Mostrando entradas con la etiqueta abbatars. Mostrar todas las entradas
Mostrando entradas con la etiqueta abbatars. Mostrar todas las entradas

jueves, 2 de marzo de 2023

Bjorn told with Alastair Campbell

 Bjorn told with Alastair Campbell during an episode of Bjorn From Abba And Friends on Apple Music Hits

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Björn: ‘We stopped him [Macain using Take a Chance On Me] because we don’t want to be political’
Journalist and broadcaster Alastair Campbell joins ABBA’s Bjorn Ulvaeus in a brand new episode of ‘Bjorn from ABBA and Friends’ on Apple Music Hits. In the second episode from the new series that launched this week, Alastair discusses ABBA Voyage, hearing Winner Takes It All on the day Labour won the 1997 election, music in politics, his love for ABBA and more…
Alastair and Bjorn discuss ABBA Voyage…
Bjorn:
Well, it wasn’t a reason why we did it. If people want to do that fine with me, but the reason I got so intrigued by this was the technology, that it actually can be done, that you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things.
Alastair:
Does it worry you that, I mean, like doing it for music is sort of a force for good. Does it worry you that the same thing could be used as a force for bad?
Bjorn:
Absolutely. It does. But it was going to happen anyway, and we are out the first to do it, which is great, I think, to be the pioneers, but I’m sure in the future, we’ll have to be very careful about what can be done with avatars.
Alastair:
The thing about you guys, and I imagine this is what you’re doing at the moment is that you are, as a golfer would say on the back nine of life, and you’ve had this amazing career, but you want it to carry on after you are gone, and the thing about great music is you’ve got that. I think more than books, actually. I mean, books survive, of course they do. But I think the thing about music, your music will sound the same in 100 years.
Bjorn:
But do you think people will listen to it in 100 years?
Alastair:
Yes, definitely. Yeah, because I think you are a phenomenon. I think that if you think of the musicians that have been around in our lifetime, Beatles survive forever. Elvis, I think, survives forever. And I think on the pop front, I think you are right up there. So yeah, definitely. I think, look, my kids know who you are. My kids have a favourite ABBA song. Yeah, you’ll be around, don’t worry about that.
Alastair Campbell on music in politics…
…Look at the way it already has in Ukraine. If you think about the great political movements, if I think of some of the campaign songs, Bill Clinton, Don’t Stop Thinking About Tomorrow, ours was Things Can Only Get Better.
Bjorn:
Yeah. McCain wanted to use, Take a Chance On Me.
Alastair:
Did he?
Bjorn:
But he was actually using it on the campaign trail when we found out.
Alastair:
And did you stop him?
Bjorn:
Yeah. We stopped him because we don’t want to be political and that’s choosing the President in the US.
Alastair:
Well, what’s his name, Trump used Rolling Stones, You Can’t Always Get What You Want, and I think The Stones tried to stop it.
Bjorn:
Yeah.
Alastair:
Yeah. So you wouldn’t want to be used in a political campaign?
Bjorn:
No. Unless you see it as political to stand up for Ukraine in this situation. I mean on that level, yes definitely.
Alastair:
Have you guys never been dragged into the say, Swedish, political campaigns?
Bjorn:
No. Never.
Alastair:
And has that been a deliberate thing?
Bjorn:
Deliberate. Yeah. Absolutely.
Alastair:
Doesn’t mean you don’t have strong political views.
Bjorn:
No, I do. But we’ve always tried to stay out of party politics, domestically.
Alastair:
Probably wise.
Bjorn:
I think. So I’ve always myself, slightly disliked artists that I like and admire if they come out and they are joining a party, and being specific about it. I think it takes something away from their music and from their lyrics.
Alastair Campbell on Winner Takes It All…
Now, Winner Takes It All, let me tell you something. Winner Takes It All is in my diaries. And not just on any old day.
(Reading from book). May 1st, 1997. It was the day of our first election. Okay? It was a weird feeling. It was as if we’d been fighting a 15 round fight, and as the bell rang for the last round, the other guy just didn’t turn up. I’d barely slept, even though for the first time in months, there was no reason to get up early. Because the campaign was finished. It was election day. I gave up trying to sleep just after 6:00, got up and read through the papers. It was so weird having time on my hands. At Myrobella House, which was Tony Blair’s house up in the constituency, someone had turned on Radio 4, I switched it off. I said, we didn’t have to worry anymore about the news. There was nothing more we could do. And I twiddled the knob to find the music station. And I found one playing ABBA, Winner Takes It All. John Burton, who is Tony’s Sedgefield agent. He and I fell about. And it was actually, it was an amazing moment because that was the first time after three years of campaigning that I allowed myself to think we’ve definitely won. Winner Takes It All is up there for me.
Alastair Campbell on his love for ABBA…
Oh no, I think you were right up there. I’ve got to tell you this, I go swimming every morning in an open air pool not far from here. And there’s a lot of regulars who go at seven oclock every morning, and there’s usually quite good banter about politics, or football. And I said, this morning, “You will not believe what I’m doing today. I’m talking to Bjorn from ABBA,” and they were amazed. And by ten past seven, the pool was people singing their favourite ABBA songs.



Abba’s Bjorn Ulvaeus worried avatars could be used as a force for bad PA News Agency — Tiempo de lectura: 5 minutos Abba’s Bjorn Ulvaeus worried avatars could be used as a force for bad  Abba star Bjorn Ulvaeus has said people need to be “very careful” about the use of avatars in the future as they could be used as a force for bad. The 77-year-old reformed with the Swedish troupe after almost 40 years to create a physical concert featuring “Abba-tar” versions of themselves as they appeared in 1977, singing and dancing to their greatest hits. Abba Voyage takes place in a purpose-built 3,000-seat arena in east London and is designed to be a large group experience rather than a fully virtual or digital streaming event on mobile devices or headsets. That you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things Bjorn Ulvaeus However, songwriter Ulvaeus warned there could be negative effects from the use of avatars. He told broadcaster Alastair Campbell during an episode of Bjorn From Abba And Friends on Apple Music Hits: “The reason I got so intrigued by this was the technology, that it actually can be done. “That you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things.” Former Labour spin doctor Mr Campbell said: “Does it worry you that doing it for music is sort of a force for good. Does it worry you that the same thing could be used as a force for bad?” Ulvaeus replied: “Absolutely. It does. But it was going to happen anyway, and we are the first to do it, which is great, I think, to be the pioneers, but I’m sure in the future, we’ll have to be very careful about what can be done with avatars.” Everything’s better when you have ABBA Voyage in the diary! pic.twitter.com/R5YiExFscD — ABBA Voyage (@ABBAVoyage) March 1, 2023 Later in the episode, Mr Campbell said hearing Abba track The Winner Takes It All defined the moment he realised the Labour Party was going to win the 1997 general election. Former prime minister Tony Blair’s ex-press secretary told Ulvaeus his 1980 song was “up there” as a personal favourite because it had epitomised the win. Reading his diary entry from election day on May 1 1997, Mr Campbell said: “It was a weird feeling. It was as if we’d been fighting a 15-round fight, and as the bell rang for the last round, the other guy just didn’t turn up. “I’d barely slept, even though for the first time in months there was no reason to get up early (because it was election day). I gave up trying to sleep just after 6am, got up and read through the papers. “It was so weird having time on my hands. At Myrobella House (which was Tony Blair’s house up in the constituency), someone had turned on Radio 4, I switched it off. “I said we didn’t have to worry any more about the news. There was nothing more we could do. And I twiddled the knob to find the music station. “And I found one playing Abba, Winner Takes It All. John Burton (who is Tony’s Sedgefield agent), he and I fell about.” Mr Campbell later told Ulvaeus: “It was an amazing moment because that was the first time after three years of campaigning that I allowed myself to think, ‘We’ve definitely won’. “Winner Takes It All is up there for me.” Labour swept to power in the 1997 election which saw Mr Campbell become one of the key players in the New Labour era. Ulvaeus, who won the Eurovision Song Contest for Sweden with Waterloo in 1974, later revealed his top three Abba songs were Mamma Mia, Dancing Queen and Winner Takes It All. https://www.gazetteseries.co.uk/leisure/national/23357006.abbas-bjorn-ulvaeus-worried-avatars-used-force-bad






miércoles, 1 de febrero de 2023

Wallenius on avatar voyage with Abba to wind-powered reality

 30 January 2023 Updated  


Wallenius on avatar voyage with Abba to wind-powered reality




Swedish shipping group Wallenius is on a voyage with avatars alongside compatriot pop legends Abba. It is borrowing Eagle song to promote its Oceanbird project.


Wallenius on avatar voyage with Abba to wind-powered reality

Swedish shipping group promoting car carrier that can cut emissions by 90% with song Eagle as it progresses to test wing sail on land this year and at sea in 2024


Money, money, money: Abba team up with Wallenius on tour logistics

Wind propulsion accelerator aims to take small developers through ‘valley of death’

Oceanbird aims high with wind wings that reach for the sky


Swedish shipping group Wallenius is on a voyage with avatars alongside compatriot pop legends Abba from which it is borrowing a song to promote its Oceanbird project. But they are going in opposite directions.


Where Abba Voyage is a virtual concert with avatars used to recreate the singers from nearly 50 years ago, Oceanbird is using digital constructions to go forward with a new reality: to build a wind-propelled 7,000 vehicle-capacity car carrier that can cut carbon emissions by 90%.


Led by the AlfaWall Oceanbird joint venture with technology company Alfa Laval, the 11 partner-project aims to have a full-scale wing sail rig under land-based testing this year.


And a unit will be fitted to the existing Wallenius Wilhelmsen car carrier, the 71,673-gt Tirranna (built 2009) during a scheduled drydocking in mid-2024.


The project received €9m ($9.7m) in funding from the EU’s Horizon Europe grants system for renewable research this month to develop a wind-propelled newbuilding sailing by late 2026 or early 2027.


Land-based tests are expected to optimise sail assembly processes and examine how the mechanics and automated systems work, said Oceanbird managing director Niclas Dahl in a live and online briefing.


Testing under real-life conditions on the Tirranna will follow, in part to validate how well earlier computer design work, digital and real models plus wind tunnel and wave tank tests compare with performance at sea.


A lot of work needs to be done to prepare an existing high-sided ship not originally designed to take a sail, said Roger Strevens, vice president of global sustainability at Wallenius Wilhelmsen.


Structural and stability issues have to be addressed to take account of the extra weight and thrust stresses imposed by adding the sails, Strevens said, as well as crew training.


But the developers are not just looking at the design for the car carrier newbuilding, the Orcelle Wind, they also want to develop retrofit wing systems for ships from tankers to bulkers and boxships.



A wing sail will be fitted to Wallenius Wilhelmsen car carrier, the 71,673-gt Tirranna (built 2009) during a drydocking in mid-2024. Photo: AlfaWall Oceanbird

Oceanbird technical project manager Emil Kotz said added weight and propulsive thrust factors are the main elements for any vessel with a 40m-high sail weighing 150 tons


Weight has already been reduced while retaining the same performance, Kotz said, with the sail's size cut by 50% when an original telescopic design was changed to a tilting one.


The sail’s structural limit is 20 meters per second, equivalent to 40 knots, but Kotz said lower operational limits might be set for safety and crew comfort reasons.


Wallenius said future ships may be named after Abba hits when it last year that the virtual concert hall the Abba Arena in East London would have an Oceanbird Departure Lounge.


The ship project is now being promoted with the Abba song Eagle which includes the lines: “I dream I can spread my wings” and “Am I dreaming, or is it all real?”


Oceanbird aims to take a lead in making wind propulsion real.


Tightening environmental legislation and stronger carbon-cutting targets means everyone in shipping will have to find ways to cut emissions to be in compliance with regulations.


“We can’t be conservative. That’s a fast track to obsolescence, but we must be cautious,” Strevens said.

martes, 29 de noviembre de 2022

abbatars - team


Body doubles for the ABBAtars in the show on the red carpet ahead of the ABBA Voyage opening performance at the Abba Arena in Stratford.

May 26th, 2022


 






















instagram: https://www.instagram.com/isabelurpi_lc/

https://www.instagram.com/sonya_with_a_why/

https://www.instagram.com/p/CeJwTG5oYta/

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@imleoelso  @urpi_lc @livausten @willycbob @allmanttuff @jameswpattison

@heatherbirley_

-----------------------------------------

Frida !!! 


sonya_with_a_why

---------------------------------------------------

@imleoelso

ABBA VOYAGE PREMIERE POST (no spoilers)


Still walking on air after what can only be described as a magical night. Nearly two years after we were cast to be the body doubles of the greatest pop group there ever was, we got to see the result of so much hard work. There was A LOT of tears and A LOT of joy.


It has been the privilege of my life to be a small part of this project, which I cannot overstate is the result of a HUGE, COLLABORATIVE effort by THOUSANDS of people, led by some of the most fearsome creative minds in the industry. Being in the movement department, those minds for us were @studiowaynemcgregor and @dowling5713 . We got to spend MONTHS working with them, trying to unlock what has never been done on this scale before, attempting to put ABBA's stage presence in a bottle. Recreating each of their movement, watching hundreds of hours of footage. I have learned so much from Wayne, Sarah and their team. I love them dearly and hope it's not the last we work together.


Then there are the other doubles. A bunch of 8 youngsters, dancers, musicians, composers from all across the globe, snatched from the jaws of lockdown to be thrust into this crazy, secret thing. We lived together and relied on each other to find a way to navigate this whirlwind, and became fast friends along the way. I know you're reading this. I love you all so much.

May 29, 2022


Nearly two years after being whisked away from lockdown to be part of #abbatar crew, I've seen for the first time what @abba had in store for us.
"A concert like no other" is a very appropriate tagline for this. You won't have seen anything like it. Not to that scale.
I've been aware of the setlist and some of the effects from the presentation we had in the rehearsal room with @studiowaynemcgregor and @baillie_walsh back in 2020 and I was still caught off-guard, still in awe of how they managed to pull it off.
To see the huge crowd lose their minds at the songs and effects was very special, especially after the tough times we've had. Special mention to the live band who were on fire!!!
This job gave me some amazing friends, made me grow as a performer and musician and allowed me to meet my idols. To be a tiny part of it brings me so much pride;
But in that room, I was no longer an abbatar. I was just one of 3000 fans grateful to be alive in the same timeline as ABBA.

May 29, 2022

https://www.instagram.com/p/Cd380k2oYOO/











@Livausten




@ABBAVoyage is an incredible show that I’ll always be proud of having been a part of. Thank you for the music! @jonwrightmusic had to endure me playing @abba through laptop speakers while I prepared to go into full rehearsals for this, I think he enjoyed the upgrade in sound quality 



https://www.instagram.com/livausten/


-------

heatherbirley_


Back in the summer of 2020 I whipped off my PPE and headed to London to work for ABBA!


Wow. How to put any of this in to words!? I cannot express how grateful I am to have had such an incredible experience and to work with such wonderful talented people to bring the ABBA voyage show to life! To see it last week sat between the real Abba and the king of Sweden was just the most mental thing ever, and I’m proud to say the show is 100% INCREDIBLE!

I want to thank @studiowaynemcgregor and 
dowling5713
 for giving me this opportunity!

And, here’s to the most amazing colleagues, friends and body doubles I could ever wish to meet!! @sonya_with_a_why @urpi_lc @imleoelso @livausten @jameswpattison @willycbob @allmanttuff . Please enjoy some snaps of us in rehearsals, donning the red carpet and being mistaken for the blossoms!


***************************

dowling5713




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ABBA Voyage - Wayne McGregor

Wayne McGregor on Hell, the human body — and Abba
The choreographer talks about his ambitious new production The Dante Project — and next year’s highly anticipated reunion show
© Alastair Levy

I grew up in Stockport in the 1970s and I pretty much learned to dance to Abba songs

There is little sense of inertia around McGregor’s numerous other activities, now that the brakes on cultural undertakings are easing. This week there is also the premiere of No One is an Island, by his company Studio Wayne McGregor in collaboration with Random International, at Frieze London. The show concerns the relationship between movement and technology, another favourite and fertile area for McGregor’s choreography.

It is billed as a “future-oriented reflection on how the human mind empathises with artificial intelligence and automated processes”, featuring two dancers and a “robotic instrument”. Like many of McGregor’s works, it flirts with the barriers between abstraction and figuration and searches for beauty in the interaction between man and machine. He bridles when his work is described, as it has been, as cold and impersonal. “We are not trying to take people out of the equation,” he says firmly. “We are looking at the supplementation of human endeavour.”

Abba in the motion-capture suits used for their forthcoming London show, choreographed by Wayne McGregor

Seemingly a million miles away from that area of intellectual inquiry, is the return of Abba. McGregor has been charged with choreographing the group’s rapturously anticipated comeback concert Voyage next May, to be performed by the band members’ digital avatars at London’s Olympic Park. He is sworn to secrecy on the details, but becomes the closest he gets to puppyish as he talks about the project. “I grew up in Stockport in the 1970s and I pretty much learned to dance to Abba songs. I did my ballroom lessons and my Latin American lessons to Abba songs. So I have a very long connection with the music.”

He describes the “honour” of being asked to work with the group. “That music is so joyful, and so apposite for right now. And that outpouring of love [when the concert and album were announced]! It felt like all my worlds had come together.

“To move between these different worlds,” he says more seriously, “is really important. Being challenged to do things in different ways, that pushes you. It makes you stay . . . ” — he snaps his fingers — “awake! I love that.”

full article here: https://www.ft.com/.../48db8f14-5c8e-475b-8fc4-0077fe3929b0


https://www.facebook.com/abbaregistro/photos/pb.100066652715506.-2207520000./1523546147993864/?type=3



jueves, 22 de septiembre de 2022

ABBA Voyage experience

 


https://www.facebook.com/ABBAVoyage/posts/pfbid02EdqKMUPvY7NMVZ724EsnLY4mPAxwfbkBZqz5vKWe23KeJK6bovTk6rFMGoKKhZs4l

miércoles, 7 de septiembre de 2022

Darling can´t you hear me

 


domingo, 28 de agosto de 2022

ABBA 2022 - The Concert


 

https://www.facebook.com/ABBAVoyage/videos/506247511501172/

domingo, 7 de agosto de 2022

Review: ABBA Voyage provides pristine digital images and bouncing pop

 Review: ABBA Voyage provides pristine digital images and bouncing pop

Dr. Tim Sandle — 

Digital Journal - Entertainment


Back to the 1970s but digitally, ABBA’s Voyage, the new London show, is reviewed.


ABBA are back, at least virtually. Playing in London is the show ABBA Voyage, using digitally recorded avatars of the four band members, together with an array of visual effects and a live performing band.


Since ‘splitting’ in 1983, ABBA have resisted offers to reform and tour even where the price tag has exceeded $1 billion. While the band have recently returned to the studio, it is through advances in digital technology that their admirers can see and hear them play.


While this Digital Journal reviewer is more interested in the return of The Cure in terms of a band revival, the reviews for ABBA Voyage and the technical sophistication of the virtual performance was sufficient to spark interest. And this interest was well rewarded.


The show is a spectacular success – from its realism, to the music, and overall pazazz. The venue is custom-built arena at Queen Elizabeth Olympic Park in London, and the two shows per day continue to sell out.


Most of the expected songs are showcased across the 22 song set – from Waterloo to Mamma Mia, from SOS to Fernando. Some high charting tracks inevitably do not feature across the 90 minute set, given that the band have an extensive back catalogue including 50 singles released since 1971.


What was remarkable about the performances was the realism. If one member of ABBA stepped back into a darker area, their image faded but they were still visible as if they were really there. Each performer was also complete from any viewing point – fully formed three dimensional images.


At time the band wear clothes from the 1970s and 1980s, often invoking the era of the discotheque; at other times they are wearing more modern clothing, including suits that would not be out of place in the remake of Tron. As dazzling as the futuristic suits are ,the band look better in the recreations of them at the time of their spangly, jump-suited pomp


The quality of the effects and imaging of the performers was due to the work undertaken by Industrial Light and Magic (ILM), the film effects company founded by Star Wars creator George Lucas. More than 100 digital artists and technicians worked on the avatars (or perhaps ABBA-tars?) and effects.


To animate the avatars, the ABBA band members wore motion capture suits and were filmed using 160 cameras, with effects layered on. At the very end of the show images of the band members as they are today are displayed; appearing much older but still with energy and star appeal: Agnetha Fältskog, Anni-Frid Lyngstad, Björn Ulvaeus, and Benny Andersson.


The music too was crystal clear. There was no break or variation in sound between a new song, as taken from ABBA’s 2021 Voyage release, or an older classic. Each number sounded fresh, with the originally recorded vocals seamlessly matched with the musical accompaniment from the live band.


The concept could open up new possibilities for heritage acts to recreate their golden years. Whether the concept and technology should be applied to deceased artists is a different thing. The appropriateness of this is for debate at a different time; in the meantime, the technical possibilities are endless.


ABBA Voyage is currently showing in London, U.K. on an initial one year run (with options to extend the show until mid-2026).





https://www.digitaljournal.com/entertainment/review-abba-voyage-provides-pristine-digital-images-and-bouncing-pop/article

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