The Eurovision Song Contest 2018 will be the 63rd edition of the annual Eurovision Song Contest. It will take place for the first time in Portugal following the country's first victory at the 2017 contest in Kiev, Ukraine with the song "Amar pelos dois", performed by Salvador Sobral. The contest will be held at the Altice Arena in Lisbon and will consist of two semi-finals on 8 and 10 May and a final on 12 May 2018. The three live shows will be hosted by Filomena Cautela, Sílvia Alberto, Daniela Ruah and Catarina Furtado. Forty-three countries will participate in the contest, equalling the record of the 2008 and 2011 editions. Russia will return after their absence from the previous edition, and for the first time since 2011, no country will be withdrawing from the contest.
The Eurovision Song Contest 2018 will be the 63rd edition of the annual Eurovision Song Contest. It will take place for the first time in Portugal following the country's first victory at the 2017 contest in Kiev, Ukraine with the song "Amar pelos dois", performed by Salvador Sobral. The contest will be held at the Altice Arena in Lisbon and will consist of two semi-finals on 8 and 10 May and a final on 12 May 2018. The three live shows will be hosted by Filomena Cautela, Sílvia Alberto, Daniela Ruah and Catarina Furtado. Forty-three countries will participate in the contest, equalling the record of the 2008 and 2011 editions. Russia will return after their absence from the previous edition, and for the first time since 2011, no country will be withdrawing from the contest.
Vlatko Stefanovski was born in 1957 in Prilep / Macedonia in a theatrical family. He started playing guitar at the age of 13. In his late teens he formed the group LEB I SOL which became one of the most important names in the music scene of former Yugoslavia. LEB I SOL had released 14 albums and had toured around the world. Since the mid- nineties Stefanovski has developed a very successful solo career. He has recorded remarkable solo releases, like Cowboys & Indians, Sarajevo, Vlatko Stefanovski trio, Kula od karti, Thunder from the blue sky etc. The collaboration with Miroslav Tadic, on the albums Krushevo, Treta majka, Live in Belgrade, and Live in Zagreb put a new light on Vlatko’s acoustic guitar work, and his further exploration of the Macedonian traditional music.
The only band to use the Beatles, Whitney Houston, Mission Impossible, Petula Clark, Doctor Who, ABBA, and the French national anthem as art statements. Circa 1987: Shag Times, one of the many deliberate cash-ins released in the wake of the Timelords, confirmed Bill Drummond and Jimi Cauty's supremacy over every last imitator and pop stunt plagiarist.
A gift for writing hook-laden songs and sensitively interpreting the work of American singer/songwriters has brought Rab Noakes to the forefront of Scottish pop music.
The artistic prowess of saxophonist John Coltrane was so expansive and influential - even in his own short lifetime, let alone in the decades since his death - that it's difficult to quantify or differentiate his significance as a leader, a collaborator, a sideman or any other role in the jazz idiom. What's certain, though, is that some of his most pivotal session work took place on the Prestige label in the 1950s.
After establishing himself as a science fiction hero in Planet of the Apes, Charlton Heston went on to do a string of films in this vein. One of the most beloved of these films is The Omega Man, a post-apocalyptic adventure that featured Heston as a scientist battling a vengeful group of mutants as he searched for fellow survivors in the ruins of Los Angeles. One of the most distinctive elements of the film was its score, which was composed by sci-fi vet Ron Grainer (The Prisoner, Dr. Who) and combined traditional orchestral film score elements with strong elements of pop and light jazz. A great example of this style is the film's main theme, "The Omega Man": its first part layers lush strings and gently jazzy horns over a pop-inflected rhythm section and its second part allows a mournful, jazzy trumpet solo to take the fore over a backdrop of acoustic guitar and spacey electronic keyboards. The score also features a preponderance of exciting action cues, like "On the Tumbril" and "Surprise Party," which combine the regal horn arrangements of traditional film music with spacey synths and exciting rock-style drumming. Elsewhere, Grainer shows a gift for crafting easy listening-style melodies on lighter cuts like "Bad Medicine for Richie," which mixes a string-sweetened melody with acoustic guitar and a subtle rhythm section.