelic-voiced divas has hit the world music scene. And they're all young, beautiful and Portuguese.

Following in the footsteps of Portugal's most famous female entertainer, Amalia Rodrigues, this new generation of highly stylized and emotional vocalists is a musical phenomenon of major proportions - not to be overlooked by serious musical explorers.

Most fans of world music, jazz and the popular music of the 70's and 80's are familiar with Portuguese-language songs from Brazil. More recently, the island of Cape Verde off of Angola has produced a host of well-received Afro-Portuguese vocalists, including: Cesaria Evora; Waldamar Bastos and the Mendes Brothers.

The new divas of Portuguese song are the young "fadistas."

I'm not sure how the Portuguese fado originated. One of the world's most haunting and melancholy styles, the fado has become the modern voice of Portuguese musical traditions - just as the Samba is the soul of Brazilian music. The word "fado" comes from the Latin fatum, meaning fate, destiny or doom.

The Fado is yearning and melancholy, before all else. The Portuguese have always been widely traveled explorers and seamen. One can only suppose that these long journeys - characterized by homesick sailors and home-bound lonely wives - played a role in the Fado's development.

Structurally, the fado features the Portuguese Guitarra, the classical guitar - called a viola in Portugal - and a strong, often contralto voice. Though a number of male vocalists perform fados, the song is best and most recognizably performed by female artists - who often drape themselves in black shawls while on stage and devote themselves to the tradition. Fadistas perform in a still posture which is solemn and dignified, using hand and facial gestures to add style and emphasis to their songs.

Amalia Rodrigues, Portugal's most internationally acclaimed celebrity of the last century, was a renowned "fadista" who brought her style and presence to stages and audiences worldwide in her heyday. A symbol of the Portuguese culture, there was an official state mourning period of three days when she died in 1999.

Argentina Santos, who, it is written, still lives and cooks in Lisbon, was also a celebrated practitioner of the art of the Fado. Today, young and vital singers like Misia, Mariza, Christina Branco and Malfalda Arnauth continue the tradition. Even Cesaria Evora, Cape Verde's Diva of song, relies on the Fado to really move her audiences. And moving an audience, often to sympathetic tears, is the whole point of a Fado performance.

Songs combine traditional Iberian folk influences with North African, Gypsy and some Middle-Eastern vocal ornamentation. That's my ear and opinion. Like authentic Flamenco in Spain, finding real Fado in Lisbon can be challenging. From what I've read, the smaller bars with no stages, just a couple of chairs for the musicians and a created space for the vocalist, are the best bets. And there is a tradition of absolute silence while listening to Fado being performed. I'm sure that speaks to the emotional content of the songs, whether you understand the language or not. The passion and yearning are palpable.

Sample playlist

Song Artist

Fado Da Saudade Amália Rodrigues
Guitare Triste Amália Rodrigues
Dura Memoria Amália Rodrigues
O Fado Chora-Se Bem Maria Da Fe
Medo Mariza
Toada Do Desengano Mariza
Que Deus me Perdoe Mariza
Primavera Mariza
Fado Arnauth Mafalda Arnauth
Canção Mafalda Arnauth
Cavalo à Solta Mafalda Arnauth
O sabor de saber Cristina Branco
Um Fado Palavras minhas Cristina Branco
Soneto de separação Cristina Branco

Wii Has *So* Won

The fat lady of gaming has sung, and Wii won. Kicked butt, in fact. Up against the much-touted Sony Play Station and Microsoft's Xbox, Wii has captured a nice share of recent game-box retail sales. The Nintendo device won gamer's hearts for a bunch of reasons. First, Wii is fun . Sleek and uber-modern, Wii is minimalist in appearance and footprint. The Wii wand is another unique marketing hook. It adds a tactile dimension to gaming, and more importantly, encourages an upright, on-your-feet playing style. Clever, that. But even more clever, or serendipitous as the case may be, the out-the-door story about gamers getting so excited that they actually broke things with wands flying out of their hands. The company, of course, had an instant fix. So no harm done there, but on the other side of the coin, the story drove every gamer in the universe crazy to see what the commotion was all about. Bingo, instant attraction.

Another big win is the way the device is playing with the girl-gamers, who evidently disdain the couch-potato approach to gaming. And of course, the similarity of Sony's device to the Ford Expedition can't be discounted. Overkill for current gamers, and the rest of us are not yet sure we want to cede control of our entire multimedia universe to Sony. More likely to Apple, Inc.

Xbox continues to impress, in an indelibly Microsoft sort of way. And its sales are robust. It's got some great games, but it *is* a Microsoft product and has that designed by committee of Redmond geeks feel to this writer. Bottom line, Microsoft has a lot of irons in the fire and its projects have been known to slip, or to slide down the internal priority rankings. Nintendo is focused. That fact ensures their total commitment to the gaming world.

All of this begs the question, wil gaming consoles morph into home multimedia content control and distribution hubs? Or, will some other device - probably with an Apple on it somewhere - fill that space, leaving gaming to dedicated consoles? I tend to go with the latter scenario, which fits with the Wii's ascendancy as well as with Apple's recent introductions. I know a little bit about this stuff, in case you're wondering. I introduced AEGIS: Guardian of the Fleet for Time Warner Interactive, before the group had its own, in-house communications people. And I gave Rob and Graham at Trilobyte their first corporate ID through a comprehensive press kit I wrote for The 7th Guest. Landeros designed the porfolio cover, and it was as killer as the game graphics. But that's another post for another day.