Maritime fans remember Ozzy Osbourne
Maritime fans remember Ozzy Osbourne – who passed away at the age of 76.
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CTV News
2 hours ago
- CTV News
Paul McCartney's 1985 Live Aid performance, his first live show in five years, was nearly derailed by a tech glitch
Paul McCartney hadn't taken the stage in over five years when he sat down at his piano to sing 'Let It Be' for Live Aid on July 13, 1985, in a performance that was almost totally derailed by a single tech glitch. There the music legend was – performing live for the first time since his post-Beatles band Wings had broken up, and his lifelong friend and Beatles bandmate John Lennon had been assassinated – to sing 'Let It Be,' one of the last songs the Fab Four ever released… and minutes into the performance, McCartney's microphone died. 'One guy. A mic and a piano (and) a mic for the voice. Really simple. What happened?' Live Aid organizer and musician Bob Geldof recalled thinking at the time in CNN's 'Live Aid: When Rock 'n' Roll Took On the World.' Geldof added that he thought, 'Oh no, it's going to be a disaster.' All of the estimated 1.8 billion viewers tuning into the mega benefit concert couldn't even hear McCartney, let alone the massive crowd that stood before him at London's Wembley Stadium. Then something magical happened: the crowd started to sing along and help pick up the song for McCartney. But it wasn't just the crowd who saw that McCartney needed help, either. 'There were a bunch of people standing around and either Pete (Townshend, of The Who) or David (Bowie) said to me, 'Come on, let's help him.' Literally if you can think of a moment where 'I am not worthy' is beyond true, it's that moment,' Geldof recalled. Townshend, Bowie, Geldof and singer Alison Moyet huddled behind McCartney on stage to help him sing the song's final verses when the microphones started to work again, allowing the impromptu quintet – along with the singing Wembley crowd – to complete the song. Afterward, Townshend and McCartney hoisted Geldof on their shoulders before the Wembley Stadium headliners, including George Michael, Bono, members of The Who, Bowie, McCartney, Queen and many more, all joined together on stage to sing Band Aid's 'Do They Know It's Christmas' to close out the show. Return to the stage The Live Aid benefit was organized by musicians Geldof and Midge Ure to draw attention to a famine in Ethiopia. It spanned multiple locations, drew nearly two billion viewers around the world and raised more than US$125 million for relief efforts. While Geldof had already secured a lineup of the most famous and revered rock 'n roll musicians for Live Aid, he said in an interview with Ultimate Classic Rock earlier this month that he felt he needed a Beatle to participate and wrote McCartney a letter at the time outlining his case, asking him to play one song at the end of the show. 'I knew he must get a hundred requests to do things, but I really felt like the program would not be complete without him there. I was not writing to Paul McCartney, the man, I said, but to PAUL MCCARTNEY, the phenomenon,' Geldof explained. 'If he played, millions would watch who would not otherwise watch. That would mean money would come in that would not otherwise come in.' McCartney and his band Wings hadn't performed since 1979's Concerts for the People of Kampuchea, and shortly thereafter disbanded in 1981. McCartney hadn't taken the stage after that but did continue to release new music over the next few years. So when Geldof approached him about Live Aid, McCartney recalled telling him, 'I can't Bob, I haven't got a band together now.' Geldof, according to McCartney, didn't find that to be a problem at all, telling him, 'Well, you just sit at the piano and play your own number.' Ultimately, McCartney agreed. 'I just had to come. Simple as that,' McCartney said, adding that Geldof was also the person who chose the song that McCartney would sing. 'He's running the whole bloody show!' Geldof told Ultimate Classic Rock that 'there is a hierarchy in rock 'n' roll,' with the Beatles being at the top. 'So he goes on, one song, to give U.S. the benediction, to give U.S. the Beatles imprimatur, and of course it's 'Let It Be,' which I had asked him to do.' Live Aid wound up not just being McCartney's return for a one-off performance. He's been touring regularly ever since – even up until today, as McCartney, now 83, is set to continue his Get Back tour in the U.S. this fall. Turns out, the legendary musician isn't quite ready to just let it be. By Alli Rosenbloom, CNN
CTV News
2 hours ago
- CTV News
Vandals set fire to a mouse statue that's a TV star and mascot for a German broadcaster
A mouse statue that has been set on fire stands in front of the WDR (West German Broadcasting Corporation) building in Cologne, Germany, Saturday, July 26, 2025. (Sascha Thelen/dpa via AP) BERLIN — Vandals set fire to a mouse statue that's a TV star and mascot for children's programming at German broadcaster WDR, the television station said Saturday. The cartoon mouse, known only as 'Die Maus,' is the eponymous star of 'Die Sendung mit der Maus' (The Show with the Mouse) since it first aired in West Germany in 1971. Each short episode features other languages and educational segments. The statue - featuring the character's famous orange body with brown ears, arms and legs - greets families and children outside a media building in Cologne, Germany. A receptionist for WDR saw several young people standing around the statue in Cologne on a camera feed overnight Friday into Saturday. She then noticed flames and called the fire department, WDR said. The fire blackened parts of the mouse's face and arm, images show. The station said a police complaint had been filed against an unidentified person. Matthias Kornich, head of children's programming for WDR, said it's not just a figurine that was damaged. 'A piece of childhood, a symbol of joy and togetherness has been attacked,' he said. 'The mouse belongs to Cologne.' The mouse statue isn't the first German TV character to be attacked. In 2009, the statue of a depressed German loaf of bread named Bernd das Brot (Bernd the Bread) was stolen from his traditional place outside the town hall in Erfurt, where German children's public television channel KiKA is based. Bernd, a cult classic in Germany, was held hostage for nearly two weeks before being discovered unharmed in an abandoned barracks. By Stefanie Dazio.
CBC
6 hours ago
- CBC
Inside Afrobeats: Meet the host behind the 4-part series
This is part a special four-part audio series co-produced JJ Okonkwo and the CBC's Katie Rowe and Amy Joy. For JJ Okonkwo, Afrobeats is more than just a genre of music — it's a part of who he is. "Afrobeats holds a special place in my heart because it echoes the rhythm of where I come from," said Okonkwo. Afrobeats is a fairly young genre of music. It gained prominence in the early 2000s, combining West African musical styles with elements of hip-hop, R&B, dancehall and other genres. Okonkwo witnessed the early rise of Afrobeats and he was immediately hooked. "What I love most about Afrobeats is its versatility. It blends with any genre while staying proudly African. The beats bring instant joy, but it's the storytelling, the proverbs, and the punchy lyrics that make it truly unique. You can never mistake Afrobeats for anything else," he said. Okonkwo grew up in Lagos, Nigeria, where he was born into a family of singers and spent his childhood surrounded by music. With his father's record collection and his brother's cassette tapes at his fingertips, Okonkwo was exposed to a wide variety of music. In 2023, when Okonkwo moved to St. John's, he started listening to local radio stations to get a feel for the music scene in Canada. He found the stations were primarily playing mainstream western music with little representation from the Afrobeats genre. "I felt disconnected. It didn't reflect the multicultural reality of Canadian society. That, to me, was a gap." This gap is what inspired him to create Inside Afrobeats, a four-part audio series that explores the history and global impact of Afrobeats music. For Okonkwo, he hopes the series will not only introduce people to some great music, but also raise awareness of the genre. "The goal is to amplify the sound, the stories, and the culture behind the genre, and ensure that African voices and rhythms are part of the national conversation in music and media," said Okonkwo.
