” Wellwishers, tourists and protesters lined the streets of central London to bid farewell to Margaret Thatcher at this morning’s grand ceremonial procession.
More than 700 personnel from all three armed forces added to the pomp and pageantry as Brits and visitors alike tried to grab a snap of the historic occasion – which included a horse-drawn gun carriage and three military bands.
Dignitaries from 170 countries, politicians and celebs were invited to join the Thatcher family in paying their respects to the former PM at St Paul’s Cathedral.
Amanda Thatcher, the 19-year-old granddaughter of the late Baroness, took centre stage as she delivered the first reading of the service – a Bible passage that aimed to reflect the former PM’s warrior-like status.
Of the 2,300 watching her in the pews were singers Katherine Jenkins and Dame Shirley Bassey, both current and former PMs, and figures from all sides of the political spectrum.
The Queen, dressed all in black, was at the service with her husband Prince Philip – the first time she has personally attended a Prime Minister’s funeral since Sir Winston Churchill’s.
The service chosen – which included Bible readings and hymns – reflected Lady Thatcher’s love of British composers and reinforced the themes of her controversial political career. It moved some, including the Chancellor George Osborne, to tears.
Fears protesters would seek to disrupt the divisive figure’s procession to the Cathedral meant more than 4,000 police joined those members of the public lining the route.”
” Moore started performing at a young age, having picked up a battered acoustic guitar at the age of eight. He got his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed. He moved to Dublin in 1968 at the age of 16. His early musical influences were artists such as Albert King, Elvis Presley, The Shadows and The Beatles. Later, having seen Jimi Hendrix and John Mayall’s Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.
Moore’s greatest influence in the early days was guitarist Peter Green of Fleetwood Mac who was a mentor to Moore when performing in Dublin. Green’s continued influence on Moore was later repaid as a tribute to Green on his 1995 album Blues for Greeny, an album consisting entirely of Green compositions. On this tribute album, Moore played Green’s 1959 Les Paul Standard guitar which Green had lent to Moore after leaving Fleetwood Mac. Moore ultimately purchased the guitar, at Green’s request, so that “it would have a good home”.[2]
“ Skid Row would go on to issue several singles and albums (including 1970′s Skid and 1971′s 34 Hours), and although the group mounted a few tours of Europe and the U.S., it failed to obtain breakthrough commercial success, leading to Moore‘s exit from the group in 1972.Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio’s debut album, 1973′s Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin Lizzy. Moore‘s initial tenure in Lizzy proved to be short-lived, however, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell‘s 1975 release, Gramaphone Record), before joining up with a prog rock/fusion outfit, Colosseum II.
” But once more, Moore‘s tenure in his latest outfit was fleeting; he appeared on only three recordings (1976′s Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.”
” Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists’ recordings — Andrew Lloyd Webber’s Variations, Rod Argent’s Moving Home, and Gary Boyle’s Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May of 1979, the bluesy ballad “Parisienne Walkways,” and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore’s exceptional guitar skills, check out the album’s epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell’s solo release, Over the Top, in addition to forming a new outfit, G Force, which would only remain together for a lone self-titled release in 1980.”
” In the 1980s Gary established his reputation as one of the top guitarists on the heavy metal scene with a series of rock albums that showcased his skill. Kirk Hammett of Metallica, who cites Gary as one of his top 5 influences, sums up Gary’s style of playing very well: “Gary’s technique was very modern, but his guitar style was very blues-based. His phrasing was very, very blues-based. He played long, sustained notes coupled with really super fast-picked notes and he had a great legato style“.
” In 1990, Moore returned to his blues roots with ‘Still Got the Blues’, with contributions from Albert King, Albert Collins and George Harrison. The album was well received by fans and was his biggest seller. He stayed with the blues format until 1997, when he decided to experiment with modern dance beats on Dark Days in Paradise; this left many fans, as well as the music press, confused. With Back to the Blues, Moore return to his tried and tested blues format in 2001. In 2002 he got back to more of a hard rocking style with the album Scars. He also returned to playing some of his metal-period material in the 2003 Monsters of Rock Tour. Then he continued on with the blues rock style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and Bad For You Baby (2008).”
” The, Back To The Blues’ (2001) album saw him revisit The Blues with renewed vigour and determination, after the more experimental ‘Dark Days In Paradise’ (1997) and ‘A Different Beat’ (1999) albums. A ten-track collection that mixed excellent Moore originals, with gritty and intense covers of standards. But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what had to be his heaviest collection of songs since the late 1980′s, once again forcing people to reassess any opinions and preconceptions they might have had of him.”
” That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form ‘Scars’, a true power trio in every respect. The ‘Scars’ album was completed in early 2002 and that line-up, then went on to record the ‘Live at the Monsters of Rock’ (2003) live CD and DVD, which featured the band’s set as performed on two separate nights on the UK Tour in May 2003. That live set encompassed a diverse range of material, from across Gary’s playing career.”
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” 2004 saw possibly the rawest album yet, with ‘Power of the Blues’. The 10-track set, recorded mostly live in the studio, ranged from the hard rock/blues of the title track, via the upbeat swing of “Can’t find my baby”, to the haunting “Torn Inside”.
” Taking time out in August 2005, for a brief reunion with former Thin Lizzy band members, for a one off concert in Dublin, to mark the occasion of Phil Lynott’s birth. The evening was filmed for the 2006 DVD release, ‘Gary Moore and Friends, One Night in Dublin, A Tribute to Phil Lynott’.
” With his 2007 studio album ‘Close As You Get’, Gary continued in a direction not too dissimilar from ‘Old, New, Ballads, Blues’, released in 2006. Mixing original tunes with some interesting Blues covers that Gary had rediscovered, whilst researching for his award winning radio series, “Blues Power”, on Planet Rock (UK based digital/internet “radio” station). September 2008 saw the release of what would turn out to be Gary’s last studio album, “Bad for you Baby”. Again, a powerful collection of tracks, of original material and selected blues covers. After being on the road for most of 2008 and into 2010 with the “Blues” line up of the touring band. Gary returned from a tour of Russia and the Far East, and decided to reunite with his old sparring partner from the rock line up’s of the 1980’s, Neil Carter. The plan was to put together a “Rock” line up and dust off a selection of tracks from the mid to late 1980’s.”
“Adding Jon Noyce, (ex Jethro Tull/Sessions) on bass, some one who was also part of the, “One Night in Dublin” Tribute DVD in 2005, and Darrin Mooney (Primal Scream/Sessions) on drums, who was no stranger to the touring and recording line during the late 1990’s and early 2000’s. This line up, hit the road in May of 2010, performing a live set based around a selection of tracks from the “Rock Years” of the 1980′s. This proved to be a real treat for fans, old & new, as many would have not heard Gary play these songs live, either for a very long time, or in many cases, at all. In addition to the older tunes, a number of new “Celtic Rock” style tracks were included in the show, which went down very well with the live audiences. Tracks, which Gary was planning to record and embellish, on his next studio project. A project that was ready to start when Gary returned from a short holiday break.”
” Unfortunately, that was not to be, as Gary passed away in his sleep in the early hours of February 6th, 2011, in Estepona, Spain. After being such a “force of nature” in the guitar-playing firmament, for many years, as part of a professional career that began when he was only 16. He leaves behind a huge hole for many, not just his close family and friends, but guitar fans around the world.”
” Of all the many tributes paid since Gary’s passing, maybe this one, from Gary’s friend and musical collaborator, Don Airey, might sum up the best of most people’s thoughts of Gary: “At the 1984 Donington Festival during the long solo in “Empty Rooms” the previously restive crowd went so quiet, you could hear a pin drop – everyone back and behind stage stopped whatever they were doing and just stood to listen open-mouthed. His artistry touched thousands of people over the years, not least those of us lucky enough to have shared a stage or a recording studio with him. Sleep tight old mate, you’ll be sorely missed.” “
” Slain ex-Navy SEAL Chris Kyle was a devoted husband, father and friend who will never be forgotten, his widow told mourners at his memorial service Monday.
Taya Kyle said she was broken but that the family will “put one foot in front of the other” to get through their grief. She told her two children that they will remember Chris Kyle’s silly side, Texas twang and prayers they prayed together.
“Chris, there isn’t enough time to tell you everything you mean to me and everything you taught me,” she said through tears.
Nearly 7,000 people, including former Alaska Gov. Sarah Palin and her husband, attended the service at Cowboys Stadium. Dozens of military personnel and others were seated in front of the podium near the star at midfield, where Kyle’s flag-draped coffin was placed at the beginning of the service.
After Taya Kyle’s eulogy, country singer Randy Travis sang “Whisper My Name,” which he said Taya Kyle had told him was a meaningful song for the couple, and “Amazing Grace.” At the conclusion of the two-hour service, bagpipers played as military personnel carried out Kyle’s coffin, and many in the crowd saluted.”
” “Above and Beyond” became a permanent feature at the National Vietnam Veterans Art Museum, May 26, 2001. Richard Steinbock and Ned Broderick developed the idea to create a piece that would commemorate all the men and women who died in the Vietnam War. Their goal was to make people comprehend how many lives were lost, all the “wasted potential,” and all the people who were affected by the loss. They struggled with finding a way to include all the names of the soldiers in the artwork. The only other memorial with all the names listed is the Vietnam Wall in Washington D.C. “
“With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the ’80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.Vaughan bridged the gap between blues and rock like no other artist had since the late ’60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.”
” Just to take a few minutes to remember this humble yet mind-blowingly brilliant economist,
and as a demonstration of why we need more voices like his to help make freedom cool again, here are just a couple awesome op-eds and
videos for you reading/viewing pleasure. First,from Stephen Moore in the WSJ: “
![Elvis Presley [1956]](http://cps-static.rovicorp.com/3/JPG_75/MI0000/436/MI0000436449.jpg?partner=allrovi.com)
![Elvis [1956]](http://cps-static.rovicorp.com/3/JPG_75/MI0003/459/MI0003459990.jpg?partner=allrovi.com)
![NBC-TV Special ['68 Comeback]](http://cps-static.rovicorp.com/3/JPG_75/MI0001/422/MI0001422790.jpg?partner=allrovi.com)
![Loving You [Into U]](http://cps-static.rovicorp.com/3/JPG_75/MI0003/460/MI0003460370.jpg?partner=allrovi.com)
