Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08

[johnfoyle]

http://www.kansascity.com/415/story/121817.html

Kansas City Star
May. 24, 2007

Costello keyboardist Nieve finds his own voice

By LEN RIGHI
The Morning Call

Cobbling together a cast that includes pop music heavyweights Sting and Elvis Costello and classical music stars Barbara Bonney and the Brodsky Quartet is impressive enough. Convincing them to collaborate on as extravagant an idea as a modern opera is almost ostentatious.

But longtime Costello keyboardist Steve Nieve, who accomplished both feats, is downright modest about his achievement, chronicled on the new recording, "Welcome to the Voice."

"When you think of opera, you think of something that is huge and grandiose and involves very expensive sets," says Nieve over the phone from his New York hotel room. "I don't think that's what we are doing here.

"With `the Voice' we wanted to get on the inside. The orchestration calls for a string quartet, and that's the aspect of it we want to experiment with - how to make something big, intimate."

"Welcome to the Voice," last week by the Cadillac of classical music labels, Deutsche Grammophon, came two weeks after "The Best Of Elvis Costello: The First 10 Years" and "Rock And Roll Music," a collection of Costello hits, album tracks, B-sides and previously unreleased tracks. Nieve just completed a 10-city tour with Costello to promote the records.

The beginnings of "Welcome to the Voice" - about an unlikely encounter between a steelworker and an opera singer - date back to the late 1990s when Nieve, then based in France, was performing with Alain Chamfort, who composed the music of many Serge Gainsbourg songs.

Working up "A Concert For Four Hands," an "unplugged" two-piano show for Chamfort, Nieve first met his future "Voice" collaborator, French cinematographer and psychoanalyst Muriel Teodori, with whom he now lives.

"Muriel was the musical director for that show," recalls Nieve. "I needed to find an excuse to keep working with her, so I wrote what is now 'The Prologue (of Dionysos)' and sent her the music to try to seduce her. I asked her to put words to it. After that, we got together and kept working on it."

"I didn't have any idea of story or words when I sent it to her," adds Nieve. "Muriel is French, but she wrote directly into English. That's why it (the libretto) is imperfect, but, I think, at the same time perfect."

It was the first step of what Nieve calls "a long journey." An early workshop version of "Welcome to the Voice" was performed at the 2000 Bell Atlantic Jazz Festival in New York with Costello in the lead role. "We were working with limited resources," Nieve says. "We had to rehearse rather quickly. We didn't have a proper string quartet; we used brilliant students from Juilliard at that time and a different cast, including Ron Sexsmith."

Reaction to what the New York Times called "a new patch on the border between art music and pop" was favorable, but, Nieve notes, "at the time the record companies couldn't see how we could possibly record this."

So Nieve, who had attended the Royal College of Music before joining Costello's band, the Attractions, in 1977, when he was 19, and Teodori decided to produce it themselves. "It was the best way forward," says Nieve. "It gave us complete freedom as to who we would work with and how we did it. We wanted to record it in a certain way with certain people."

Over the next few years, "we changed a number of things," says Nieve. "I added instrumental moments, and some of those Muriel put new text to. New parts came into the work. It grew like a tree. I was on the road with Elvis, and sometimes she would give me text and sometimes I would give her music."

One of the most significant additions was Sting, as both singer and bassist. "Elvis was concerned about all of the attention he got singing the lead character (Dionysos), that all the attention was on that," Nieve says. "He said he would be happy to take a different role." (On the disc Costello sings the Chief of Police.)

The search for Costello's replacement took an unusual turn at the March 2003 Rock and Roll Hall of Fame induction ceremonies in Cleveland. "The Police and Elvis Costello & the Attractions were being inducted at the same time," notes Nieve. "I was sitting right next to Sting and couldn't resist mentioning the project. To my surprise, he wanted to know about it right away."

About a year later, Costello and Nieve were part of a tribute concert in Los Angeles in honor of Sting at the 2004 MusiCares Person Of The Year gala, and the keyboardist had another chance encounter with the singer-bassist. "I was invited to his dressing room," remembers Nieve, "and he said, 'I will sing and be involved in this project.'"

Nieve got a commitment in 2003 from Bonney, widely recognized as one of the finest lyric sopranos of her generation. "The Brodsky Quartet, which had been inside the project from the beginning, suggested we send it to her," says Nieve.

The New Jersey-born, Maine-bred multilingual soprano and a visiting professor at London's Royal Academy of Music was indeed interested. "She phoned me one day and said, `Please come over to my house in London,'" Nieve remembers. "I had lunch with her. In her kitchen she has an amazing piano, and it was just incredible to hear someone sing these arias with such an amazing voice."

Rounding out the vocal cast are former Soft Machine member Robert Wyatt as The Friend ("Knowing Robert's voice, it was a dream when he agreed to play that character," says Nieve) and sopranos Nathalie Manfrino (Ghost of Butterfly), Amanda Roocroft (Ghost of Norma) and Sara Fulgoni (Ghost of Carmen).

As for the future of "Welcome to the Voice," the 49-year-old Nieve (ne Nason) says he is now "dreaming" of staging the opera. "I've had interest from various places, and presenters in New York and Lyon, France, also have proposed to us dates," he says. "I'm touching wood here, but I hope it will be on stage sometime next year."

Asked if, when he was a youngster, he would have embraced the idea of attending an opera, or fled from the prospect, Nieve replies, "I don't know. But I can remember a couple of marvelous moments I did encounter at the ballet, `The Rite of Spring' by Stravinsky. I had no idea what I was being taken to, but it was absolutely brilliant."

And does Nieve believe the motto emblazoned on the CD booklet, "the true salvation is the human voice"?

"We think that the human voice is kind of the most important thing that we have," says Nieve. "It's how we share our internal thoughts and desires, and it's a musical instrument. But the most important thing is, it's what makes us human.

"In the opera, (Dionysos) doesn't believe in immaterial things and spirits, although he's visited by them. The voice is an immaterial thing, yet it is very real and very present."

[johnfoyle]

http://www.cbsnews.com/stories/2007/05/ ... 5950.shtml


Summer Music Preview For Eclectic Tastes

Bill Flanagan

May 27, 2007(CBS)

(extract)

Summer is back — you know it had to happen eventually. Music always sounds better with the top down so let's load up the CD player and hit the road.

Now, some of you don't want to hear about rock bands, soul singers or cruising the burger joint. Some of you want to spend the summer sipping wine and reading poetry on the deck of a villa overlooking the ocean. Do I have some music for you?

I do, and some of it's even in French!

"Welcome To The Voice" is a new classical piece — oh, I might as well admit it, it's an opera with a libretto by the French writer Muriel Teodori and music by Steve Nieve, best known to the hoi polloi as the brilliant pianist in Elvis Costello & the Attractions. It's a piece about the clash between high culture and low, the upper class and the workers, and Nieve has very cleverly cast legit opera singers such as Barbara Bonney and Amanda Roocroft as the Sacred Voices, and rock singers like Costello and Sting as the Profane Voices. It's a conceit worthy of Bertold Brecht and it really works. Whether you come in through the front door of serious music or the servant's entrance of pop, "Welcome To The Voice" will make you feel welcome at the party.

[johnfoyle]

Translation, anyone?

http://www.aufeminin.com/news/culture/n3005.html

28/05/2007

STEVE NIEVE : «Welcome to the voice», avec Barbara Bonney, Sting, Elvis Costello, Amanda Roocroft, Sara Fulgoni

…L’histoire de “Welcomme to the voiceâ€

[johnfoyle]

http://www.gloriousnoise.com/reviews/20 ... _nieve.php

Glorious Noise


Stung: Steve Nieve's Welcome to the Voice

By Stephen Macaulay
May 30, 2007



If I had noticed that Welcome to the Voice was released on Deutsche Grammophon, I would have thought more about buying it. Or longer. But I was still in the mode of remembering when Elvis Costello introduced Nieve near the end of the recent Detroit show; he mentioned there was a forthcoming disc from Nieve, the maestro. So I didn’t notice. I didn’t stop and think. And now I have done my financial bit to support music that I’m not particularly interested in listening to. There are two reasons why this is so.

I’m not taken with the vocal stylings of Sting. And for many intents and purposes, Welcome to the Voice is a Sting-dominated recording. One might argue that the Brodsky Quartet is featured just as prominently, given their musical accompaniment, but Sting even trumps Barbara Bonney, a soprano opera singer, who sings the role of, well, the Opera Singer for whom Sting’s character, Dionysos, lusts. Robert Wyatt also sings quite a bit on the record, and when I think back to the Soft Machine selections that I enjoyed, I realize they were instrumentals. Costello does a couple of turns, as well, but comparatively speaking, they’re but cameos. So if I wanted to listen to Sting perform as he did when interpreting the work of Brecht and Weill, then I would have dug out a cassette of Lost in the Stars.


Which brings me to the second reason. Steve Nieve attended the Royal College of Music. He joined Costello in 1977. Back then, music by the likes of the Attractions was a reaction, in part, to the more elaborate music that was being produced by bands like Emerson, Lake and Palmer: think only of Pictures at an Exhibition. Possibly Nieve has been harboring a desire to pay off all of that studying he once did. So he, along with librettist Muriel Teodori, created this operatic work. This is no Tommy. It is not a “rock opera.â€

[johnfoyle]

http://www.stevenieve.com/

Steve posts -

May 31, 07

Here is a question. Where is there a venue that would be perfect for me to do an intimate recital of new songs, and songs from Mumu, and maybe...? On the East Coast but not New York? I will consider all ideas very carefully. Also any song suggestions....

[johnfoyle]

John O posts to listerv -

I'll be airing my interview with Steve Nieve and Muriel Teodori this
Monday night on
the Salvage and Recovery Radio show at approximately 8:30 pm - 9:30 pm
EDT. The
interview is about 40 minutes long and covers Steve's work with Elvis
Costello
as well as his solo work including his new opera, Welcome to the Voice.

You can listen live this Monday at 8 pm EDT @
http://stream.wusb.stonybrook.edu:8090/listen.pls

The show will be archived for one week at:
http://stream.wusb.stonybrook.edu:8090/ ... n-2000.pls

and:
http://stream.wusb.stonybrook.edu:8090/ ... 2000.1.pls

I'll also be sending a copy for Steve to archive on his site.

[johnfoyle]

http://www.wnyc.org/shows/soundcheck/ep ... gment80192

WNYC's Soundcheck, 07 June 2007

'Welcome to the Voice

Steve Nieve is best known for being Elvis Costello's pianist and keyboard player. Now, he's collaborating with Muriel Teodori on a one-act opera called "Welcome to the Voice." We talk with Nieve and Teodori about the project, which features some of the most famous voices in the world of opera — and rock.'

[Who Shot Sam?]

My work colleague Joanne Lessner, who writes on the side for Opera News, just submitted her review of the DG recording of Welcome to the Voice, and I will post it as soon as it runs. She was very very enthusiastic about it.

[sweetest punch]

The album is now at #6 on Billboard's Classical Chart:

http://www.billboard.com/bbcom/charts/c ... cal+Albums

[johnfoyle]

In the few weeks I've had the disc I've only heard it in part ; in the background as I worked , reading etc. This evening, for the first time, I played it through in full, no distractions except for occasional glances at the sun setting over the distant Wicklow mountains and trees behind Foyle mansions. Such undivided attention brought in to focus a thoroughly fascinating piece of work. A collection of voices blend with the subtlest of instrumentation to tell a simple story. Once it's accepted that no hugely groundbreaking piece of social commentary is part of the package ( I mean that as a compliment) it is possible to get totally lost in it.

Earlier 'distracted' listening had me thinking Elvis' contribution was too loud and just not right. However it's with his abrasive introduction from track 10 - 'Troublemaker' ( such an apt title!) - onwards that the show really kicks into gear. He is the 'grit' that contrasts so tellingly with the artfulness of the other contributors. It leads into a six track sequence that, in it's build up of emotion, is stunning.

Robert Wyatt is the star of the show. All the others are excellent but it's contribution that keeps popping up in my memories , especially 'Happiness'.

In short this is a album that has to be listened to in full to get it's proper effect. None of your in-ear , train/car journey etc. background listening ; in a room , on speakers , loud. It's a circumstance that can be a bit of luxury in the frantic pace of life but , in this case, well worth the effort. Sympathetically produced, it would make a great stage-show. Well done, one and all.

[bronxapostle]

johnny...as someone who saw the only stage production 7 years ago, i can tell you it has already made a great stage production!!! see my ECIS review from back then......my only officially published written matter EVER!

[johnfoyle]

http://entertainment.timesonline.co.uk/ ... 989465.ece


Photo. John Bungey

The Times

June 30, 2007

A Sting in his tale

Barbara Bonney and Sting singing opera together? Our critic talks to the genre-bending Steve Nieve

Once you knew where you were in the record shop. On the left was the pop section, full of shiny, disposable trinkets; on the right was the classical – cerebral, serene, and smelling faintly of mothballs.

But now those megastores that haven’t been laid low by the web pirates have a new problem – just where to display the growing avalanche of “crossoverâ€

[johnfoyle]

http://www.calendarlive.com/music/cl-ca ... e-channels


August 12, 2007

CRITIC'S NOTEBOOK

Rock opera in a post-'Tommy' world
As walls fall between classical and pop, the genre gets a fighting chance.



By Mark Swed, Los Angeles Times Staff Writer

(extract)

Rock opera has had a spotty history, but by now the barriers between high and low art, between classical and pop music, have been so thoroughly demolished that something was bound to have happened. And, in fact, rockers are welcomed into the opera house and concert hall like never before. Meanwhile, classical composers appropriate from the pop world like crazy. Once-traditional opera companies and classical record labels, ever seeking new audiences (and sources of revenue), have greeted the pop invasion with open arms. Bright Eyes will play with the Los Angeles Philharmonic next month at the Hollywood Bowl, and no one need bat an eyelash.

Deutsche Grammophon has recently released a rock opera by Steve Nieve and Muriel Teodori, "Welcome to the Voice," in which Sting, Robert Wyatt and Elvis Costello mingle with Barbara Bonney and other opera singers. Nieve is Costello's longtime keyboardist, and speaking of Costello, he was asked by the Royal Danish Opera to write a work about Hans Christian Andersen, which was produced in Copenhagen last spring.

Of all today's pop musicians, the versatile and knowledgeable Costello had perhaps the best chance of successfully breaking into opera. His orchestral ballet score, "Il Sogno," is surprisingly impressive and original. But opera appears to have overwhelmed him. "The Secret Songs," which concerns Andersen's obsession with the Swedish soprano Jenny Lind, was ultimately billed as "a theatre concert." Originally, Costello wrote a song cycle that was to have been expanded into an opera. Instead, he kept some of the songs and filled the work out with his 1992 song cycle, "The Juliet Letters."

"Welcome to the Voice" and Damon Albarn's rock opera, "Monkey" edge closer to what is commonly thought of as opera while retaining a rock identity. "Voice" gets off to a terrible start with a pretentious libretto by Teodori, a French Freudian analyst. A steelworker, Dionysos, contracts the opera bug. His Marxist fellow hard-hats preach the gospel of Italian political philosopher Antonio Gramsci, but Dionysos (sung by Sting) has ears only for the ghosts of "Carmen," "Butterfly" and "Norma." Nieve's music, much of it faceless, is forced to contain page after page of ludicrous text. For the band, Nieve is joined by a string quartet (the Brodsky) and a couple of downtown improvisers -- wind player Ned Rothenberg and guitarist Marc Ribot -- but text, not music, is the driving force.

[johnfoyle]

http://www.marketwatch.com/news/story/m ... 0834EC0%7D

JON FRIEDMAN'S MEDIA WEB

Media lip service hurts a rock 'n' roll hall of famer

Commentary: Sting and Elvis Costello helped Steve Nieve find his 'Voice'
By Jon Friedman, MarketWatch

Last Update: 12:01 AM ET Aug 22, 2007

AMAGANSETT, N.Y. (MarketWatch) -- In 1977, an unknown musician named Elvis Costello placed an ad in a London rock 'n' roll journal for players to join his new band. Steve Nason of the Royal College of Music, then all of 19 years old, got the gig.

In the heady days of punk rock, Nason was promptly dubbed Steve Nieve (pronounced nye-EVE). The keyboard maestro began a mutually fruitful association with Costello, which culminated in the induction of Elvis Costello and the Attractions into the Rock and Roll Hall of Fame.
Throughout his 30-year career, Nieve has grown accustomed to getting respect and accolades from critics. But lately he's been perplexed and disappointed by the media's apathy toward "Welcome to the Voice" (Deutsche Grammophon), an opera he created with his wife, the French writer Muriel Teodori.

Nieve is realistic. He understands that an opera - whose story centers on how a steelworker named Dionysos learns to love opera as he tries to seduce a young diva -- is far from his usual beat of rock 'n' roll. But he hoped that the entertainment press would be intrigued at least by music featuring such diverse world-class vocalists as Sting, Costello, Barbara Bonney and Robert Wyatt. Instead, he has been greeted with almost radio silence, as the media have largely overlooked his new work.
Meanwhile, Sting's reunion with the Police has, predictably, been the year's most durable music story. The irony is that Sting, an ambitious artist, might confess to receiving more satisfaction from singing on "Welcome to the Voice" than to trundling out "Message in a Bottle" night after night in U.S. hockey arenas.
Nieve's struggle to publicize the opera underscores journalists' inability or unwillingness to accept something new and unexpected. If they had their way, Nieve would simply churn out vintage Costello songs on stage.

Opportunity
Nieve enjoyed the opportunity to stretch his talents. But he wishes the critics would pay more attention to the opera.
"It's obvious that if you don't have that, you're invisible," he told me.
A respected critic, Bill Flanagan, of CBS's entertaining "Sunday Morning," said: "Now, whether you come in through the front door of serious music. or the servant's entrance of pop, 'Welcome to The Voice' will make you feel welcome at the party."

Publicity creates a domino effect for a musician: When the media create a buzz for a new album, the retailers invariably put it in their shop windows and give it preferred placement inside as well.
With "Welcome to the Voice," Nieve has had a tough time gaining acceptance.

"It's difficult because no one knows where to put it," he said. "When you arrive at a record shop, you wouldn't know where to find it. Sting has a section. Elvis Costello has a section."

He laughed and shrugged, "There is no 'Steve Nieve' section."
For Nieve and Teodori, it was important to recruit Sting. Not only is he world famous, but he has a distinctive style.
Nieve encountered him in New York at the induction ceremony for the Hall of Fame. Sting was intrigued. It's understandable that Sting would welcome something beyond pop music.

Creative people can become restless. "Welcome to the Voice" is even more daunting than anything Costello has attempted during his decidedly uncommercial excursions into country ("Almost Blue"), classical ("The Juliet Letters") and torch-song music ("North").
These days, music companies, like everyone else, want to throw their marketing money behind sure winners. Still, the Police didn't need a corporate push to help sell out Madison Square Garden.
"The record company has done a great job of getting it out there, but that's where their work ends," Nieve said.

Just a memory
I caught up with Nieve and Teodori last Saturday at the house they were renting in Amagansett, on the eastern tip of Long Island. Nieve had just played a small concert nearby.

It was a pleasure to interview him. He's low key and attentive; it seemed like the one-nighters were just a memory. Nieve offered quite a contrast from the wild man I've seen on stage. Anyone who has attended an Elvis Costello rock concert would remember the spectacle of Nieve's floppy brown hair flying all over the place while he attacked the piano and organ.
He has made enormous contributions to Costello's sound. Can anybody imagine such Costello gems as "Oliver's Army" or "Pump It Up" or "Radio Radio" without Nieve's trademark keyboard mastery? In fact, in the current Rolling Stone, Deryck Whibley of Sum 41 listed "Radio Radio" as his personal No. 1 song in the "My List" category.

After Costello formed the Attractions, along with drummer Pete Thomas and bassist Bruce Thomas, the band rehearsed for two weeks in Cornwall before playing their first gig in a small town called Penzance. "With Wayne County and the Electric Chairs!" Nieve smiled. "It was quite a weird experience for me." Before long, they were playing on a coast-to-coast tour of the U.S. and had become pop stars.

Nieve laughed heartily, noting that the touring life is a lot calmer these days. "We aren't mad any more!" he said.

Still too soon to know
Nieve and Teodori might get a nice reception when they bring "Welcome to the Voice" to the stage, perhaps next year.
They're hoping to showcase Sting and Costello playing meaningful roles.
"Elvis's is one of the voices I prefer in the world, the emotion and humor in it," Teodori said.

I suspect that a production featuring Sting and Costello would attract a spirited audience for "Welcome to the Voice."

When I told Nieve that he could wind up having the last laugh, he sounded hopeful but well aware of the vicissitudes of the entertainment industry.
"I didn't get the name of 'Steve Nieve' by accident, and I'm not so naïve any more," he said with a smile. "It wouldn't happen by accident."
Nodding knowingly, he added, "but accidents do happen."

[johnfoyle]

Blogger Maura Johnston comments -

http://idolator.com/tunes/burning-quest ... 292145.php

[Who Shot Sam?]

My work colleague Joanne Lessner, who writes on the side for Opera News, just submitted her review of the DG recording of Welcome to the Voice, and I will post it as soon as it runs. She was very very enthusiastic about it.

Joanne's review is in this month's Opera News. Here it is...

NIEVE: Welcome to the Voice

Bonney, Roocroft, Manfrino, Fulgoni; Sting, Wyatt, Costello. Brodsky Quartet. No texts or translations. Deutsche Grammophon 00289 477 6524

Welcome to the Voice, staged at New York City’s Town Hall in 2000, is probably best described as a modern opera, but even that is misleading, as there is little of the strenuous atonality that designation frequently implies. The modernity of this beguiling and unexpected “work about unlikely encountersâ€

[sweetest punch]

From Sting's official website:
http://www.sting.com/news/news.php?uid=5928


Sting and Elvis Costello will be appearing in a limited engagement of Steve Nieve's opera 'Welcome To The Voice' in Paris later this year. The engagement will take place at the historic Théâtre du Châtelet on November 20-21 and November 23-25. Tickets are expected to go on sale from 27 June 2008.

Watch out for further details at www.chatelet-theatre.com.

For more details about 'Welcome to the Voice' visit http://www.sting.com/news/.

[johnfoyle]

The Paris Nov. '08 shows now have their own page -

http://www.chatelet-theatre.com/2008-20 ... ce-270-en/

[johnfoyle]

Booking for this opens this coming Friday, June 27th .

I'm hoping to book for the final performance on Tuesday , Nov 25th ; by then they'll sure have got it just perfect!

http://www.chatelet-theatre.com/2008-20 ... ce-270-en/

[Man out of Time]

There is also a podcast for WTTV on the Théâtre du Chatelet website. You can hear Steve and Muriel talk about WTTV.

Steve tells the story of how he button-holed Sting at the Rock and Roll Hall of Fame induction ceremony, when they wound up sitting on the same table.

The link is here: http://www.chatelet-theatre.com/2008-20 ... s-english/

Click on the black and white photo under the words "Welcome to the Voice". Steve (the compositeur) gets subtitles, Muriel does not .

Looking forward to it!

MOOT

[johnfoyle]

I told Steve, when he was signing stuff after last nights show, how I was hoping to get to this show. He responded, with a puzzled look, 'Oh, you'll be there?'. Shortly after someone asked him if he still lives in Paris . He confirmed - 'I'm a exile' - that and I commented that maybe he could put us up in his spare room. He then looked worried but with a grin at the same time!

[johnfoyle]

Just got two tickets for the Tues, Nov. 25th show.

[johnfoyle]

http://www.theaustralian.news.com.au/st ... 47,00.html

THE AUSTRALIAN
August 02, 2008
(extract)

After his Australian tour Sting will embark on another left-of-centre project, appearing in Paris alongside Elvis Costello and others in a stage version of Costello's long-term sidekick Steve Nieve's semi-operatic work Welcome to the Voice (2007), a collaboration with Nieve's partner Muriel Teodori. Like Songs from the Labyrinth, it was released by the classical label Deutsche Grammophon.

"I'm loath to call it an opera because I'm not wearing tights and I don't have the proper voice," Sting says. "But we're singing with a bunch of opera singers. Again it's an experiment. And we're all ready to be stabbed."

[littletriggers]

A bit behind as regards WTTV , just picked up a copy recently and it sounds great the first couple of tracks I have listened to , is there anyone in the group who knows about or has a copy of the DVD that would of accompanied the promo copy of the CD . As John says this Sunday afternoon will be devoted to listening to this from the old B&O HiFi and hopefully no distractions . I was reluctant to buy this DG release as they always used to be incredibly expensive compared to other classical releases , plus I remember being ripped by HMV Oxford St for MUMU the most I ever paid for a non chart CD £18.99 ! So £2.25 for WTTV seemed fair .

[johnfoyle]

Steve has reactivated his site -

http://www.stevenieve.com/

http://web.mac.com/stevenieve/Beta/3.html

links to a message board. The password to access it is 'password' . I've posted saying how I'm looking forward to the WTTV show in Paris.