IT security in 2030 – only humans will be the same
Twenty-three years ago one of the major hacker attacks in the history
of the US was widely reported in the media. In this context, Clifford
Stoll published his book The Cuckoo’s Egg, which has gone on to become a
classic of IT literature. In the same year Tim Berners-Lee invented the
World Wide Web, Intel launched its brand new 486 processor with 25 MHz,
and the Berlin Wall fell. Back then, though, computing was the preserve
of small communities of much-ridiculed geeks, so 1989 remained in the
collective memory as the year the Wall came down. Everything else was
immediately forgotten.
More than two decades later, computers have not only become socially
acceptable but, thanks to Apple, they are even status symbols. These
days anyone going to a library for information, transferring money at a
bank counter, or exchanging traditional “snail mail” business letters,
normally does so as a private individual: in our professional
environment it is almost impossible to avoid the use of search engines,
online banking and email.
What long-term impact will this development have on our lives? It is
clear that any attempt to predict the IT security landscape in 2030
will have to be a forecast of security and society in general. IT is now
almost everywhere, and its scope will only increase in the future.
Taking great steps towards the future
Future generations will pinpoint 2012 as the year where the hegemony
of the traditional personal computer was ended – ironically by the very
company that was once inseparably connected with it – Microsoft. Like
Apple and Google, the Windows giant is also now opting for a
multiple-device approach: cell phones, tablets and increasingly
television sets with a built-in operating system are all steadily
challenging the PC’s traditional dominance. Online cloud storage instead
of a hard drive in the desktop computer, applications from the App
Store instead of downloads from dubious websites – times are changing,
just as surely as analogue cameras have been superseded by digital
devices. Gradually, more sophisticated camera phones are in turn
replacing these. There is no doubt that analogue films, digicams and
PCs will still exist in ten years’ time, but their heyday is past.
Against this background, it would hardly be surprising if smartphones
lost their current cachet as the must-have techie toy within the next
five years, because augmented reality glasses are now the up and coming
thing.
These are special optical aids – including a built-in camera, display
and computer. The special feature of augmented reality is that for the
wearer reality and computer-generated images merge together. Thanks to a
continuously activated camera and the face recognition function, a poor
memory for names won’t be a problem any longer as the name, age and
profession of the person we are talking to will be automatically
displayed next to his or her face. On holiday, foreign-language menus
will simply be replaced by a translated version. And if you get lost,
you can use the pedestrian navigation system to virtually project your
path onto the pavement in front of you. Additionally, a multimedia diary
based on the continuous data flow of the camera, the microphone and GPS
will automatically be created. No need to be impatient: in 2013, Google
plans to deliver its Google Glasses to developers, and other
manufacturers will follow. This fusion of the real and the virtual world
will change so many things in the coming years that we simply cannot
overestimate the importance of this development.
But when it comes to technology, there is always a dark side: if
millions of people walk around with cameras permanently activated,
nothing outside their own houses will remain private. Society will
monitor itself and it remains to be seen if and how a balance between
technology and privacy can be maintained. Automatic deactivation of
cameras at particular places is an option for which Apple has already
filed a patent.
Another problem: even the sharpest minds can only use the information
at their disposal. Seeing is believing, as the saying goes. Just
imagine an activated augmented reality feature tricking you into
thinking that the restaurant you were going to visit was infested with
cockroaches – you’re going to go to the establishment across the street
instead, aren’t you? We’ve already seen how these “opinions” can be
manipulated by paid “customers” in relation to hotel ratings on the
Internet – but we still get tricked. So the advertising industry itself
will be particularly interested in “optimizing” our reality to suit its
agenda. It really would be dangerous if the system as a whole were
hacked without the person concerned realizing that he or she is living
in a dream world which has nothing to do with reality.
Of course, the future involves much more than just augmented reality.
But even when putting aside fascinating future topics such as
nanotechnology, genetic research or food-producing 3D printers, you
certainly won’t be bored: the much-heralded Artificial Intelligence is
closer than ever to becoming reality. In 1997, IBM’s Deep Blue defeated
the Russian Garry Kasparov 3.5-2.5 (the chess world champion had managed
to win the previous match played the year before) – but its success was
based on enormous processing power rather than true intelligence.
Nevertheless, in 2001, IBM launched the amazing Watson computer that
managed to trump a 74 times Jeopardy winner in a quiz game. This victory
was due to the language processing technology that has been perfected
over the years and to algorithms capable of independently gaining new
findings on the basis of existing data. In the same year, Apple
presented Siri, an imperfect but nonetheless trend-setting digital
assistant. As expected, Google has joined the scramble to develop the
smartest computer system. In parallel, a number of other projects have
been initiated – partly supported by EU funds – whose objective is to
emulate a complete human brain in a computer. Whether they are creating
digital assistants or artificial brains, researchers have the will and
the financial backing to complete this long journey.
Ultimately, we are looking at nothing less than the complete
autonomization of our environment: cleaning robots, cars, even houses.
We’ve already seen the Google Car obtain a license in the state of
Nevada this year, making it the first ever motor vehicle to be
recognized as capable of driving itself without human input. There have
also been great advances in the field of robotics research: recently,
the US agency DARPA demonstrated a robot known as the Cheetah, which
runs at 45 km/h, i.e. faster than any human being. When these robots
can be animated by genuine artificial intelligence, those visions we’ve
seen in sci-fi films could start to become reality. Whether you look
forward to all this or it just makes you shudder is up to you!
Everything changes
Discontinued model
Solution for the future
Television, PCs, laptops, tablets and smartphones
Augmented reality glasses and displays available everywhere – from watches to monitor walls
Software, movies, music bought ‘in a box’
Cloud-based content, charge according to frequency of use
Video game consoles
Virtual play worlds which can be entered from any computer system
Manually controlled cars
Fully automated transport systems
Cash
Digital payment systems
School
Individualized teaching by intelligent systems, perfectly tailored to students’ individual skills
Workers
Robots
The world in 2030
So, what will life in the future look like? Augmented reality devices
will mostly replace today’s ultra-popular smartphones. Overwhelming
progress in directly connecting computer chips and optical nerves will
enable blind people to access augmented reality. And the most popular
videos in the YouTube of the future will be self-made 3D movies –
including unlimited viewing angles and freely focusable depth range.
Traditional game consoles will disappear. Instead, virtual universes
will be computed by huge computer systems distributed across numerous
cities – partly located down in the basements of big apartment buildings
to keep transmissions paths as short as possible. It’s a great
opportunity, if you can create play worlds which are interesting enough
to persuade other players to join up and pay a subscription or joining
fee.
Extremely powerful computers are required for all this. The rule of
thumb is: the smaller the transistors in a processor the better the
speed. With every further step towards miniaturization, Intel and co.
are approaching the limits of what is physically feasible. In the past,
though, processor developers have repeatedly demonstrated their
creativity, and a massive increase of the core number on every chip
could also be an option. At present, the processing performance of
computers is expected to double every 18 months, while the price remains
the same. This would mean that in 18 years’ time, computers would be
four thousand times faster than those of the machines available today.
In theory, home computers could be more powerful than that IBM Watson
supercomputer (for the techies: 2880 Power7-cores featuring 3.55 GHz
each), at a cost comparable to an ordinary laptop today. It would be
possible to create the first Toy Story film on a home desktop, in real
time and at cinema resolution, and the first-ever complete computer
simulation of the simplest known genome Mycoplasma Genitalium,
celebrated just a few months ago as a scientific milestone, would be a
standard experiment conducted in school classrooms.
The quantum computer technology we hear so much about is also
expected to have matured by 2030. Considering the present state of
knowledge, it won’t be possible to solve every typical computer problem
using a handful of quantum bits, but the cracking of strong RSA
encryption (applied for instance to provide security for emails and
online-banking transactions) could have become reality twenty years from
now.
It seems certain, however, that rootkits, Trojans and phishing
attacks will continue to be serious problems over the coming years, with
attackers concentrating more on servers than on devices. This is
because more vulnerabilities appear in complex environments and it is
reasonable to assume that the operating systems of tablets and
smartphones will be “purged” within the next few years and that the bulk
of the coding will be shifted into the cloud – and thus onto the server
side.
It is, of course, not just the financial implications of the computer
viruses of the future that are serious. The detection of the sabotage
worm known as Stuxnet in 2010 confirmed suspicions that malware could
also have a political context. The continuous militarization of
cyberspace will produce legions of professional malware authors as the
creation of Trojans and the carrying out of web attacks is legitimized
and even supported by some states.
Singularity
As suddenly as this trend has emerged, its end may not be far off –
humans working to create new security threats could be superseded by
machines fighting against machines. This is where the progress of
artificial intelligence could be crucial. The magic word is
“singularity”, used in future studies to describe the point in time when
computers will be sufficiently intelligent to develop independently
without human support. It sounds incredible and there is still huge
controversy among scientists about when – or indeed if – we will reach
this point. I don’t want to bore you and duck the question: my guess is
that it will arrive in 10-15 years.
Even today it is difficult for us to keep pace with the breathtaking
speed of new developments. But when singularity is achieved, the pace
will accelerate significantly yet again: it’s as if prehistoric man had
discovered fire at breakfast, had been catapulted into the Middle Ages
by lunch time, witnessed the industrial revolution in the afternoon and
then arrived in the computer age by the evening!
Our minds, as well as our senses, developed over millions of years by
the gentle hand of evolution, will be suddenly exposed in one blink of
history’s eye to technologies that are generations ahead of our
biological development.
Now, there’s nothing bad about technical aids, though our ancestors
certainly took advantage of the illiterate once written language had
been invented. In recent years, search engines and services like
Wikipedia have pushed information processing forward. But one thing
still applies: it is man who holds the ropes, while the computer lends
its technical horsepower to the task at hand. If, though, we allow our
lives to be entirely optimized through digital assistance systems, that
balance of power will be reversed. Every attempt to return control to
the human mind will inevitably cause efficiency losses.
After a certain point, intelligent systems could become so superior
to us that we would no longer be able to grasp the mechanisms and
reasons underlying the advice they gave us. We would resemble infants
who trust their mothers blindly because they have no other option. The
difference, though, is that a child grows and will, as an adult, finally
be able to stand on his or her own feet. Humanity could be dependent on
the assistance of computers for the rest of our lives.
Even if the next few years are relatively calm, we need to start
thinking now about how to deal with these developments. How should
researchers react to a breakthrough in artificial intelligence? When all
is said and done, a highly intelligent system could be abused as a
weapon. Developing nuclear devices is forbidden to the average citizen
by international treaties – but building an all-powerful intelligence at
home will present the creators with no legal problems at all and
regulating them will probably be impossible. Let’s just hope that the
lucky creator of the first genuine artificial intelligence will not
immediately decide to go for world supremacy!
Another challenge is how to deal with the truth: we expect computers
to be absolutely objective. If a head of state was just told that he is
wrong in front of his people and asked if he would kindly resign – would
he accept? Or will we force computers to adopt our “truths” against
“their” better judgment? In such a world, we would not need antivirus
software but psychologists as the compulsory processing of contradictory
information can only lead to digital psychosis – remember the film
2001: A Space Odyssey?
Common sense
The future holds exciting opportunities, but there are also lots of
risks and our own weaknesses, in particular, will play a major role. In
the 1950s, scientists Peter Milner and James Olds experimented on rats
with electrodes implanted in their brains’ “pleasure centers” – if
these animals were offered the chance to stimulate themselves at the
push of a button they continued doing that until they died of complete
exhaustion. On a computer-controlled planet, neither clocking in nor job
centers would exist. Everybody would be free to realize his or her own
dreams and talents. Depending on our self-discipline, a world full of
artists, athletes and writers might emerge – or, on the contrary, a sad
little heap of lethargic couch potatoes!
When I am asked in interviews how people can best protect themselves
against Internet threats, I always emphasize – apart from technical
solutions – the importance of common sense. And if common sense ever
fails, we can only hope at least that the computers will keep cool
heads!
The biggest opportunities and dangers of our digital future
Technology
Utopia
Dystopia
Singularity
Living in paradise – everybody does what he likes – machines handle the rest.
The last world war could have been won by a laptop that only “acted
under orders” – or which classified humanity as a whole as a risk to
security.
Intelligent infrastructures
Traffic flows, logistics – everything is perfectly coordinated, thus preserving resources and also the environment.
In
case of a malicious attack, cities could be cut off from food supplies,
citizens held hostage in their houses, and the doors of prisons opened.
Digital life coaches
Personal all-around advice: never again forgetting appointments or wasting time with paperwork.
Complete technology dependence and thus the associated risk of leading heteronomous lives because of manipulated data.
Medical robots
Cheaper operations, reduced risks of medical malpractice and wrong diagnosis, no waiting times at the doctor’s surgery.
Loss of expert knowledge as medical education will be financially less attractive. Cases of death resulting from hacked systems.
Military robots
The advantages are obvious – for those who have the more powerful robots.
If,
in the event of war, you have no fear of human losses on your own side,
then the threshold for starting an aggressive war will be lower.
Augmented Reality
We extend our perceptive abilities and gain new insights into ourselves by continuous life logging.
Total loss of privacy and dependence on computerized prostheses in the long run.
Cashless payment solutions
Shopping becomes more convenient. Tax fraud becomes impossible so the tax burden is distributed fairly and equitably.
Abandoning cash entirely means, in the event of a computer breakdown, no standardized medium of exchange would be available.
Quantum computers
The opening of amazing perspectives, especially in the field of science, e.g. in the simulation of chemical elements.
Quantum computing could pose a serious threat to some encryption technologies such as RSA.
The German version of this article was originally published on the
10th of December 2012 in the book “Vision 2030” (GABAL publishing
house)
Born on a farm near Houston, Mississippi, November 12, 1909, and named for the famed black educator, Bukka White was interested in music from an early age. His father taught him guitar at the age of nine, and a chance meeting with Charley Patton convinced the young White to "come to be a great man like Charley Patton." The son of a railroad worker, White was exposed to the sound of trains from an early age and was not afraid to hobo a train. He rode the rails from the Mississippi Delta to St. Louis, where he played poolrooms, barrelhouses, and parties for food and tips during the 1910s and 1920s.
During a 1930 stay in Memphis, White recorded fourteen songs, including three gospel numbers with Memphis Minnie supplying background vocals. Two 78s were released from the session, one containing two gospel sides and the other containing two blues numbers. Neither met with commercial success, but during this session White received the designation "Bukka" from a white record producer who had never heard of his famous namesake Booker T. Washington. He continued to travel during the 1930s, working as a professional boxer in Chicago and as a Negro League pitcher with the Birmingham Black Cats. During the summer of 1937, White shot an assailant in the thigh and was sentenced to Parchman Farm. Before beginning his sentence, he recorded two blues for the Vocalion label, including "Shake 'Em On Down," which sold in excess of 16,000 copies. Bluesman Big Bill Broonzy recorded "New Shake 'Em On Down," and scored another hit on that theme while White toiled at Parchman. Making the best of a bad situation, he recorded for folklorist Alan Lomax in 1939, while the latter was at the notorious prison recording for the Library of Congress.
Upon his release from prison in 1940, White traveled to Chicago for a follow-up session to "Shake 'Em On Down." The resulting twelve songs transcend blues as music, becoming powerful ruminations on imprisonment, isolation, loneliness, Jim Crow justice, and the freedom of the rails. White's post-Parchman success was short-lived, however, as a stint in the U.S. Navy during World War II curtailed his playing. During the 1940s, he occasionally played juke joints with Memphis legend Frank Stokes after the latter had moved to Clarksdale, Mississippi. White later settled in Memphis, playing occasional gigs and influencing his young guitar-playing cousin B.B. King. Like Skip James, Mississippi John Hurt, and Son House, White was rediscovered during the 1960s "blues revival," and was once again celebrated for his slide guitar, throaty holler, and inspired compositions.
Bukka White died in Memphis, Tennessee, February 26, 1977. He is buried in Memphis.
Born on a farm near Houston, Mississippi, November 12, 1909, and named for the famed black educator, Bukka White was interested in music from an early age. His father taught him guitar at the age of nine, and a chance meeting with Charley Patton convinced the young White to "come to be a great man like Charley Patton." The son of a railroad worker, White was exposed to the sound of trains from an early age and was not afraid to hobo a train. He rode the rails from the Mississippi Delta to St. Louis, where he played poolrooms, barrelhouses, and parties for food and tips during the 1910s and 1920s.
During a 1930 stay in Memphis, White recorded fourteen songs, including three gospel numbers with Memphis Minnie supplying background vocals. Two 78s were released from the session, one containing two gospel sides and the other containing two blues numbers. Neither met with commercial success, but during this session White received the designation "Bukka" from a white record producer who had never heard of his famous namesake Booker T. Washington. He continued to travel during the 1930s, working as a professional boxer in Chicago and as a Negro League pitcher with the Birmingham Black Cats. During the summer of 1937, White shot an assailant in the thigh and was sentenced to Parchman Farm. Before beginning his sentence, he recorded two blues for the Vocalion label, including "Shake 'Em On Down," which sold in excess of 16,000 copies. Bluesman Big Bill Broonzy recorded "New Shake 'Em On Down," and scored another hit on that theme while White toiled at Parchman. Making the best of a bad situation, he recorded for folklorist Alan Lomax in 1939, while the latter was at the notorious prison recording for the Library of Congress.
Upon his release from prison in 1940, White traveled to Chicago for a follow-up session to "Shake 'Em On Down." The resulting twelve songs transcend blues as music, becoming powerful ruminations on imprisonment, isolation, loneliness, Jim Crow justice, and the freedom of the rails. White's post-Parchman success was short-lived, however, as a stint in the U.S. Navy during World War II curtailed his playing. During the 1940s, he occasionally played juke joints with Memphis legend Frank Stokes after the latter had moved to Clarksdale, Mississippi. White later settled in Memphis, playing occasional gigs and influencing his young guitar-playing cousin B.B. King. Like Skip James, Mississippi John Hurt, and Son House, White was rediscovered during the 1960s "blues revival," and was once again celebrated for his slide guitar, throaty holler, and inspired compositions.
Bukka White died in Memphis, Tennessee, February 26, 1977. He is buried in Memphis.
Born on a farm near Houston, Mississippi, November 12, 1909, and named for the famed black educator, Bukka White was interested in music from an early age. His father taught him guitar at the age of nine, and a chance meeting with Charley Patton convinced the young White to "come to be a great man like Charley Patton." The son of a railroad worker, White was exposed to the sound of trains from an early age and was not afraid to hobo a train. He rode the rails from the Mississippi Delta to St. Louis, where he played poolrooms, barrelhouses, and parties for food and tips during the 1910s and 1920s.
During a 1930 stay in Memphis, White recorded fourteen songs, including three gospel numbers with Memphis Minnie supplying background vocals. Two 78s were released from the session, one containing two gospel sides and the other containing two blues numbers. Neither met with commercial success, but during this session White received the designation "Bukka" from a white record producer who had never heard of his famous namesake Booker T. Washington. He continued to travel during the 1930s, working as a professional boxer in Chicago and as a Negro League pitcher with the Birmingham Black Cats. During the summer of 1937, White shot an assailant in the thigh and was sentenced to Parchman Farm. Before beginning his sentence, he recorded two blues for the Vocalion label, including "Shake 'Em On Down," which sold in excess of 16,000 copies. Bluesman Big Bill Broonzy recorded "New Shake 'Em On Down," and scored another hit on that theme while White toiled at Parchman. Making the best of a bad situation, he recorded for folklorist Alan Lomax in 1939, while the latter was at the notorious prison recording for the Library of Congress.
Upon his release from prison in 1940, White traveled to Chicago for a follow-up session to "Shake 'Em On Down." The resulting twelve songs transcend blues as music, becoming powerful ruminations on imprisonment, isolation, loneliness, Jim Crow justice, and the freedom of the rails. White's post-Parchman success was short-lived, however, as a stint in the U.S. Navy during World War II curtailed his playing. During the 1940s, he occasionally played juke joints with Memphis legend Frank Stokes after the latter had moved to Clarksdale, Mississippi. White later settled in Memphis, playing occasional gigs and influencing his young guitar-playing cousin B.B. King. Like Skip James, Mississippi John Hurt, and Son House, White was rediscovered during the 1960s "blues revival," and was once again celebrated for his slide guitar, throaty holler, and inspired compositions.
Bukka White died in Memphis, Tennessee, February 26, 1977. He is buried in Memphis.
O camisa 9 marcou os dois gols do Corinthians na competição
Doze anos depois, o mundo é do Corinthians de novo! A manhã deste
domingo (16) estará para sempre na memória de 30 milhões de loucos do
bando. Com gol de Guerrero, o Timão derrotou o Chelsea por 1 a 0, em
Yokohama, e sagrou-se Bicampeão Mundial da FIFA.
Após início de jogo bastante truncado, o Chelsea criou a primeira
chance. Aos dez minutos, Cássio fez ótima defesa após chute à queima
roupa de Cahill. O Alvinegro respondeu aos 18 min, quando Jorge Henrique
puxou contra-ataque pelo meio e arriscou de fora da área, mas o goleiro
Cech fez a defesa. No minuto seguinte, Paulinho foi quem chutou de
fora, mas a bola saiu sobre o gol.
Aos 23 min, o Corinthians se postava melhor em campo, valorizando a
posse de bola e apertando a saída de jogo adversária. Aos 28, Emerson
recebeu de Guerrero às costas da zaga e bateu colocado, mas a bola saiu
por cima.
O Timão voltou a levar perigo aos 33 min, quando Guerrero brigou dentro
da área e a bola sobrou para Emerson, que chutou sem ângulo, mas a bola
tocou na trave e saiu. Os ingleses responderam aos 37 min com Torres,
que recebeu lançamento e chutou para defesa de Cássio.
Minutos depois, o goleiro alvinegro apareceu mais duas vezes, nos
chutes de Moses e Mata. Aos 46 min, o árbitro finalizou a primeira
etapa.
O mundo é nosso!
A segunda metade da partida começou aberta, com ataques das duas
equipes. Aos oito minutos, Cássio fez mais uma defesa ao crescer na
frente de Hazard. Depois desse lance, o Corinthians passou a ficar mais
com a bola, ocupar o campo de ataque e pressionar o adversário. Paulinho
levou perigo aos 18 min, após receber de Guerrero, mas a bola passou à
esquerda.
A torcida presente no palco da final cantava alto quando a pressão do
Timão deu resultado. Aos 23 min, Danilo cortou a marcação e chutou, a
bola desviou na defesa e subiu. Junto com ela, subiu também o peruano
Guerrero, que aproveitou o rebote e cabeceou para às redes. Na metade do
segundo tempo, o Alvinegrou tinha a vantagem de 1 a 0.
O time inglês sentiu o gol e passou a apostar nos lançamentos, mas o
sistema defensivo corinthiano esteve bem postado e não cedeu campo ao
adversário. Na chance que o Chelsea criou, aos 40 min, o gigante Cássio
operou outro milagre. Após cruzamento, a bola sobrou para Torres, mas o
goleiro corinthiano cresceu mais uma vez.
Aos 44 min, a expulsão de Cahill, zagueiro de Seleção Inglesa, mostrou o
quanto é difícil jogar uma final de Mundial de Clubes. Pelo equilíbrio e
pela entrega do Corinthians, o Alvinegro mereceu o posto de melhor time
do mundo. Nos acréscimos, Torres, impedido, fez o gol de empate, mas a
jogada foi anulada. O coração dos loucos disparou, mas foi confortado
pelo apito final, aos 49 min.
Esta foi a última partida disputada pelo Corinthians no ano de 2012. A
temporada, marcada pelo título invicto da Copa Libertadores e agora pelo
título mundial, foi uma das mais vitoriosas da história do Timão. O
elenco alvinegro ganha férias nesse final de ano e só volta aos gramados
no dia 20 de janeiro, quando enfrentará o Paulista de Jundiaí na
estreia do Campeonato Paulista 2013.
Gol
Guerrero
Substituições
Martínez (Guerrero) e Wallace (Emerson)
Cartões Amarelos
Jorge Henrique
Reveja os melhores momentos da partida:
Confira a narração do gol que deu o Bicampeonato Mundial ao Timão de algumas das principais emissoras de rádio de São Paulo:
Foram cinco meses e oito dias de espera para finalmente ver o Corinthians fazer sua estreia no Mundial de Clubes da FIFA 2012. Os corações alvinegros, que quase não descansaram durante a noite, mal conseguiam esperar para ver o relógio marcando 08h30, horário marcado para o ínicio da partida. E toda a ansiedade valeu a pena! No Estádio de Toyota, localizado na cidade que leva o mesmo nome, o Timão derrotou o Al Ahly, do Egito, por 1 a 0. Guerrero balançou as redes ainda no primeiro tempo e carimbou a ida do Coringão para a grande final.
Com toda a confiança adquirida pela boa fase do time, o Alvinegro se impôs desde o início e mostrou sua superioridade logo aos 09 min, quando Guerrero ameaçou o goleiro egípcio pela primeira vez. No contra-ataque, Rabia cabeceou com precisão, mas não trouxe perigo a meta corinthiana.
O Timão administrava a posse de bola e buscava espaço para atacar com eficiência. A partir dos 19 min, a pressão alvinegra começou a fazer efeito. Escanteios, jogadas individuais e ótimos lançamentos trouxeram como recompensa o momento que os 30 milhões de torcedores espalhados pelo mundo mais esperavam. Aos 29 min, Douglas pegou o rebote dado pelo goleiro Ekramy, cruzou na área e o peruano Guerrero subiu mais do que todos para balançar as redes adversárias.
A vantagem aliviou os jogadores do Coringão, que puderam estudar melhor o adversário e os espaços oferecidos para invadir o campo de ataque. O final do primeiro tempo foi calmo, com o Corinthians bem colocado na defesa. Aos 46 min, a primeira etapa foi encerrada.
O segundo tempo começou com pressão dos egípcios, que procuravam aproveitar qualquer espaço para assustar a muralha corinthiana. As tentativas aconteceram, mas a defesa bem colocada do Timão não dava chances de finalização. Aos 10 min, o goleiro adversário sentiu uma lesão e a partida foi interrompida por algum tempo. Na volta, a pressão do time do Egito continuou, mas sem se transformar em resultados.
Apesar de pequena, a vantagem deixou o Alvinegro focado em se defender. Na marca dos 20 min, a jogada mais perigosa do Al Ahly acertou o lado de fora da rede de Cássio. Oito minutos depois veio a resposta do Coringão, quando Paulinho recebeu um belo passe de Guerrero e chutou cruzado, porém a defesa adversário conseguiu cortar o lance.
Aos 29 min, Tite fez a sua primeira substituição, colocando o aniversariante Romarinho no lugar do camisa 11, Emerson. Pouco tempo depois, Jorge Henrique substituiu Douglas. As alterações aumentaram o rendimento do time, porém o nervosismo da equipe do Egito em busca do empate se sobressaía e eles tinham mais presença em campo. A terceira substituição do Corinthians, quando Guerrero cedeu seu lugar para Guilherme Andrade, foi um dos últimos lances da partida, que se encerrou aos 50 min.
A vitória colocou o Corinthians na final do Mundial, que acontecerá neste domingo (16), às 08h30 (horário de Brasília), no Estádio Internacional de Yokohama. O adversário sai da partida entre Chelsea (ING) e Monterrey (MEX), que acontece amanhã (13), às 08h30.
Gol
Guerrero
Substituições
Romarinho (Emerson), Jorge Henrique (Douglas) e Guilherme Andrade (Guerrero)
Reveja o gol que colocou o Timão na final do Mundial:
Na contagem regressiva para o início da luta pelo Bi Mundial de Clubes
da FIFA, o Corinthians produziu e divulga o seu perfil institucional que
será distribuído durante a competição no Japão.
O perfil institucional do Timão foi produzido em três idiomas (português, japonês e inglês). Confira:
Born on a farm near Houston, Mississippi, November 12, 1909, and named for the famed black educator, Bukka White was interested in music from an early age. His father taught him guitar at the age of nine, and a chance meeting with Charley Patton convinced the young White to "come to be a great man like Charley Patton." The son of a railroad worker, White was exposed to the sound of trains from an early age and was not afraid to hobo a train. He rode the rails from the Mississippi Delta to St. Louis, where he played poolrooms, barrelhouses, and parties for food and tips during the 1910s and 1920s.
During a 1930 stay in Memphis, White recorded fourteen songs, including three gospel numbers with Memphis Minnie supplying background vocals. Two 78s were released from the session, one containing two gospel sides and the other containing two blues numbers. Neither met with commercial success, but during this session White received the designation "Bukka" from a white record producer who had never heard of his famous namesake Booker T. Washington. He continued to travel during the 1930s, working as a professional boxer in Chicago and as a Negro League pitcher with the Birmingham Black Cats. During the summer of 1937, White shot an assailant in the thigh and was sentenced to Parchman Farm. Before beginning his sentence, he recorded two blues for the Vocalion label, including "Shake 'Em On Down," which sold in excess of 16,000 copies. Bluesman Big Bill Broonzy recorded "New Shake 'Em On Down," and scored another hit on that theme while White toiled at Parchman. Making the best of a bad situation, he recorded for folklorist Alan Lomax in 1939, while the latter was at the notorious prison recording for the Library of Congress.
Upon his release from prison in 1940, White traveled to Chicago for a follow-up session to "Shake 'Em On Down." The resulting twelve songs transcend blues as music, becoming powerful ruminations on imprisonment, isolation, loneliness, Jim Crow justice, and the freedom of the rails. White's post-Parchman success was short-lived, however, as a stint in the U.S. Navy during World War II curtailed his playing. During the 1940s, he occasionally played juke joints with Memphis legend Frank Stokes after the latter had moved to Clarksdale, Mississippi. White later settled in Memphis, playing occasional gigs and influencing his young guitar-playing cousin B.B. King. Like Skip James, Mississippi John Hurt, and Son House, White was rediscovered during the 1960s "blues revival," and was once again celebrated for his slide guitar, throaty holler, and inspired compositions.
Bukka White died in Memphis, Tennessee, February 26, 1977. He is buried in Memphis.
Dave Brubeck, a pianist and composer whose distinctive mixture of experimentation and accessibility made him one of the most popular jazz musicians of the 1950s and ’60s, died Wednesday morning in Norwalk, Conn. He would have turned 92 on Thursday.
Born on a farm near Houston, Mississippi, November 12, 1909, and named for the famed black educator, Bukka White was interested in music from an early age. His father taught him guitar at the age of nine, and a chance meeting with Charley Patton convinced the young White to "come to be a great man like Charley Patton." The son of a railroad worker, White was exposed to the sound of trains from an early age and was not afraid to hobo a train. He rode the rails from the Mississippi Delta to St. Louis, where he played poolrooms, barrelhouses, and parties for food and tips during the 1910s and 1920s.
During a 1930 stay in Memphis, White recorded fourteen songs, including three gospel numbers with Memphis Minnie supplying background vocals. Two 78s were released from the session, one containing two gospel sides and the other containing two blues numbers. Neither met with commercial success, but during this session White received the designation "Bukka" from a white record producer who had never heard of his famous namesake Booker T. Washington. He continued to travel during the 1930s, working as a professional boxer in Chicago and as a Negro League pitcher with the Birmingham Black Cats. During the summer of 1937, White shot an assailant in the thigh and was sentenced to Parchman Farm. Before beginning his sentence, he recorded two blues for the Vocalion label, including "Shake 'Em On Down," which sold in excess of 16,000 copies. Bluesman Big Bill Broonzy recorded "New Shake 'Em On Down," and scored another hit on that theme while White toiled at Parchman. Making the best of a bad situation, he recorded for folklorist Alan Lomax in 1939, while the latter was at the notorious prison recording for the Library of Congress.
Upon his release from prison in 1940, White traveled to Chicago for a follow-up session to "Shake 'Em On Down." The resulting twelve songs transcend blues as music, becoming powerful ruminations on imprisonment, isolation, loneliness, Jim Crow justice, and the freedom of the rails. White's post-Parchman success was short-lived, however, as a stint in the U.S. Navy during World War II curtailed his playing. During the 1940s, he occasionally played juke joints with Memphis legend Frank Stokes after the latter had moved to Clarksdale, Mississippi. White later settled in Memphis, playing occasional gigs and influencing his young guitar-playing cousin B.B. King. Like Skip James, Mississippi John Hurt, and Son House, White was rediscovered during the 1960s "blues revival," and was once again celebrated for his slide guitar, throaty holler, and inspired compositions.
Bukka White died in Memphis, Tennessee, February 26, 1977. He is buried in Memphis.
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.
Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.
King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.
King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.
King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.
During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
With Eric Clapton’s induction into the Rock and Roll Hall of Fame as a solo artist on March 6, 2000, he became the first musician to have been inducted three times. He was first honored as a member of the Yardbirds in 1992, then with Cream in 1993, and finally as a solo artist in 2000. While his stints with the groups were relatively brief - he stayed with the Yardbirds only a year and a half, and Cream lasted barely two years - Clapton has been a solo artist for three decades, beginning with the release of Eric Clapton in 1970. Even Derek and the Dominos, the short-lived quartet that cut the classic Layla...and Other Love Songs in 1970, was less a band of equals (a la Cream) than a Clapton-piloted project that bore his highly personalized stamp. As a solo artist, Clapton has brought his singing and songwriting to the fore while maintaining his stature as rock’s preeminent guitarist. Demonstrating a remarkable resilience, Clapton has managed to establish himself as a vital, hitmaking presence in every decade.
Born in the British village of Ripley in 1945, Clapton took up the guitar at age 15 and joined his first group, the Roosters, in early 1963. His first noteworthy band was the Yardbirds, whose 1964 concert recording, Five Live Yardbirds, announced Clapton’s talent as a fiery blues stylist adept at the group’s trademark “rave-ups.” In 1965, John Mayall asked the budding star to join his group, the Bluesbreakers. He appeared on the remarkable 1966 recording Bluesbreakers--John Mayall With Eric Clapton. During his yearlong tenure with Mayall, Clapton earned the nickname “Slowhand” and inspired the scrawling of “Clapton Is God” graffiti around London. Next he joined fellow Mayall alumni Jack Bruce and Ginger Baker in Cream, a trio that proved equally adept at lengthy blues improvisations and arty, blues-based psychedelic pop.
After Cream came a brief alliance with American roots-rockers Delaney and Bonnie. This led directly to Clapton’s first solo album, Eric Clapton, which exhibited some newfound emphases. ("Betcha didn’t think I knew how to rock and roll,” he sang in “Blues Power.") Clapton drew from the pool of musicians who played on Eric Clapton in forming Derek and the Dominos, which found him joined by keyboardist Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. The double album Layla...and Other Assorted Love Songs (1970) became one of the cornerstone rock records of the Seventies. Clapton became addicted to heroin during this period, and a second Derek and the Dominos album was begun but never completed as he became ever-more reclusive.
A January 1973 comeback concert at London’s Rainbow Theatre re-introduced him to public performing, but his solo career really commenced in earnest a year later with 461 Ocean Boulevard. Recorded in Miami, it was influenced by the mellower likes of J.J. Cale and Bob Marley. Striking a chord with the public, 461 Ocean Boulevard topped the album charts in 1974. Meanwhile, Clapton’s cover of “I Shot the Sheriff,” originally by Bob Marley and the Wailers, helped introduced reggae to a mass audience. Working with a steady band that included guitarist George Terry, Clapton pursued a mellow, song-oriented course that accentuated his husky, laid-back vocals. His Seventies output, including such albums as There’s One in Every Crowd (1975) and No Reason to Cry (1976) has been largely underrated and is ripe for rediscovery. Clapton again struck commercial paydirt in 1977 with Slowhand, a strong set that included Clapton’s definitive version of J.J. Cale’s “Cocaine” and the #3 hit “Lay Down Sally.”
Clapton remained a prolific artist throughout the Eighties, releasing a live double album that reached #2 (Just One Night), cutting two albums (Behind the Sun and August) with Phil Collins as producer, and launching his own label, Duck Records, in 1983, with one of his stronger studio efforts, Money and Cigarettes. In January 1987, he undertook the first of what would become an annual series of multi-night stands at London’s Royal Albert Hall. In 1992, his career received a major boost from his appearance on MTV’s Unplugged series. Returning to his roots on the heels of that acoustic folk-blues set, Clapton next cut a long-promised blues album, From the Cradle (1994). Throughout the Nineties, he continued to amass hits--no mean feat, given the shifting musical climate--including “Tears in Heaven,” a memorable elegy for his late son Conor; “Change the World,” a beatbox-driven collaboration with R&B artist/producer Babyface that won a Grammy for Record of the Year; and “My Father’s Eyes,” a ballad from his 1998 album Pilgrim.
Entering his fourth decade as a solo artist, Eric Clapton remains a relevant, creative force in popular music.”
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.
Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.
King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.
King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.
King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.
During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
Gary Moore is acknowledged as one of the finest musicians that the British Isles has ever produced, and with a career that dated back to the 1960s, there were few musical genres that Gary Moore had not turned his adroit musical hand to. Gracing the line-ups of several notable rock bands, Thin Lizzy, Colosseum II and (The Original) Skid Row, in his time, he also established himself as a world-class guitarist, with few equals. Gary was born in Belfast, Northern Ireland, on April 4th 1952. Like many others, he was turned on to rock and roll first through hearing Elvis Presley, and then via The Beatles. Seeing the likes of Jimi Hendrix and John Mayall's Bluesbreakers in his hometown in the mid-60s opened up to him the rich world of The Blues. Hearing the art of the blues guitar performed by such lauded exponents as Peter Green fired Moore's nascent talent, and it wasn't long before he was being hailed as a teen musical prodigy. Indeed, it was Green himself who helped foster Moore's career, a debt that was repaid handsomely when Gary cut his warm and heartfelt tribute to his mentor, the 'Blues For Greeny' album, released in 1995.
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.
Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.
King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.
King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.
King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.
During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
With Eric Clapton’s induction into the Rock and Roll Hall of Fame as a solo artist on March 6, 2000, he became the first musician to have been inducted three times. He was first honored as a member of the Yardbirds in 1992, then with Cream in 1993, and finally as a solo artist in 2000. While his stints with the groups were relatively brief - he stayed with the Yardbirds only a year and a half, and Cream lasted barely two years - Clapton has been a solo artist for three decades, beginning with the release of Eric Clapton in 1970. Even Derek and the Dominos, the short-lived quartet that cut the classic Layla...and Other Love Songs in 1970, was less a band of equals (a la Cream) than a Clapton-piloted project that bore his highly personalized stamp. As a solo artist, Clapton has brought his singing and songwriting to the fore while maintaining his stature as rock’s preeminent guitarist. Demonstrating a remarkable resilience, Clapton has managed to establish himself as a vital, hitmaking presence in every decade.
Born in the British village of Ripley in 1945, Clapton took up the guitar at age 15 and joined his first group, the Roosters, in early 1963. His first noteworthy band was the Yardbirds, whose 1964 concert recording, Five Live Yardbirds, announced Clapton’s talent as a fiery blues stylist adept at the group’s trademark “rave-ups.” In 1965, John Mayall asked the budding star to join his group, the Bluesbreakers. He appeared on the remarkable 1966 recording Bluesbreakers--John Mayall With Eric Clapton. During his yearlong tenure with Mayall, Clapton earned the nickname “Slowhand” and inspired the scrawling of “Clapton Is God” graffiti around London. Next he joined fellow Mayall alumni Jack Bruce and Ginger Baker in Cream, a trio that proved equally adept at lengthy blues improvisations and arty, blues-based psychedelic pop.
After Cream came a brief alliance with American roots-rockers Delaney and Bonnie. This led directly to Clapton’s first solo album, Eric Clapton, which exhibited some newfound emphases. ("Betcha didn’t think I knew how to rock and roll,” he sang in “Blues Power.") Clapton drew from the pool of musicians who played on Eric Clapton in forming Derek and the Dominos, which found him joined by keyboardist Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. The double album Layla...and Other Assorted Love Songs (1970) became one of the cornerstone rock records of the Seventies. Clapton became addicted to heroin during this period, and a second Derek and the Dominos album was begun but never completed as he became ever-more reclusive.
A January 1973 comeback concert at London’s Rainbow Theatre re-introduced him to public performing, but his solo career really commenced in earnest a year later with 461 Ocean Boulevard. Recorded in Miami, it was influenced by the mellower likes of J.J. Cale and Bob Marley. Striking a chord with the public, 461 Ocean Boulevard topped the album charts in 1974. Meanwhile, Clapton’s cover of “I Shot the Sheriff,” originally by Bob Marley and the Wailers, helped introduced reggae to a mass audience. Working with a steady band that included guitarist George Terry, Clapton pursued a mellow, song-oriented course that accentuated his husky, laid-back vocals. His Seventies output, including such albums as There’s One in Every Crowd (1975) and No Reason to Cry (1976) has been largely underrated and is ripe for rediscovery. Clapton again struck commercial paydirt in 1977 with Slowhand, a strong set that included Clapton’s definitive version of J.J. Cale’s “Cocaine” and the #3 hit “Lay Down Sally.”
Clapton remained a prolific artist throughout the Eighties, releasing a live double album that reached #2 (Just One Night), cutting two albums (Behind the Sun and August) with Phil Collins as producer, and launching his own label, Duck Records, in 1983, with one of his stronger studio efforts, Money and Cigarettes. In January 1987, he undertook the first of what would become an annual series of multi-night stands at London’s Royal Albert Hall. In 1992, his career received a major boost from his appearance on MTV’s Unplugged series. Returning to his roots on the heels of that acoustic folk-blues set, Clapton next cut a long-promised blues album, From the Cradle (1994). Throughout the Nineties, he continued to amass hits--no mean feat, given the shifting musical climate--including “Tears in Heaven,” a memorable elegy for his late son Conor; “Change the World,” a beatbox-driven collaboration with R&B artist/producer Babyface that won a Grammy for Record of the Year; and “My Father’s Eyes,” a ballad from his 1998 album Pilgrim.
Entering his fourth decade as a solo artist, Eric Clapton remains a relevant, creative force in popular music.”
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.
Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.
King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.
King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.
King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.
During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
Albert Collins, "The Master of the Telecaster," "The Iceman," and "The Razor Blade" was robbed of his best years as a blues performer by a bout with liver cancer that ended with his premature death on November 24, 1993. He was just 61 years old. The highly influential, totally original Collins, like the late John Campbell, was on the cusp of a much wider worldwide following via his deal with Virgin Records' Pointblank subsidiary. However, unlike Campbell, Collins had performed for many more years, in obscurity, before finally finding a following in the mid-'80s.
Collins was born October 1, 1932, in Leona, TX. His family moved to Houston when he was seven. Growing up in the city's Third Ward area with the likes of Johnny "Guitar" Watson and Johnny "Clyde" Copeland, Collins started out taking keyboard lessons. His idol when he was a teen was Hammond B-3 organist Jimmy McGriff. But by the time he was 18 years old, he switched to guitar, and hung out and heard his heroes, Clarence "Gatemouth" Brown, John Lee Hooker, T-Bone Walker and Lightnin' Hopkins (his cousin) in Houston-area nightclubs. Collins began performing in these same clubs, going after his own style, characterized by his use of minor tunings and a capo, by the mid-'50s. It was also at this point that he began his "guitar walks" through the audience, which made him wildly popular with the younger white audiences he played for years later in the 1980s. He led a ten-piece band, the Rhythm Rockers, and cut his first single in 1958 for the Houston-based Kangaroo label, "The Freeze." The single was followed by a slew of other instrumental singles with catchy titles, including "Sno-Cone," "Icy Blue" and "Don't Lose Your Cool." All of these singles brought Collins a regional following. After recording "De-Frost" b/w "Albert's Alley" for Hall-Way Records of Beaumont, TX, he hit it big in 1962 with "Frosty," a million-selling single. Teenagers Janis Joplin and Johnny Winter, both raised in Beaumont, were in the studio when he recorded the song. According to Collins, Joplin correctly predicted that the single would become a hit. The tune quickly became part of his ongoing repertoire, and was still part of his live shows more than 30 years later, in the mid-'80s. Collins' percussive, ringing guitar style became his trademark, as he would use his right hand to pluck the strings. Blues-rock guitarist Jimi Hendrix cited Collins as an influence in any number of interviews he gave.
Through the rest of the 1960s, Collins continued to work day jobs while pursuing his music with short regional tours and on weekends. He recorded for other small Texas labels, including Great Scott, Brylen and TFC. In 1968, Bob "The Bear" Hite from the blues-rock group Canned Heat took an interest in the guitarist's music, traveling to Houston to hear him live. Hite took Collins to California, where he was immediately signed to Imperial Records. By later 1968 and 1969, the '60s blues revival was still going on, and Collins got wider exposure opening for groups like the Allman Brothers at the Fillmore West in San Francisco. Collins based his operations for many years in Los Angeles before moving to Las Vegas in the late '80s.
He recorded three albums for the Imperial label before jumping to Tumbleweed Records. There, several singles were produced by Joe Walsh, since the label was owned by the Eagles' producer Bill Szymczyk. The label folded in 1973. Despite the fact that he didn't record much through the 1970s and into the early '80s, he had gotten sufficient airplay around the U.S. with his singles to be able to continue touring, and so he did, piloting his own bus from gig to gig until at least 1988, when he and his backing band were finally able to use a driver. Collins' big break came about in 1977, when he was signed to the Chicago-based Alligator Records, and he released his brilliant debut for the label in 1978, Ice Pickin'. Collins recorded six more albums for the label, culminating in 1986's Cold Snap, on which organist Jimmy McGriff performs. It was at Alligator Records that Collins began to realize that he could sing adequately, and working with his wife Gwen, he co-wrote many of his classic songs, including items like "Mastercharge," and "Conversation With Collins."
His other albums for Alligator include Live in Japan, Don't Lose Your Cool, Frozen Alive! and Frostbite. An album he recorded with fellow guitarists Robert Cray and Johnny "Clyde" Copeland for Alligator in 1985, Showdown! brought a Grammy award for all three musicians. His Cold Snap, released in 1986, was nominated for a Grammy award.
In 1989, Collins signed with the Pointblank subsidiary of major label Virgin Records, and his debut, Iceman, was released in 1991. The label released the compilation Collins Mix in 1993. Other compact-disc reissues of his early recordings were produced by other record companies who saw Collins' newfound popularity on the festival and theater circuit, and they include Complete Imperial Recordings on EMI Records (1991) and Truckin' With Albert Collins (1992) on MCA Records. Collins' sessionography is also quite extensive. The albums he performs on include David Bowie's Labyrinth, John Zorn's Spillane, Jack Bruce's A Question of Time, John Mayall's Wake Up Call, B.B. King's Blues Summit, Robert Cray's Shame and a Sin, and Branford Marsalis' Super Models in Deep Conversation.
Although he'd spent far too much time in the 1970s without recording, Collins could sense that the blues were coming back stronger in the mid-'80s, with interest in Stevie Ray Vaughan at an all-time high. Collins enjoyed some media celebrity in the last few years of his life, via concert appearances at Carnegie Hall, on Late Night with David Letterman, in the Touchstone film, Adventures in Babysitting, and in a classy Seagram's Wine Cooler commercial with Bruce Willis. The blues revival that Collins, Vaughan and the Fabulous Thunderbirds helped bring about in the mid-'80s has continued into the mid-'90s. But sadly, Collins has not been able to take part in the ongoing evolution of the music.
Albert Collins, "The Master of the Telecaster," "The Iceman," and "The Razor Blade" was robbed of his best years as a blues performer by a bout with liver cancer that ended with his premature death on November 24, 1993. He was just 61 years old. The highly influential, totally original Collins, like the late John Campbell, was on the cusp of a much wider worldwide following via his deal with Virgin Records' Pointblank subsidiary. However, unlike Campbell, Collins had performed for many more years, in obscurity, before finally finding a following in the mid-'80s.
Collins was born October 1, 1932, in Leona, TX. His family moved to Houston when he was seven. Growing up in the city's Third Ward area with the likes of Johnny "Guitar" Watson and Johnny "Clyde" Copeland, Collins started out taking keyboard lessons. His idol when he was a teen was Hammond B-3 organist Jimmy McGriff. But by the time he was 18 years old, he switched to guitar, and hung out and heard his heroes, Clarence "Gatemouth" Brown, John Lee Hooker, T-Bone Walker and Lightnin' Hopkins (his cousin) in Houston-area nightclubs. Collins began performing in these same clubs, going after his own style, characterized by his use of minor tunings and a capo, by the mid-'50s. It was also at this point that he began his "guitar walks" through the audience, which made him wildly popular with the younger white audiences he played for years later in the 1980s. He led a ten-piece band, the Rhythm Rockers, and cut his first single in 1958 for the Houston-based Kangaroo label, "The Freeze." The single was followed by a slew of other instrumental singles with catchy titles, including "Sno-Cone," "Icy Blue" and "Don't Lose Your Cool." All of these singles brought Collins a regional following. After recording "De-Frost" b/w "Albert's Alley" for Hall-Way Records of Beaumont, TX, he hit it big in 1962 with "Frosty," a million-selling single. Teenagers Janis Joplin and Johnny Winter, both raised in Beaumont, were in the studio when he recorded the song. According to Collins, Joplin correctly predicted that the single would become a hit. The tune quickly became part of his ongoing repertoire, and was still part of his live shows more than 30 years later, in the mid-'80s. Collins' percussive, ringing guitar style became his trademark, as he would use his right hand to pluck the strings. Blues-rock guitarist Jimi Hendrix cited Collins as an influence in any number of interviews he gave.
Through the rest of the 1960s, Collins continued to work day jobs while pursuing his music with short regional tours and on weekends. He recorded for other small Texas labels, including Great Scott, Brylen and TFC. In 1968, Bob "The Bear" Hite from the blues-rock group Canned Heat took an interest in the guitarist's music, traveling to Houston to hear him live. Hite took Collins to California, where he was immediately signed to Imperial Records. By later 1968 and 1969, the '60s blues revival was still going on, and Collins got wider exposure opening for groups like the Allman Brothers at the Fillmore West in San Francisco. Collins based his operations for many years in Los Angeles before moving to Las Vegas in the late '80s.
He recorded three albums for the Imperial label before jumping to Tumbleweed Records. There, several singles were produced by Joe Walsh, since the label was owned by the Eagles' producer Bill Szymczyk. The label folded in 1973. Despite the fact that he didn't record much through the 1970s and into the early '80s, he had gotten sufficient airplay around the U.S. with his singles to be able to continue touring, and so he did, piloting his own bus from gig to gig until at least 1988, when he and his backing band were finally able to use a driver. Collins' big break came about in 1977, when he was signed to the Chicago-based Alligator Records, and he released his brilliant debut for the label in 1978, Ice Pickin'. Collins recorded six more albums for the label, culminating in 1986's Cold Snap, on which organist Jimmy McGriff performs. It was at Alligator Records that Collins began to realize that he could sing adequately, and working with his wife Gwen, he co-wrote many of his classic songs, including items like "Mastercharge," and "Conversation With Collins."
His other albums for Alligator include Live in Japan, Don't Lose Your Cool, Frozen Alive! and Frostbite. An album he recorded with fellow guitarists Robert Cray and Johnny "Clyde" Copeland for Alligator in 1985, Showdown! brought a Grammy award for all three musicians. His Cold Snap, released in 1986, was nominated for a Grammy award.
In 1989, Collins signed with the Pointblank subsidiary of major label Virgin Records, and his debut, Iceman, was released in 1991. The label released the compilation Collins Mix in 1993. Other compact-disc reissues of his early recordings were produced by other record companies who saw Collins' newfound popularity on the festival and theater circuit, and they include Complete Imperial Recordings on EMI Records (1991) and Truckin' With Albert Collins (1992) on MCA Records. Collins' sessionography is also quite extensive. The albums he performs on include David Bowie's Labyrinth, John Zorn's Spillane, Jack Bruce's A Question of Time, John Mayall's Wake Up Call, B.B. King's Blues Summit, Robert Cray's Shame and a Sin, and Branford Marsalis' Super Models in Deep Conversation.
Although he'd spent far too much time in the 1970s without recording, Collins could sense that the blues were coming back stronger in the mid-'80s, with interest in Stevie Ray Vaughan at an all-time high. Collins enjoyed some media celebrity in the last few years of his life, via concert appearances at Carnegie Hall, on Late Night with David Letterman, in the Touchstone film, Adventures in Babysitting, and in a classy Seagram's Wine Cooler commercial with Bruce Willis. The blues revival that Collins, Vaughan and the Fabulous Thunderbirds helped bring about in the mid-'80s has continued into the mid-'90s. But sadly, Collins has not been able to take part in the ongoing evolution of the music.
